Scupham’s new collection extensively explores issues of time and memory, resulting in a few memorable poems surrounded by...

NIGHT WATCH

Peter Scupham, British lecturer, publisher, and poet (The Air Show) tackles issues arising from coming of age in the midst of the Cold War in this, his 11th collection of verse. The poems loosely fall into three sections. The first section explores the 20th century up through WWII—this section ends with “Crossing the Peak” (which characterizes the Cold War as an “entanglement of wing” shocking the mid-century British by “skating its hooks” on the “cold metal” of their victory over Hitler). The second section consists of “The Northern Line,” an 11-poem sequence describing an enlisted National Serviceman’s struggle to find a place in a 1950s atomic world. The final section offers meditations loosely linked by themes of memory, hope, and time. Scupham admirably tries to maintain thematic links between the poems he offers. Unfortunately this effort often seems contrived, as in his use of a photographic trope to connect “In the Picture,” “A Trunk of Letters,” and “In Camera” with other poems in the volume’s final section. When the links between poems are less explicit, several individual poems demonstrate impressive power. “Arras: Easter 1998,” a thoughtful meditation on how time transforms the wartime dead for the generations who follow, stands alone impressively. Likewise “Kilvert’s Winter: 1871,” which offers a glimpse into a socially polarized Victorian Christmas season, is compelling. While this ambitious collection often fails to make the connections which Scupham strives to achieve, it still generates moments of excellent poetry which redeem the volume’s unevenness.

Scupham’s new collection extensively explores issues of time and memory, resulting in a few memorable poems surrounded by competent but uninspiring verse.

Pub Date: April 26, 2000

ISBN: 0-85646-319-1

Page Count: 80

Publisher: N/A

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: April 1, 2000

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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in White society, is shedding her fur coat. Jude, so Black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her White persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

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

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