Given the historical interplay between French and English poetries, this up-do-date, dual-language anthology of French poetry since Apollinaire is a long-overdue treasure. Auster's selections are generous, catholic, and knowledgeable throughout. He begins with the great, full works of Apollinaire, Jacob, Reverdy, Supervielle, Jouve, Eluard, Michaux, Ponge, Prevert, Guillevec, and Char. Then, fascinatingly, he leads up to the most recent French poetry—much of which shows the influence (not always felicitous) of American poets: there is blanched, shiny work by Alain Veinstein, Alain Delahaye, Philip Denis, Emmanuel Hocquard, Roger Giroux, and Jacques Dupin. (Auster quotes Yves Bonnefroy as describing English poetry as a "mirror," French as a "sphere"—and if French verse has had a rounding effect on modern US poetry, the reverse ssems true of the newest French poets.) The largest achievement here, however, is in the diversity and appropriateness of the chosen translations. Highlights: Paul Blackburn's Apollinaire, and Beckett's rendering of "Zone"; Maria Jolas with Fargue's "Tumult"; Ron Padgett's Reverdy; Keith Bosley's Jouve; Auster's translation of Eluard's "Le Sourd et l'aveugle"; Richard Ellmann's and Armand Schwerner's Michaux; Michael Wood's version of Rene Daumal's "Let Mot et la mouche"; Anthony Rudolf's Bonnefoy; Harry Matthews' Roche; and Keith Waldrop's Royet-Journaud. These—as well as other versions, by other poet/translators—are literally revealing. And, in all, this anthology is easily the most virtuous and important such venture since last year's Penguin omnibus of Hebrew poetry.
Pub Date: Nov. 1, 1982
ISBN: 0394717481
Page Count: -
Publisher: Random House
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Nov. 1, 1982
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
BOOK REVIEW
BOOK REVIEW
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.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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