by W.J. Mc Cormack ‧ RELEASE DATE: May 1, 2000
The poems in this volume do indeed reflect a national history, messy and complex, strident and joyful in the most tragic of...
Mc Cormack, a professor of literary history at the University of London, has woven together a fascinating and problematic anthology. The subtitle, tailored to the American edition, is something of a non sequitur, since the selection includes only one poet before Swift, but 28 after Yeats. “Interpretive” refers to Mc Cormack’s goal, as he states it in the introduction, of demonstrating “how Irish literature can be read, not just as a national history, but also as a less orderly and more unexpected series of assaults, dialogues, embraces, exchanges, and propositions.” The selections are often avowedly sectarian and provocative, but the virtual absence of biographical information or critical notes—crucial for any American edition of such a politically oriented book—obscures the poems’ sometimes surprising relationships. Also confusing is the anthology’s inconsistent approach to its treatment of poems in Gaelic, some presented in English with the original Gaelic, others exclusively in English, and one just in Gaelic. One may always complain too about omissions—Paul Muldoon and Nuala Ní Dhomhnaill spring to mind—but, as a whole, Mc Cormack’s painstaking selection does justice to the panoply of Irish poets, from the bardic pronouncements of Aodhagán Ó Rathaille to the slyly conventional sonnets of Lady Gregory to poems by moderns like Seamus Heaney, Eavan Boland, and Derek Mahon. The inclusions from Yeats and Joyce highlight a political engagement that frequently goes unnoticed in selections of their work. Perhaps most satisfying is the generous sampling of marvelous long poems like Brian Merriman’s Midnight Court (translated by Frank O’Connor), Austin Clarke’s Orphide, and Patrick Kavanagh’s Great Hunger—alongside Oscar Wilde’s more famous Ballad of Reading Gaol.
The poems in this volume do indeed reflect a national history, messy and complex, strident and joyful in the most tragic of circumstances.Pub Date: May 1, 2000
ISBN: 0-8147-5628-X
Page Count: 355
Publisher: New York Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2000
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by Hanya Yanagihara ‧ RELEASE DATE: March 10, 2015
The phrase “tour de force” could have been invented for this audacious novel.
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Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
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by J.D. Salinger ‧ RELEASE DATE: June 15, 1951
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
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