Quiet, beautiful poetry of bereavement.
A wrenching portrait of grief and soft comfort in words and images.
Poetry can exult. Poetry can analyze. Poetry can explore, and it can reflect. But poetry can also mourn. For de Wilde, it did just that, helping her to understand, cope and find solace after the loss of her husband of 50 years. The results of that process come to us now in this touching collection of free verse and photographic reflection composed in the days and months following his death. De Wilde met her partner Bob on a blind date coordinated by their mothers over a half-century ago. And though these seemed unpropitious circumstances for romance, love bloomed nonetheless. Walking out the door to meet the woman who would be his wife, Bob muttered to his mother, “Don’t you ever do this to me again!”—on which de Wilde coyly reflects, “And she didn’t … she didn’t have to.” Theirs was an enduring love, one that left a ragged hole in the author’s heart when it was gone. And she cannot deny the depths of her loss: “I was not ready for you to go,” she writes to her departed husband, “I brought you home to be with me. / I would care for you – / I could care for you / You were my whole life.” And many of the poems in this thin volume attest to the maddeningly stubborn persistence of grief. But slowly, gingerly, the collection also promises hard-won consolation that arrives, often, with divine aid: “Although now separated from you by such distance, such a long space, I am comforted, knowing that someday, when God finds me ready, / He will call me to join you.” Thus, de Wilde’s verse tracks the unhurried catharsis by which loss gives way to hope.
Quiet, beautiful poetry of bereavement.Pub Date: Oct. 8, 2010
ISBN: 978-1452022314
Page Count: 72
Publisher: AuthorHouse
Review Posted Online: Feb. 17, 2011
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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