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WHAT IS FOUND THERE

Name: WHAT IS FOUND THERE
Author: Adrienne Rich
ISBN: 0-393-03565-4

NOTEBOOKS ON POETRY AND POLITICS

by Adrienne Rich ‧ RELEASE DATE: Oct. 1, 1993

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Award-winning poet Rich offers a new volume of collected essays (Blood, Bread, and Poetry, 1986, etc.) that feature her distinct blend of feminist polemics and sharp-sighted analysis of the American condition, spiced with verses from a range of kindred spirits. Poetry is as necessary as food, shelter, education, and other human basics, Rich asserts, exploring the relationship between a poet's social responsibility and the world of experience that provides poetry's raw material. The notion of artist-activists remains primary even as Rich acknowledges that poetry, with limited ``value'' in a market economy as entrenched as ours, has been effectively marginalized. The struggle for political power through poetic expression is an engagement on many fronts, as minority voices speak out along with oppressed women, the poor along with the gay community. Quoting Muriel Rukeyser, June Jordan, and others to emphasize that poetry can convey valuable messages of social redemption, Rich also draws on sources from Trotsky to Wallace Stevens to illustrate her own educational path. Her understanding that racism and sexism are integral parts of the social landscape wasn't attained overnight, and the painful process of emergence from an early life of privileged narrowness into a fuller awareness is recounted at length. The transformative, conjuring power of poetry is reaffirmed throughout, with its potential impact enhanced as it finds its rightful place in the cultural mainstream. Challenging and rewarding as always, although at times the essays serve as little more than venues for the poetry and words of others. In giving access to lesser-known but like-minded writers, Rich has reduced her own presence—a disappointing trade-off.

Pub Date: Oct. 1, 1993

ISBN: 0-393-03565-4

Page Count: 224

Publisher: Norton

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 1, 1993

Categories:

GENERAL NONFICTION

- BOOK REVIEW
ESSENTIAL ESSAYS
by Adrienne Rich ; edited by Sandra M. Gilbert

- BOOK REVIEW
ARTS OF THE POSSIBLE
by Adrienne Rich

- BOOK REVIEW
MIDNIGHT SALVAGE
by Adrienne Rich

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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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.