Merrill’s poems read like so many distillations of life. Placed end to end, as they are here, they form a veritable...
This fat collection, skinned of notes, variations, or intrusive commentary, shows Merrill to be the most astonishing American poet since Wallace Stevens. Many of the volumes presented here in their entirety have gone out of print, and Merrill’s Selected Poems (1982) was only a slim sample of his genius. At the center of Merrill’s poetry is his voice, acrobatic and inimitable: To love Merrill is to love a tone, at once aloof and intimate, a kind of colloquial raised to the second power. Although he is often described as a confessional poet, his autobiographies, full of winks and seemingly private detail, are not burdened by catharsis. This is in part because Merrill is a comic and erotic poet, and his revelations do not presume a looming fate but come of chance weavings, of an ability to tease significance and pattern from apparently ordinary events and objects (a prismatic paperweight, Roman graffito, ginger beef). In his best poems Merrill finds ways to surprise himself, to clinch a long metaphoric conceit or twist himself free from the same (in “The Black Mesa” he ventriloquizes the hill, and concludes plaintively, “Grain by grain / Dust of my dust, when will it all be plain?”). He was also a brilliant rhymist and experimental poet, and his typographical adventures (with cross-outs, caps, elisions, and asterisks) make his pages as lively as any Shandian romp. But with all the wit and breezy conversation there is a tight, formidably intelligent logic to all of the verse; the son et lumière is carefully orchestrated, each glint and dazzle in its proper place.
Merrill’s poems read like so many distillations of life. Placed end to end, as they are here, they form a veritable metropolis of the soul.Pub Date: March 3, 2001
ISBN: 0-375-41139-9
Page Count: 736
Publisher: Knopf
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: March 1, 2001
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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
PROFILES
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