Enlightening and entertaining, though not essential.
Those not repelled by the pomposity of the back-cover copy (“there is no place here for the poet as entertainer,” etc.) might actually find themselves, well, entertained by this assemblage of 20th-century works by poets from the British Isles, with the occasional American or New Zealander thrown in for good measure. Longley stresses in her brisk preface the dominance of the lyric mode, in which “the common factor is concentration,” and she argues that the differences between “urban” and “rural” poetries are not as glaring as one might at first assume. Crucial to the poems of the century were the effects of industrialization, especially as manifested in urbanization and, to an even greater degree, war. Thomas Hardy dryly observes that “After two thousand years of mass / We’ve got as far as poison-gas.” The number of pages allotted to each of the 59 contributors peaks at 13 (for Auden), and brief critical/biographical notes preface all the entries, which are organized chronologically. We are reminded, for instance, that Stevie Smith was so nicknamed “because her fringe resembled that of the jockey Steve Donaghue.” T.S. Eliot, Philip Larkin, Sylvia Plath, Dylan Thomas, and W.B. Yeats are all here, and their positions are secure; of course, it is more difficult to predict the staying power of poets still writing today, although Seamus Heaney and Thom Gunn are likely candidates. Whether anthologists of 21st-century verse will include Medbh McGuckian or Tom Leonard (the latter, employing Glaswegian dialect, morphs W.C. Williams’s “This Is Just to Say” into “Jist ti Let Yi No”) is anyone’s guess.
Enlightening and entertaining, though not essential.Pub Date: April 2, 2001
ISBN: 1-85224-514-X
Page Count: 368
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2001
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.
Sisters work together to solve a child-abandonment case.
Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.Pub Date: March 1, 2006
ISBN: 0-345-46752-3
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2005
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