MAN FROM THE USSR & OTHER PLAYS

AND OTHER PLAYS

Two essays on drama highlight this rather marginal contribution to the Nabokov oeuvre—and Nabokov approaches theater in a dismissive, acerbic humor, much as he approached Russian literature in the recently published Lectures. Nabokov asks, conservatively, for the absolute retention of a single crucial dramatic convention, regarding spectators and the play onstage: "The first is aware of the second but has no power over it. The second is unaware of the first, but has the power of moving it. Broadly speaking, this is very near to what happens in the mutual relations between me and the world I see, and this too is not merely a formula of existence, but also a necessary convention without which neither I nor the world could exist." And, conversely, less persuasively, Nabokov sees tragedy—ever since Lear, Hamlet, and Gogol—as being hobbled by conventional cause-and-effect, deaf to accident: "What even the greatest playwrights have never realized is that chance is not always stumbling and that the tragedies of real life are based on the beauty of the horror of chance—not merely on its ridiculousness." The four plays here, however, embody Nabokov's rules-for-drama to, at best, a very limited degree. Two one-acters in verse—about Capt. Scott at the Pole, about a chance reunion between an executioner and one of his almost-victims—are thin and shapeless. The two longer plays, both set in Russian-ÉmigrÉ milieux, do illustrate a vaguely comic apprehension mixed with self-dramatization: the title drama concerns ÉmigrÉ fears about a possible Soviet agent; a comedy, The Event, involves a painter in fear of being shot once again by the man (his wife's ex-lover) who has already tried to kill him. Indifferent playwrighting, mildly provocative essays: a minor addition to the Nabokov shelf.

Pub Date: Nov. 21, 1984

ISBN: 0156569450

Page Count: 352

Publisher: Harcourt Brace Jovanovich

Review Posted Online: Oct. 1, 2011

Kirkus Reviews Issue: Oct. 15, 1984

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IN MY PLACE

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 20, 2010

Kirkus Reviews Issue: Sept. 1, 1992

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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

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. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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