Darlington's Fall
by Brad Leithauser
from Knopf
The hero of this one-of-a-kind novel is Russel Darlington, a born naturalist and an unlikely romantic hero. We meet him in the year 1895—a seven-year-old boy first glimpsed chasing a frog through an Indiana swamp. And we follow this idealistic, appealing man for nearly forty years: into college and over the Rockies in pursuit of a new species of butterfly; through a clumsy courtship and into a struggling marriage; across the Pacific, where on a tiny, rainy island he suffers a nightmarish accident; through the deaths of friends and family and into a seemingly hopeless passion for an unapproachable young woman.
Darlington’s Fall is ultimately a love story. It is written in verse that—vivid, accessible, and lush—imparts an intensity to the story and its luminous gallery of characters: Russel’s rich, taciturn, up-right, guilt-driven father; Miss Kraus, his formidable housekeeper; Ernst Schrock, his maddening, gluttonous mentor; and Pauline Beaudette, the beautiful, ill-starred girl who becomes his wife. Leithauser’s embracingly compassionate outlook invites us into their world—into a past so sharply realized it feels like the present.
In Darlington’s Fall, Brad Leithauser offers an ingeniously plotted story and the virtues long associated with his elegant stanzas: wit, music, and a keen eye for the natural world. His independent careers as novelist and poet come together brilliantly here, producing something rare and wonderful in the landscape of contemporary American writing: a book that bends borders, a happy marriage of poetry and fiction.
Toad to a Nightingale
by Brad Leithauser
from David R Godine
The Leithauser brothers are at it again, which is cause for considerable celebration. The author and illustrator duo of Lettered Creatures, have once more collaborated to produce another witty and worldly confection of light verse and delicate drawings. Toad to a Nightingale is a fantastic catalogue of creatures plant, animal, and object on whom poet Brad Leithauser has bestowed song and spirit and his brother Mark beauty and bodily form. The subjects, grouped under the headings Plant Creatures, Four from the Forest Floor, Periodic Riddles, Furnishings of the Moon, Cosmogonies, and Creature Creatures range from the lyrical but lowly (discounted cantaloupes of "Cantaloupes: '$1 Each, 3 for $2'") to the utterly unexpected ("An Alarm Clock Powered by AAA Batteries").
The verse is clear and charming, the drawings of extraordinary precision and invention. Framing this catalogue of surprises is a spirited exchange between the toad and nightingale, suggesting that a soiled toad can sometimes trump the celestial songbird. With the lightness and lyricism of Mozart and the fantasy and invention of DalĂ, these verses and their figurations prove that sibling collaborations can certainly provide their rewards, especially for the reader.
Between Leaps: Poems 1972-1985 (Oxford Poets)
No Other Book: Selected Essays
by Randall Jarrell
from HarperCollins
"Most critics," Randall Jarrell wrote in a 1952 essay, "are so domesticated as to seem institutions--as they stand there between reader and writer, so different from either, they remind one of the Wall standing between Pyramus and Thisbe." His complaint was as accurate then as it is now. Yet Jarrell himself had nothing of the literary obstructionist to him. The essays he wrote over the course of three decades--in which he mingled his assessments of poetry and prose with the occasional cri de coeur over the state of American civilization--always escort the reader directly into the inner sanctum of the work at hand. And they do so with such scintillating, comical brilliance that most other criticism seems to pale into testy insignificance. We should be grateful, then, that Brad Leithauser has assembled No Other Book, which returns to print many of Jarrell's imperishable picks and pans.
Jarrell's slash-and-burn style caused a certain discomfort among his fellow poets, particularly those who fell short of his sky-high standards. And indeed, his inspired jabs have lost little of their pungency or amusement: Oscar Williams's poetry, for example, "gave the impression of having been written on a typewriter by a typewriter." Even Walt Whitman, whose reputation Jarrell single-handedly repaired, gets the occasional spanking.
