A welcome, if modest, diversion from one of America’s ablest poets.
An interesting experiment from former poet laureate Strand, whose last collection (Blizzard of One, 1998) won the Pulitzer Prize. This one consists of 20 poems of about 25 lines in length, each constructed around the repetition of a single word (hence the title). Given this seemingly restrictive structuring gambit, Strand exercises considerable imagination and wit in manipulating the form, occasionally taking advantage of the ability of his key word to act as more than one part of speech, but mostly utilizing subtle shifts in tone and register to vary the verse (all the more remarkable since the metrics are pretty similar throughout the entire volume). The individual lines run the gamut from surrealist juxtapositions (“The diamond-studded casket for the missing hand”) to gnomic fortune cookies (“A journey is one step too many”), from comic one-liners (“Loving the foot means loving a heel”) to carefully rendered images out of a haiku or imagist poem (“The sun throws down a ladder of light”). For the most part, the connection from line to line consists of the repetition of the key word, but occasionally Strand will string two or three lines together for comic effect (most tellingly in the “journey” poem). The result is a surprisingly engaging, if somewhat limited set of poems, mostly in a light-hearted vein, and an impressive technical feat that is not without its pleasures. In that respect, it is of a piece with his previous work, with its gentle and quiet wit.
A welcome, if modest, diversion from one of America’s ablest poets.Pub Date: Oct. 6, 2000
ISBN: 1-885983-45-X
Page Count: 96
Publisher: Turtle Point
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2000
Catch-22 is also concerned with some of war's horrors and atrocities, and it is at times painfully grim.
Catch-22 is an unusual, wildly inventive comic novel about World War II, and its publishers are planning considerable publicity for it.
Set on the tiny island of Pianosa in the Mediterranean Sea, the novel is devoted to a long series of impossible, illogical adventures engaged in by the members of the 256th bombing squadron, an unlikely combat group whose fanatical commander, Colonel Cathcart, keeps increasing the men's quota of missions until they reach the ridiculous figure of 80. The book's central character is Captain Yossarian, the squadron's lead bombardier, who is surrounded at all times by the ironic and incomprehensible and who directs all his energies towards evading his odd role in the war. His companions are an even more peculiar lot: Lieutenant Scheisskopf, who loved to win parades; Major Major Major, the victim of a life-long series of practical jokes, beginning with his name; the mess officer, Milo Minderbinder, who built a food syndicate into an international cartel; and Major de Coverley whose mission in life was to rent apartments for the officers and enlisted men during their rest leaves. Eventually, after Cathcart has exterminated nearly all of Yossarian's buddies through the suicidal missions, Yossarian decides to desert — and he succeeds.
Catch-22 is also concerned with some of war's horrors and atrocities, and it is at times painfully grim.Pub Date: Oct. 10, 1961
ISBN: 0684833395
Page Count: 468
Publisher: Simon & Schuster
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Oct. 1, 1961
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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...
Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.
When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.
Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.Pub Date: April 23, 2013
ISBN: 978-0-312-57721-6
Page Count: 416
Publisher: St. Martin's
Review Posted Online: Feb. 17, 2013
Kirkus Reviews Issue: March 1, 2013
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