Such lapses of attention are unfortunately representative of the collection as a whole, which despite moments of felicity is...
Leckius, a Swede, began writing poetry in the early 1950s, producing surreal, somewhat hermetic works in the style of Henri Michaux. In 1960 he published “Light from Light”—the opening poem of this volume—a short lyric that has since served him as a statement of faith. The precise stance taken in this poem is difficult to determine: it describes the poet’s mystical encounter with a “face,” an encounter that allows the poet to see how “everything is transformed,” and to triumphantly claim, at the end of the lyric, “I exist.” Subsequent works attempt to flesh out the contours of this vision, a quest that led Leckius into a study of the mystical traditions in Christianity, Judaism, and Islam. “Lectio Divina,” for example, paints for us a devoted scholar who at last “quits the highest nest” and “continues reading / with his eyes closed.” But moments such as this, in order to have the intended effect of sudden foreclosure, require exact metaphorical structures. Too often Leckius’s figurative language is sloppily employed, and where his words need to snap they only strain and twist. In “The Pregnancy” the poet addresses an expectant Mary: “You hold / your stomach like a great marrow / or like a planet.” But how does one “hold” a marrow? Similarly, in “Nunc et Semper” the poet tells us, “Our faces are nothing but dark mirrors, / it’s someone else we love in one another’s lives.” This is either a truism or nonsense; and the mirror metaphor obviously does nothing to help us solve the puzzle.
Such lapses of attention are unfortunately representative of the collection as a whole, which despite moments of felicity is more generally drab and humdrum.Pub Date: Sept. 26, 2000
ISBN: 1-901233-44-8
Page Count: 108
Publisher: Dedalus
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2000
Coelho's placebo has racked up impressive sales in Brazil and Europe. Americans should flock to it like gulls.
Coelho is a Brazilian writer with four books to his credit. Following Diary of a Magus (1992—not reviewed) came this book, published in Brazil in 1988: it's an interdenominational, transcendental, inspirational fable—in other words, a bag of wind.
The story is about a youth empowered to follow his dream. Santiago is an Andalusian shepherd boy who learns through a dream of a treasure in the Egyptian pyramids. An old man, the king of Salem, the first of various spiritual guides, tells the boy that he has discovered his destiny: "to realize one's destiny is a person's only real obligation." So Santiago sells his sheep, sails to Tangier, is tricked out of his money, regains it through hard work, crosses the desert with a caravan, stops at an oasis long enough to fall in love, escapes from warring tribesmen by performing a miracle, reaches the pyramids, and eventually gets both the gold and the girl. Along the way he meets an Englishman who describes the Soul of the World; the desert woman Fatima, who teaches him the Language of the World; and an alchemist who says, "Listen to your heart" A message clings like ivy to every encounter; everyone, but everyone, has to put in their two cents' worth, from the crystal merchant to the camel driver ("concentrate always on the present, you'll be a happy man"). The absence of characterization and overall blandness suggest authorship by a committee of self-improvement pundits—a far cry from Saint- Exupery's The Little Prince: that flagship of the genre was a genuine charmer because it clearly derived from a quirky, individual sensibility.
Coelho's placebo has racked up impressive sales in Brazil and Europe. Americans should flock to it like gulls.Pub Date: July 1, 1993
ISBN: 0-06-250217-4
Page Count: 192
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1993
SEEN & HEARD
SEEN & HEARD
BOOK TO SCREEN
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
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