by Gregory Corso & edited by Bill Morgan ‧ RELEASE DATE: April 28, 2003
Much food for thought here, all best taken with a grain (or two) of salt. Only Corso could willfully utter, “The poet and...
A zinging, furious output of epistles from the young Corso—most date from 1958 to 1965—to his friends and publishers, assembled by Morgan, archivist of Allen Ginsberg's papers.
The letters start just after publication of Corso's The Vestal Lady on Brattle and continue with abandon until dope and alcohol finally got the better of him in the mid-’60s. They reveal a Corso vital to the point of rioting, spiritedly all over the place, intoning to Lawrence Ferlinghetti, “I somehow do believe that only great poetry can be written on the spot, and when finished done,” after having noted to Ginsberg that “spontaneity in poetry is nothing more than notes, not poems.” They display a remarkable degree of self-infatuation—“Read Howl and liked it because it's almost like my Way Out,” he writes to Ginsberg—equal to his willingness to indulge in self-pity: “Things are very difficult for me,” he writes to Ferlinghetti, “life is becoming too real. When I see it that real, I feel not a poet.” Or, to Ginsberg, the pathetic, “you well know how I used to wow ’em, Allen.” That he became the sensual lyric poet at all is a wonder upon reading long letters to Kerouac and Isabella Gardner, in which he relates his less-than-ideal youth: the orphanages, reform schools, psychiatric wards, prison—and forget about formal education—all before he hit 20. His past gave him a sense of protective fellow-feeling, which flowed into the poetry, and a generous measure of mistrust, fear, and hunger for approval—a need for love without the pro quid quo—that formed his life. The letters from the ’70s and ’80s, but a trickle, promise new work, but fail to deliver.
Much food for thought here, all best taken with a grain (or two) of salt. Only Corso could willfully utter, “The poet and his poems are a whole,” knowing well that one could be sensitive, the other cruel, one responsible, the other destructive.Pub Date: April 28, 2003
ISBN: 0-8112-1535-0
Page Count: 368
Publisher: New Directions
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2003
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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