READING RILKE

REFLECTIONS ON THE PROBLEMS OF TRANSLATION

The American novelist probes the Austrian’s metaphysical poetry with exceptional clarity of mind, verbal grace, and shrewd skepticism. Apart from his five works of fiction, Gass has published five books of literary and philosophical essays (Finding a Form, 1996, etc.). By now there can be no doubt that he’s one of our foremost public critics of literature. This new book—dedicated entirely to Rilke and focusing special, superbly concentrated attention on the Duino Elegies—has the effect of a declaration of love. It comes as no surprise: readers of Gass know him to be in love with language; and Rilke, as Gass presents him, is the century’s supreme master of verbal dance. But Gass is also a professor of philosophy at Washington University and not much inclined to the kind of gushy imprecision that Rilke’s poetry has sometimes evoked in admirers. Gass may love Rilke’s poetry, but he also presses it with hard-nosed questions and demands. The result is as impressive as it is engrossing. He explores problems of translation in a workmanlike way. His German is evidently flawless, and his commentaries on the many translations of the Elegies are acerbic, generous, and revealing. In addition, he concludes the book with his own translations of these very difficult poems. Gass’s are certainly among the best renditions of Rilke into English. His gift for metaphor and his uncanny ability to mimic Rilke’s cadences (very different from his own) are striking. But perhaps most satisfying of all is Gass’s thought about poetry itself as an autonomous way of knowing the world. Rilke’s poetry “sets the mind free of the world. Free to see and feel afresh the very world it’s been freed from.” A book not only for people interested in Rilke or Gass, but for anyone who takes poetry seriously.

Pub Date: Sept. 14, 1999

ISBN: 0-375-40312-4

Page Count: 256

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1999

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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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