General readers looking for a challenge will love this book and will dive into Blake’s work. Many will find him just too far...
Acclaimed scholar and biographer Damrosch (Literature/Harvard Univ.; Jonathan Swift: His Life and His World, 2013, etc.) brings decades of study to this analysis of William Blake’s art, poetry, religion, and philosophy.
Those with little experience with the 18th-century poet will probably benefit the most from this fascinating work. As the author writes, Blake’s poems are undeniably strange, and his genius has always challenged the focus of his readers (he was overlooked during his lifetime). Especially difficult is tracing the complications of the unpublished poem “The Four Zoas” and their feminine emanations. Blake’s outlooks on the divine, which is contained in all nature, and institutional religion, which he loathed, show in his invented symbols and unique myths. He sought the incarnation of the divine spirit of the human in the everyday, and he looked at conventional marriage as institutionalized prostitution and conventional religion as theatrical performance. In “London,” nothing is sacred as Blake indicts church, law, monarchy, property, and marriage. He produced his own engravings and writings, and those who bought them tended to ignore the text. The author’s study of the man and clear style make this much easier to read and tempt readers to seek out more. Blake was a complicated man, given to visions and paranoia, and he often heard voices, and Damrosch guides us through the paths of Blake’s mind to ease our journey. Blake’s poems and art were used to challenge and inspire, never to preach, and his first works had a social message. His long prophecies were not epics, however; a better analogy is music, as they resembled oratorios with key changes and tempo contrasts. Damrosch expertly navigates Blake’s “question imagination,” which “has never ceased to startle and inspire.”
General readers looking for a challenge will love this book and will dive into Blake’s work. Many will find him just too far off the beam, but they, too, will enjoy the many color illustrations included in the text.Pub Date: Oct. 27, 2015
ISBN: 978-0-300-20067-6
Page Count: 336
Publisher: Yale Univ.
Review Posted Online: July 29, 2015
Kirkus Reviews Issue: Aug. 15, 2015
A unique, incandescent memoir.
A lyrical, soul-stirring memoir about how an acclaimed Native American poet and musician came to embrace “the spirit of poetry.”
For Harjo, life did not begin at birth. She came into the world as an already-living spirit with the goal to release “the voices, songs, and stories” she carried with her from the “ancestor realm.” On Earth, she was the daughter of a half-Cherokee mother and a Creek father who made their home in Tulsa, Okla. Her father's alcoholism and volcanic temper eventually drove Harjo's mother and her children out of the family home. At first, the man who became the author’s stepfather “sang songs and smiled with his eyes,” but he soon revealed himself to be abusive and controlling. Harjo's primary way of escaping “the darkness that plagued the house and our family” was through drawing and music, two interests that allowed her to leave Oklahoma and pursue her high school education at the Institute of American Indian Arts in Santa Fe. Interaction with her classmates enlightened her to the fact that modern Native American culture and history had been shaped by “colonization and dehumanization.” An education and raised consciousness, however, did not spare Harjo from the hardships of teen pregnancy, poverty and a failed first marriage, but hard work and luck gained her admittance to the University of New Mexico, where she met a man whose “poetry opened one of the doors in my heart that had been closed since childhood.” But his hard-drinking ways wrecked their marriage and nearly destroyed Harjo. Faced with the choice of submitting to despair or becoming “crazy brave,” she found the courage to reclaim a lost spirituality as well as the “intricate and metaphorical language of my ancestors.”
A unique, incandescent memoir.Pub Date: July 9, 2012
ISBN: 978-0-393-07346-1
Page Count: 208
Publisher: Norton
Review Posted Online: April 29, 2012
Kirkus Reviews Issue: May 15, 2012
SEEN & HEARD
Riveting and exquisitely crafted.
Musician, poet and visual artist Smith (Trois, 2008, etc.) chronicles her intense life with photographer Robert Mapplethorpe during the 1960s and ’70s, when both artists came of age in downtown New York.
Both born in 1946, Smith and Mapplethorpe would become widely celebrated—she for merging poetry with rock ’n’ roll in her punk-rock performances, he as the photographer who brought pornography into the realm of art. Upon meeting in the summer of 1967, they were hungry, lonely and gifted youths struggling to find their way and their art. Smith, a gangly loser and college dropout, had attended Bible school in New Jersey where she took solace in the poetry of Rimbaud. Mapplethorpe, a former altar boy turned LSD user, had grown up in middle-class Long Island. Writing with wonderful immediacy, Smith tells the affecting story of their entwined young lives as lovers, friends and muses to one another. Eating day-old bread and stew in dumpy East Village apartments, they forged fierce bonds as soul mates who were at their happiest when working together. To make money Smith clerked in bookstores, and Mapplethorpe hustled on 42nd Street. The author colorfully evokes their days at the shabbily elegant Hotel Chelsea, late nights at Max’s Kansas City and their growth and early celebrity as artists, with Smith winning initial serious attention at a St. Mark’s Poetry Project reading and Mapplethorpe attracting lovers and patrons who catapulted him into the arms of high society. The book abounds with stories about friends, including Allen Ginsberg, Janis Joplin, William Burroughs, Sam Shepard, Gregory Corso and other luminaries, and it reveals Smith’s affection for the city—the “gritty innocence” of the couple’s beloved Coney Island, the “open atmosphere” and “simple freedom” of Washington Square. Despite separations, the duo remained friends until Mapplethorpe’s death in 1989. “Nobody sees as we do, Patti,” he once told her.
Riveting and exquisitely crafted.Pub Date: Jan. 19, 2010
ISBN: 978-0-06-621131-2
Page Count: 304
Publisher: Ecco/HarperCollins
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2009
PERSPECTIVES
PERSPECTIVES
SEEN & HEARD
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