For Casey, the search is the thing, whether as a writer or reader. This slim but astute volume is an inducement both to read...
Not whodunit, but why and how it works.
Ask a professional how great fiction is created, and you will usually receive an answer about the importance of a good plot, descriptive language, and writing “what you know about.” Casey (English/Univ. of Maryland; The Man Who Walked Away, 2014, etc.) goes for something deeper: how do great writers create that alluring kind of bewilderment that makes literary fiction unique? “Mystery in fiction,” she writes, “means taking the reader to that land of Un—uncertainty, unfathomability, unknowing. It’s Kafka’s axe to the frozen seas of our souls. In other words, it will—and it should—mess you up.” Using a variety of compelling examples, the author shows the myriad ways mystery can seduce and conquer. Writers like Isaac Babel create a structure of innocence where readers, along with his young protagonists, reach an epiphany. Mystery can make characters come alive as we learn a character’s secrets; perhaps even more so when we don’t. As the writer Paul Yoon tells Casey, just knowing that one of his characters has an undisclosed secret may be a way of knowing him “more deeply, having caught a glimpse into something so very private.” Mystery can also pull us deep into the lives of terrible people—e.g., the protagonist of J.M. Coetzee’s Waiting for the Barbarians—or ones, such as Merricat in Shirley Jackson’s We Have Always Lived in a Castle, whom we’d best avoid. These writers know how to normalize the most brutal or absurd private worlds. There is also imagery—whether it’s poor Hulga’s wooden leg in Flannery O’Connor’s “Good Country People” or the multiplicity of windows in James Baldwin’s “Sonny’s Blues”—that can transform the very environment of the story itself.
For Casey, the search is the thing, whether as a writer or reader. This slim but astute volume is an inducement both to read more deeply and to head for ever more unchartered, frozen, mysterious waters.Pub Date: Jan. 2, 2018
ISBN: 978-1-55597-794-8
Page Count: 160
Publisher: Graywolf
Review Posted Online: Nov. 13, 2017
Kirkus Reviews Issue: Dec. 1, 2017
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
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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