Forgive Paulin his transgressions. Taken as a whole, these meditations on the nature of Irish identity are sinuous and...

THE WIND DOG

Over the years, Paulin has emerged from the thicket of contemporary Irish poets as an original and challenging voice. Like his compatriot Seamus Heaney, Paulin struggles with a sense of divided loyalties: born in Leeds, he grew up in Belfast, and now teaches English literature at Oxford. Here, he explores the tensions between Irish and English ideologies, accents, languages, limitations, and possibilities. Unlike Heaney, Paulin tends to mark these divisions through narratives about language rather than politics. Ghosts, living and dead—from Chagall to Verlaine, from Lucan to Larkin—haunt these pages, but of all these figures, James Joyce casts the longest shadow. Paulin’s improvisatory, allusive, pun-filled, occasionally baggy style owes much to the great novelist but is not always up to the comparison. When it works, his synthesizing technique achieves wonders: the long title poem, for instance, is woven around the image of the “wind dog,” a dialect phrase for “a wee broken bitta rainbow.” The off-kilter word illuminates suddenly the relationship between history and the creative powers of language, as when Paulin invokes William Tyndale (who translated the Bible into English in the 16th century and was burned at the stake for his pains). “[T]hey may have turned Tyndale into tinder,” he writes, “but the bow he wrought lives high / in this wet blue sky.” Elsewhere, Paulin’s elliptic prosody feels like navel-gazing. As he puts it in “Cuas,” “what interests me / is my own unease.” This can lead him to myopic, insufficiently ironic lines, like these in “Fortogiveness”: “and forgive me too that unlike Hugo / I’ve not been a freelance writer / for the last twenty or more years / but instead have held down a job.”

Forgive Paulin his transgressions. Taken as a whole, these meditations on the nature of Irish identity are sinuous and profound.

Pub Date: June 1, 2000

ISBN: 0-571-20168-7

Page Count: 86

Publisher: Faber & Faber/Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 15, 2000

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ONE DAY IN THE LIFE OF IVAN DENISOVICH

While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

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. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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