Erudite, witty, and well-informed, this encyclopedic labor of love will become the go-to book on poetic form for years to...

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A LITTLE BOOK ON FORM

AN EXPLORATION INTO THE FORMAL IMAGINATION OF POETRY

What makes a poem tick.

Weighing in at more than 400 pages, this hefty book on poetic form is anything but little. It’s an impressive accomplishment by Pulitzer Prize and National Book Award winner and past U.S. Poet Laureate Hass (English/Univ. of California; What Light Can Do: Essays on Art, Imagination, and the Natural World, 2012, etc.), who is one of only a handful of contemporary poets who could even think of taking on such a monumental task. As he notes in the brief introduction, this has been a work in progress for two decades. His modest goal is to explain how the “formal imagination actually operates in poetry,” the “way the poem embodies the energy of the gesture of its making.” Hass begins with analyses of a single line, then two, three, and four, which take up the book’s first 100 pages. Next, he moves on to form (blank verse, sonnet, etc.) and genre (ode, elegy, satire, prose poems, etc.), finishing up with stress and rhythm. Along the way, he draws on hundreds of examples of lines, stanzas, and complete poems from the history of poetry, which he carefully selects to illustrate his points. There are also hundreds of asides, lovely little insights, and strong opinions. The first sonnet on a political theme is by Milton. Ted Berrigan’s book-long Sonnets “tries to get something of Jackson Pollock’s method…coming at you.” Other topics: what are the four best villanelles? Who wrote the best pantoum? Answer: Donald Justice. And, the “American prose poem in English probably begins with Gertrude Stein’s Tender Buttons (1914).” There’s much fodder here for poet lovers to discuss and debate. Look for this book on the short shelf of classics that includes Annie Finch’s An Exaltation of Forms and Eavan Boland and Mark Strand’s The Making of a Poem.

Erudite, witty, and well-informed, this encyclopedic labor of love will become the go-to book on poetic form for years to come.

Pub Date: April 4, 2017

ISBN: 978-0-06-233242-4

Page Count: 448

Publisher: Ecco/HarperCollins

Review Posted Online: Jan. 10, 2017

Kirkus Reviews Issue: Feb. 1, 2017

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MARTIN LUTHER KING, JR. AND THE MARCH ON WASHINGTON

This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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