A poet shares his joyful exuberance for opera.
A vigorous case for the humble opera libretto as poetic drama.
Gioia, a poet and former chairman of the National Endowment for the Arts, turns his attention to the “extravagant and alluring art of opera” and the power of words because the “libretto is not a shabby coat rack on which the magnificent vestments of music are hung.” The “text exists in a state of potentiality; music will transform its meaning and merit.” Surprisingly, the 100 most frequently performed operas were written by only seven poets, including Richard Wagner, who wrote all his own libretti. Gioia notes that the only operatic partnership for which the writers get top billing are Gilbert and Sullivan. When Lorenzo Da Ponte wrote for Mozart, his operas became much better, culminating in Don Giovanni. Gioia recollects coming to love opera as a young boy: “I wanted to surrender to an ecstasy beyond my control.” The collaborations of Hugo von Hofmannsthal and Richard Strauss “rank among the most surprising and successful experiments in modern opera.” He discusses how opera strives for emotional intensity, “explores the extremes of human experience, especially the outmost limits of suffering.” At the NEA, he helped fund dozens of operatic world premieres and revivals. Nevertheless, he worries about the shrinking numbers of Americans who attend operas—“America is no operatic superpower.” Gioia laments that many historically important American operas are rarely performed. As a young student, he went to Vienna as a composer and left as an opera-loving poet. After incisive chapters on Leonard Bernstein and Stephen Sondheim—“American opera has no better libretto” than Sweeney Todd—he wraps up this smart, lively book describing his rewarding experiences writing librettos.
A poet shares his joyful exuberance for opera.Pub Date: Dec. 3, 2024
ISBN: 9781589881969
Page Count: 208
Publisher: Paul Dry Books
Review Posted Online: Oct. 11, 2024
Kirkus Reviews Issue: Nov. 15, 2024
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
Sedaris at his darkest—and his best.
In which the veteran humorist enters middle age with fine snark but some trepidation as well.
Mortality is weighing on Sedaris (Theft by Finding: Diaries 1977-2002, 2017, etc.), much of it his own, professional narcissist that he is. Watching an elderly man have a bowel accident on a plane, he dreaded the day when he would be the target of teenagers’ jokes “as they raise their phones to take my picture from behind.” A skin tumor troubled him, but so did the doctor who told him he couldn’t keep it once it was removed. “But it’s my tumor,” he insisted. “I made it.” (Eventually, he found a semitrained doctor to remove and give him the lipoma, which he proceeded to feed to a turtle.) The deaths of others are much on the author’s mind as well: He contemplates the suicide of his sister Tiffany, his alcoholic mother’s death, and his cantankerous father’s erratic behavior. His contemplation of his mother’s drinking—and his family’s denial of it—makes for some of the most poignant writing in the book: The sound of her putting ice in a rocks glass increasingly sounded “like a trigger being cocked.” Despite the gloom, however, frivolity still abides in the Sedaris clan. His summer home on the Carolina coast, which he dubbed the Sea Section, overspills with irreverent bantering between him and his siblings as his long-suffering partner, Hugh, looks on. Sedaris hasn’t lost his capacity for bemused observations of the people he encounters. For example, cashiers who say “have a blessed day” make him feel “like you’ve been sprayed against your will with God cologne.” But bad news has sharpened the author’s humor, and this book is defined by a persistent, engaging bafflement over how seriously or unseriously to take life when it’s increasingly filled with Trump and funerals.
Sedaris at his darkest—and his best.Pub Date: May 29, 2018
ISBN: 978-0-316-39238-9
Page Count: 288
Publisher: Little, Brown
Review Posted Online: Feb. 19, 2018
Kirkus Reviews Issue: March 1, 2018
PROFILES
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