Davis doesn’t breathe as much life into the poem as Heaney, but conveys the storylines accurately and accessibly.
This translation of Beowulf synthesizes older translations of the Anglo-Saxon epic into a new prose rendering.
Davis’ (Don Quixote: The New Translation, 2012) effort is a departure from most translations; he bases his work primarily on the 19th-century Kemble and Hall translations, and his version focuses less on the poetry of the original and instead highlights the meaning of the text. (Seamus Heaney’s is one of the few translations that captures the dense sound play and verse structure of the original.) Davis covers all the plot points: Beowulf’s boasts; his battles with Grendel, Grendel’s mother and the dragon; the construction of Hrothgar’s mead-hall; and the rest. This tale faithfully follow the original, and it will appeal to those who want to know exactly what Beowulf’s anonymous poet said. But for those seeking a more complete experience, it may disappoint. This prose version ignores the syntax of the original poetry, including its rhythm, as well as the strict formal elements, such as the caesura (an intralinear pause) and the more standard techniques of lineation. Davis’ diction is almost biblical, which preserves Beowulf’s heroic and antique mood but occasionally hampers readability. For instance, a passage from Hrothgar’s speech of thanks to Beowulf evokes kingly haughtiness but also feels a bit cumbersome: “Now, Beowulf, most excellent of heroes, I shall esteem you in my heart as mine own son. Preserve you henceforward this new kinship. You will never lack aught you desire of world-goods which are mine to command.” It’s clear that Davis understands Hrothgar’s character, even though his commitment to a high register sometimes blunts the force of the original. The storytelling is lucid and lively, however, and may strongly appeal to those who haven’t yet tackled Beowulf and want an easier entry point.
Davis doesn’t breathe as much life into the poem as Heaney, but conveys the storylines accurately and accessibly.Pub Date: Aug. 13, 2013
ISBN: 978-1491250181
Page Count: 110
Publisher: CreateSpace
Review Posted Online: Sept. 27, 2013
Review Program: Kirkus Indie
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
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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