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CAN POETRY MATTER?

ESSAYS ON POETRY AND AMERICAN CULTURE

As a nonacademic poet and critic (for years he was a business executive), Gioia is rightfully appalled at the capture of poetry by the English departments of the land, and at how, in this enervating captivity, it has become trivialized, been made uniform, and lost all general readership. In his title essay, Gioia makes an unobjectionable analysis of how this happened, and even laudably goes further with a few corrective ideas. Some seem easy enough to accomplish (such as encouraging poets at poetry readings to read others' poetry as well as their own), others harder (encouraging a more rigorous criticism of poetry, Ö la Randall Jarrell, not the usual praise-your-pals stuff). Having made so lucid a diagnosis, Gioia the critic opens himself up to inevitable and somewhat unenviable scrutiny—as he gets down to cases in the essays that follow. He is no Jarrell himself. He aims a howitzer at Robert Bly (which is a little like shooting fish in a barrel); devotes much approving (and vaguely self-congratulatory) energy to the echt-bourgeois-businessman-poet Wallace Stevens; and makes self-consciously lonely pleas for Robinson Jeffers, Weldon Kees, and Ted Kooser—poets whose marginality Gioia prefers to see as neglect rather than as mediocrity. The sense you finally come away with is wistfulness: a good mind paddling manfully on, looking for an intellectual mainstream it never quite finds—and that may never have been there in the first place.

Pub Date: Oct. 1, 1992

ISBN: 1-55597-176-8

Page Count: 256

Publisher: Graywolf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1992

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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