You can’t blame Raffel or Modern Library. An unabridged dual-language version would run more than 1,000 pages, making it...
Burton Raffel has made two key decisions in his rendition of Chaucer’s greatest work. While most editions stick to the half-dozen or so best-known stories—the raunchy “Miller’s Tale” and the proto-feminist “Wife of Bath’s Tale” being the most popular with contemporary readers—Raffel offers modern English versions of even such unfinished fragments as “The Squire’s Tale” and such often-skipped sections as “The Parson’s Tale.” Few today will be burning to hear from the longwinded parson, but in general this unabridged edition is a delight. It lets you appreciate the masterful way Chaucer unifies his stylistically and topically diverse stories with a few overarching themes: the proper relationship between man and woman (the answer’s not what you’d expect from a 14th-century civil servant), the role of the clergy (they’re only human in his realistic portraits), the all-powerful impact of chance on our destinies. Having the full text also enables readers to enjoy the sly way Chaucer toys with them, allowing his raconteurs to interrupt their narratives with such tantalizing phrases as, “but nothing like that can be included here.” The unabridged edition provides more opportunities to savor the counterpoint of Chaucer’s earthy humor against passages of piercingly beautiful lyric poetry.
That glorious language—there’s the rub in Raffel’s second decision. Most modern editions of Chaucer include his Middle English text on the facing page; it’s the simplest way to make sure readers know what’s going on but still hear Chaucer’s distinctive voice. Raffel’s modern English captures to a large extent the polyphonic vigor of Chaucer’s verse and prose. But he cannot capture Chaucer’s voice. “When April arrives, and with his sweetened showers / Drenches dried-up roots, gives them power / To stir dead plants and sprout the living flowers / That spring has always spread across these fields,” is lovely. Can it equal, “Whan that Aprill with his shoures soote / The droghte of March hath perced to the roote, / And bathed every veyne in swich licour / Of which vertu engendred is the flour”? Of course not, and it would be unfair to expect it. But it would be nice to look across the page from Raffel’s lucid, lyrical rendition and be able to see the gnarled yet delicate taproot from which grew Shakespeare, John Donne and the King James Bible.
You can’t blame Raffel or Modern Library. An unabridged dual-language version would run more than 1,000 pages, making it prohibitively expensive and inaccessible to non-students who might want to use it somewhere other than at their desks. Keeping the oldest portions of our literary heritage alive for contemporary readers always involves compromise. If we lose some of the deepest levels of Chaucer’s poetry here, we are partly compensated with the full sweep of his zestful, unsentimental understanding of human nature and his abiding love for all kinds of good stories.Pub Date: Nov. 18, 2008
ISBN: 978-0-679-64355-4
Page Count: 630
Publisher: Modern Library
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Jan. 1, 2010
There are unforgettable beauties in this very sexy story.
Passion, friendship, heartbreak, and forgiveness ring true in Lovering's debut, the tale of a young woman's obsession with a man who's "good at being charming."
Long Island native Lucy Albright, starts her freshman year at Baird College in Southern California, intending to study English and journalism and become a travel writer. Stephen DeMarco, an upperclassman, is a political science major who plans to become a lawyer. Soon after they meet, Lucy tells Stephen an intensely personal story about the Unforgivable Thing, a betrayal that turned Lucy against her mother. Stephen pretends to listen to Lucy's painful disclosure, but all his thoughts are about her exposed black bra strap and her nipples pressing against her thin cotton T-shirt. It doesn't take Lucy long to realize Stephen's a "manipulative jerk" and she is "beyond pathetic" in her desire for him, but their lives are now intertwined. Their story takes seven years to unfold, but it's a fast-paced ride through hookups, breakups, and infidelities fueled by alcohol and cocaine and with oodles of sizzling sexual tension. "Lucy was an itch, a song stuck in your head or a movie you need to rewatch or a food you suddenly crave," Stephen says in one of his point-of-view chapters, which alternate with Lucy's. The ending is perfect, as Lucy figures out the dark secret Stephen has kept hidden and learns the difference between lustful addiction and mature love.
There are unforgettable beauties in this very sexy story.Pub Date: June 12, 2018
ISBN: 978-1-5011-6964-9
Page Count: 352
Publisher: Atria
Review Posted Online: March 19, 2018
Kirkus Reviews Issue: April 1, 2018
BOOK REVIEW
BOOK REVIEW
The phrase “tour de force” could have been invented for this audacious novel.
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
BOOK REVIEW
BOOK REVIEW
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