Ever faithful to the cowboy-poet ethic, Dawson never strays from the land and the cattle-rancher lifestyle that he so clearly loves.

By turns humorous, nostalgic and reflective, Dawson’s poems insist on uncomplicated, traditional values and on a taciturn sort of self-discovery, a process marked by action more than introspection. Dawson’s narrators always learn something about themselves, but they do so unselfconsciously, pitting themselves against the elements, breaking themselves down with hard work or immersing themselves unquestioningly in collective efforts. What they learn, they attempt to teach, as every poem comes with a lesson, a point Dawson explicitly makes in the hilarious “Apparently Not”—“Most stories from the farm have a moral or two. / This is no exception, when properly viewed.” Billed as rhyming free verse, the poems revert most frequently—and most enjoyably—to heavily punctuated iambs in an a-b-c-b rhyme scheme with a judicious peppering of internal rhyme thrown in for seasoning. Dawson’s quick pacing and light touch are perhaps nowhere more in evidence than in “When the Breeze Becomes a Storm,” the brief ballad of a cowboy who allows stubborn emotion to trump logic, refusing to believe the weather will turn on him until he and his mare are finally caught in a furious storm. Though he promises his frightened horse that he will trust her instincts the next time, she knows that “He’d downplay the signs, / He’d prevaricate, / Only turning to her / After it was too late. // That’s just how it was / For she’d known from the start / That like every other cowboy, / He led with his heart.” Not every poem in this collection gallops quite so easily. Dawson occasionally slows down for more somber reflection, as in “Gathering,” a heavy, nostalgic piece in which the 14- and 15-syllable lines lumber and lurch within the tight corral of an a-a-b-b rhyme scheme, losing grace and momentum. Fortunately, those moments are outnumbered by the tighter arrangements and quicker lines at which Dawson excels. Though he shares some similarities of voice with Joel Nelson, Dawson, unlike many cowboy poets, eschews colloquialisms and vernacular, giving his verse a more accessible, contemporary flavor. Dawson’s earnest, refreshing collection will appeal to anyone not afraid to have fun with poetry.

Pub Date: Aug. 12, 2010

ISBN: 978-1450249720

Page Count: 129

Publisher: iUniverse

Review Posted Online: Dec. 8, 2011

Did you like this book?

No Comments Yet


While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

Did you like this book?

No Comments Yet

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...


Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

Did you like this book?

No Comments Yet