by Tony Sharpe ‧ RELEASE DATE: Dec. 13, 1999
A carefully, if narrowly, drawn map of the battle lines in poet Stevens’s aesthetic and personal struggles. A British specialist in modern and American literature, Sharpe (Lancaster Univ.; T.S. Eliot: A Literary Life, not reviewed) focuses on the place of Stevens (1879-1955) as an American intellectual revolutionary in the spirit of Bradford and Emerson. Stevens rejects the Old World culture represented by Hawthorne’s fictional patron Major Molineux, Sharpe contends, in order to be the sole arbiter of the world he sees. Stevens’s complex work is a dialogue between the newness and nothingness of America and the history and conventions of Europe. The author relates this same fear of petrified convention to Stevens’s rejection of contemporaries like Pound and Eliot, whom he saw as overly public, avant-garde, and political. Younger poets like Robert Lowell admired Stevens, but “echoed Pound’s earlier suspicion that Stevens failed to take the poetic vocation seriously.” Sharpe doesn’t accept the popular image of Stevens as a prim poetry-writing executive (Hartford insurance) who dismisses and distances himself from poets as impoverished dandies or “extraordinary madmen.” Instead, he reveals, through biography and journal entries, a pained and private man who had strained relationships with his parents, wife, and daughter. He could write friendly letters to physician William Carlos Williams (another professional who doubled as a major poet), but put the visiting Williams up in a hotel. His public readings were rare and torturous. Sharpe’s Stevens is a private warrior. In his journal entries, “Stevens implied that poetry and war involve a confrontation with things as they are for which the imagination proposes alternative arrangements—the poet and the soldier are both interventionists.” Never popular, Stevens best survives in academe and in his influence on even more painterly and less philosophical postmodernists. There may have been a powerful story here about art vs. the artist, but Sharpe’s impressively scholarly study will interest only devotees of modern poetry.
Pub Date: Dec. 13, 1999
ISBN: 0-312-22069-3
Page Count: 240
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 1999
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955
An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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