A moving account worthy of shelving alongside Vladimir Arsenyev’s Dersu Uzala (1923), Barry Lopez’s Arctic Dreams (1986) and...
Canadian science writer and outdoor adventurer Turk (In the Wake of the Jomon: Stone Age Mariners and a Voyage Across the Pacific, 2005, etc.) explores metaphysical and anthropological territory on the far side of the Bering Strait.
At the turn of the present century, writes the author, he began a quest to visit the remotest parts of the Kamchatka Peninsula as part of a long kayak journey along the Arctic rim of the Pacific Ocean. On that daring journey—as he notes, “a kayak is the smallest oceangoing craft and the North Pacific is one of the most tempestuous seas in the world”—he met a Koryak shaman, an elderly woman named Moolynaut. Through Moolynaut and other members of her family and tribe, the author learned firsthand about the lives of native people in Russia under communism and its successor—Moolynaut says they were forced “to move into villages and become ‘mouse eaters.’ ” Mice figure in the Koryak world, but so do bears, wolves and ptarmigan, all of which have lessons to impart. Turk also learned culturally important truths, sometimes reluctantly delivered, about native views of life, death, the afterlife and other issues that, sadly, were crowding in on him at the time. He proves a sensitive traveler between two worlds, though he mentions once or twice too often his status as an outsider “learning to discard my Western prejudices and to open myself to a mysterious way of thinking.” One hopes that his account is more anthropologically accurate than the works of Carlos Castaneda, whom Turk cites approvingly. Regardless, the author offers a sort of higher truth in his passing observation that we are losing a great mass of knowledge with the erasure of the old ways, the victims, in this case, not just of communism but of modernity as a whole.
A moving account worthy of shelving alongside Vladimir Arsenyev’s Dersu Uzala (1923), Barry Lopez’s Arctic Dreams (1986) and other explorations of native ways of life in the Far North.Pub Date: Jan. 19, 2010
ISBN: 978-0-312-54021-0
Page Count: 336
Publisher: St. Martin's
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2009
BOOK REVIEW
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
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
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