Only a man with the most extraordinary feel for language, or none whatsoever, could have cooked up Whitman's worst messes. For instance: what other man in all the history of this planet would have said, "I am a habitant of Vienna"? (One has an immediate vision of him as a sort of French Canadian halfbreed to whom the Viennese are offering, with trepidation, through the bars of a zoological garden, little mounds of whipped cream.)A master of the sublime putdown, Jarrell was even more masterful when it came to praise: his essays on Whitman, Robert Frost, William Carlos Williams, and Wallace Stevens permanently changed the way we read these poets. He also functioned as a early-warning system for his own generation and the one to follow--who else was sufficiently prescient to pick out Robert Lowell, John Berryman, Elizabeth Bishop, and Adrienne Rich as front-runners? And unlike his New Critical contemporaries, Jarrell never made the mistake of divorcing life from art. His comment on Frost's poetry applies equally to his own productions: "How little they seem performances, no matter how brilliant or magical, how little things made primarily of words (or of ink and paper, either), and how much things made out of lives and the world that lives inhabit." No other poet has ever written about his art with such electricity and intelligence--which makes No Other Book one of the true treasures of this or any other year. --James Marcus
A distillation of Jarrell's critical essays is culled from his four major works: ""Poetry and the Age,"" ""A Sad Heart at the Supermarket,"" ""The Third Book of Criticism,"" and ""Kipling, Auden & Co.""
Charlotte Mew and Her Friends with a Selection of Her Poems (Radcliffe Biography Series)
Curves and Angles: Poems
by Brad Leithauser
from Knopf
In his first collection since the widely acclaimed Darlington’s Fall, Brad Leithauser takes the reader on a bracing poetic journey. Curves and Angles begins in a warm, soft, populated world (these are the curves of the human body, as well as the elliptical pathways of human motivation), and it concludes in a cooler, sharper, more private place—the less-giving angles of an inanimate universe.
The first section, “Curves,” introduces us to a couple of passionate young lovers, indoors in the city on a rainy afternoon; to a vociferous cluster of children playing on a Midwestern summer evening; to a godlike scuba diver, “all long gold limbs and a restless halo of long gold hair.” In a pair of long poems, two aging men—one a science-fiction writer of the 1950s, the other a traveler in an airport bar—confront their mortality.
“Angles” guides us to a rarely opened north-looking attic room, made brilliant by a nearby maple in full fall orange; to a sunny Louisiana kitchen, where two bowls—one brimming with semiprecious stones, one filled with seashells—are locked in an eternal silent beauty contest; to a frozen Icelandic lake; and to a narrow unmarked entryway that possibly leads to our “true and unbounded kingdom.”
Curves and Angles wanders from the balmy waters of the South Pacific to the crystalline wastes of the Arctic, unified throughout by an embracing love of the natural world in all its inexhaustible variety—whether lush or spare, peopled or solitary, curved or angled. It’s a journey made unforgettable by these wise and exuberant poems.
HUNDREDS OF FIREFLIES (Knopf poetry series)
Lettered Creatures: Light Verse
by Brad Leithauser
from David R Godine
Brad and Mark Leithauser are brothers, born in Detroit in the 1950s. Brad is a bard (the author, most recently, of the novel in verse, Darlington's Fall), and Mark has made his mark as a painter and draftsman. They share the same exquisite family wit, one born in precise observation matched with intellectual playfulness. This wit is on display on every page of this remarkable alphabet book, each spread of which is devoted to an emblematic creature an appetitive Anteater, an annoying Fly, an addled Joey, a prickly Porcupine, and twenty-two more. On the left of each spread is an eight-line poem; opposite it is a delicate, complementary pencil drawing, reproduced here in exacting duotone. The poems will remind readers sometimes of Marianne Moore, sometimes of Ogden Nash; the detail of the drawings will remind them of John James Audubon and their pointed humor of Tenniel's Alice in Wonderland. But comparisons are odious here: this book is a duet by two great contemporary artists, a unicum by any description.
Play.(poem): An article from: Poetry
This digital document is an article from Poetry, published by Modern Poetry Association on May 1, 1998. The length of the article is 411 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Play.(poem)
Author: Brad Leithauser
Publication: Poetry (Refereed)
Date: May 1, 1998
Publisher: Modern Poetry Association
Volume: v172 Issue: n2 Page: p85(2)
Distributed by Thomson Gale
Mail From Anywhere, The: Poems
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