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WALLACE STEVENS

THE POEMS OF OUR CLIMATE

Harold Bloom sees modern poetry as a battlefield where new poets fight against their predecessors. Strong poets, he says, suppress the "anxiety of influence" to create something of their own. In this book, Bloom applies his theory to the poetry of Wallace Stevens. He shows how Stevens grew out of the Romantic tradition, with its forceful imagery of the Sublime and rhetoric of subjectivity, and fought successfully against his American forebears, especially Whitman. Bloom elucidates Stevens' development through the theory of "poetic crossings," which are the three decisive shifts in every strong poet's career from "one kind of figurative thinking to another." Crossings are both psychological and rhetorical. The first involves the poet's search for assurance of his own powers and expresses itself as a turn from irony to synecdoche; the second shows him trying to reach out to others, and he moves from metonymy to hyperbole; third, he confronts his own mortality and identifies with things outside himself, and his images pass from metaphor to metalepsis. With this last crossing, which occurred with Stevens' "Notes Toward a Supreme Fiction" (1942), "the Stevens who matters most" appeared; and from then onward he exhibited poetic mastery of tradition, rhetoric, and his own anxieties. Bloom's ideas and rhetoric are difficult, and only the determined student of literature and critical theory will struggle to the end, where Bloom defends his theories against the current fashion: Deconstruction. Yet the book glows with insights into both literature and personality and is sure to stand as a megalith in Stevens' criticism.

Pub Date: May 9, 1977

ISBN: 0801491851

Page Count: 436

Publisher: Cornell Univ.

Review Posted Online: Oct. 10, 2011

Kirkus Reviews Issue: May 1, 1977

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DYLAN GOES ELECTRIC!

NEWPORT, SEEGER, DYLAN, AND THE NIGHT THAT SPLIT THE SIXTIES

An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...

Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.

The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.

An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.

Pub Date: July 25, 2015

ISBN: 978-0-06-236668-9

Page Count: 368

Publisher: Dey Street/HarperCollins

Review Posted Online: May 15, 2015

Kirkus Reviews Issue: June 1, 2015

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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