Intriguing and thoughtful work from a doctor and thinker as comfortable quoting Longfellow as discussing Charcot’s cases at...
Pathologist-turned-author González-Crussi (On Being Born, 2004, etc.) produces another astute series of essays on human mortality and the function of art, this time concerning the sense of sight.
He begins his study with an exploration of “men’s foremost visual taboo,” tracing through history the complex male reaction to a glimpse of female genitalia: “allurement . . . commingled with the horrid fascination of death.” González-Crussi displays here a characteristic breadth of reading that spans recondite archives and modern-day newspaper reports. In “The Body as Will and Representation,” the author observes that the desire to see the body inside and out leads to such disparate phenomena as the medical art of dissection and 19th-century Parisians’ morbid delight in visiting the morgue, where cadavers were displayed to public view and onlookers could confront “the material embodiment of the Great Leveling that shall take place one day.” “Seeing Is Believing, and Believing Is Seeing” moves from “last sights” (the religious images 16th-century priests held before the gaze of prisoners about to be executed) to inquiries into what exactly passes before the eyes of those on the verge of death, speculating that they may be looking at “the supreme mystery that lies, beckoning us all, in the infinite distance.” “More Power to the Gaze” recounts ancient Mesopotamian and Greek theories about how the eyes derive their puissance—by sending out rays of inner “fire” toward an object, the Pythagoreans believed. In “Spectacular Vision: Three Ways of Looking at the Mirror,” González-Crussi offers examples of artists’ fascination with reflected personality and duplication, from medieval painters to such 19th-century writers as Poe and Dostoevsky. A final essay, “The Clinical Eye,” explores the extension of the medical gaze, from psychoanalysis to microscopy.
Intriguing and thoughtful work from a doctor and thinker as comfortable quoting Longfellow as discussing Charcot’s cases at Salpêtrière.Pub Date: Feb. 16, 2006
ISBN: 1-58567-674-8
Page Count: 224
Publisher: Overlook
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2005
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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