Three-and-a-half dozen grade-A short stories, as hatched in one of the country’s premier academic incubators of creativity. This immense, impressive collection is edited by Tom Grimes, a novelist (City of God, 1995, etc.) and Iowa Writers’ Workshop grad who heads the creative-writing program at Southwest Texas State University. It joins three other books on the Iowa Writers” Workshop published this year: Steve Wilbur’s and Robert Dana’s companion volumes from Iowa Press, and Frank Conroy’s from HarperCollins. The Iowa books emphasize poetry and the history and dynamics of the Workshop, while Conroy, who wrote the introduction here, focuses on the creative process rather than short stories. This anthology presents Iowa’s finest short fiction, supplemented by author notes on the writing of each piece, essays (often testimonials) about Workshop experiences, and biographical notes. For each winner of a prestigious award, there are contributors whose primary credential is graduation. Grimes’s preface discusses how creativity must be honed in the “tedium of creation,” how the author and the message are secondary to the literary effect, how workshops involve “subtle and not so subtle assassinations of character,” and how “80 percent of writers in the program reported evidence of manic-depression, alcoholism,” or other emotional or addictive problems. The stories are divided by decade since the 1930s, and that of National Book Award—winner and early Iowa star Flannery O’Connor typifies the American genius for ordinary people doing extraordinary things when influenced by great stresses or passions (in “The Comforts of Home”). Even though the pieces show evidence of research and formula writing, the language, description, and plotting of even the Generation-X writers, most notably Lan Samantha Chang and Z Z Packer, are enthralling. These last two gems indicate that Iowa’s future promises to reflect more of America’s multicultural reality. Supporters of M.F.A. programs may resent egg-production metaphors, but it takes a tough writing program to make such tender short stories.
Pub Date: Oct. 20, 1999
ISBN: 0-7868-6503-2
Page Count: 784
Publisher: Hyperion
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1999
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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