The title of this collection of essays (some delivered as lectures at Oxford in 1989) refers to a quilting pattern—the image, as Showalter (English/Princeton; Sexual Anarchy, 1990, etc.) explains, that best describes women's literature in America: its communal and ritual nature, its continuity, its diversity, its history as a domestic art that lapsed into disrepute before being resurrected into a high art in the 60's. Showalter's dual preoccupation with the role of women writers and the special identity of American literature appears in the first essay, ``Miranda's Story,'' describing the way various American subcultures have appropriated The Tempest—the role of Miranda, the Dark Lady, Shakespeare's sister—as played by American women, the prototype being Margaret Fuller. In successive chapters on Alcott's Little Women, Chopin's The Awakening, and Wharton's The House of Mirth, Showalter identifies the distinctive voices, values, preoccupations, ``hybridity'' of American women's writing that makes any question of being Shakespeare's sister irrelevant. And in an astute chapter on what she calls ``women's gothic,'' she further explores the contributions of women writers to the dominant male culture. Even in her chapter on the lost generation of women writers of the 20's—poets such as Amy Lowell, Sara Teasdale, and Elinor Wylie, and Afro-Americans such as Zora Neale Hurston—she finds, in spite of the exclusion, victimization, and repression, a ``literary history of female mastery and growth.'' Persuasive, ranging, perceptive, unpolemical, Showalter here offers a splendid example of humanistic writing, of her own ``female mastery and growth,'' a genuine contribution to contemporary thinking about women's literature. Her flaw: excessive quoting of scholars who don't write as well as she does, illustrating merely that she has done her homework. (Photographs of quilts.)
Pub Date: Nov. 1, 1991
ISBN: 0-19-812383-3
Page Count: 180
Publisher: Oxford Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1991
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.
A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
An extraordinary true tale of torment, retribution, and loyalty that's irresistibly readable in spite of its intrusively melodramatic prose. Starting out with calculated, movie-ready anecdotes about his boyhood gang, Carcaterra's memoir takes a hairpin turn into horror and then changes tack once more to relate grippingly what must be one of the most outrageous confidence schemes ever perpetrated. Growing up in New York's Hell's Kitchen in the 1960s, former New York Daily News reporter Carcaterra (A Safe Place, 1993) had three close friends with whom he played stickball, bedeviled nuns, and ran errands for the neighborhood Mob boss. All this is recalled through a dripping mist of nostalgia; the streetcorner banter is as stilted and coy as a late Bowery Boys film. But a third of the way in, the story suddenly takes off: In 1967 the four friends seriously injured a man when they more or less unintentionally rolled a hot-dog cart down the steps of a subway entrance. The boys, aged 11 to 14, were packed off to an upstate New York reformatory so brutal it makes Sing Sing sound like Sunnybrook Farm. The guards continually raped and beat them, at one point tossing all of them into solitary confinement, where rats gnawed at their wounds and the menu consisted of oatmeal soaked in urine. Two of Carcaterra's friends were dehumanized by their year upstate, eventually becoming prominent gangsters. In 1980, they happened upon the former guard who had been their principal torturer and shot him dead. The book's stunning denouement concerns the successful plot devised by the author and his third friend, now a Manhattan assistant DA, to free the two killers and to exact revenge against the remaining ex-guards who had scarred their lives so irrevocably. Carcaterra has run a moral and emotional gauntlet, and the resulting book, despite its flaws, is disturbing and hard to forget. (Film rights to Propaganda; author tour)
Pub Date: July 10, 1995
ISBN: 0-345-39606-5
Page Count: 432
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1995
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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