If you respond to art based on its merit and not political labels associated with its creator, they may. You won't necessarily agree with Masters; he is dated. But he will get you to think and he'll do it with a power that you won't find in many other places. So did the book 'meet my expectations'? I bought it for May Swenson's page intro and I got that. The introduction had some insights and some errors. Hod Putt didn't lie side by side with his victim. That's a venial mistake. Saying 'veniality' when you mean 'venality' "political swindling, graft, veniality, enforced poverty" is perhaps less so.
Was Ida Chicken vain and silly, as Swenson suggests?
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A Study Guide to SRA published by a theater in Alabama says on page 4 that Masters died in ; meanwhile on page 2 there's a picture of his tombstone that clearly says The author of The Spoon River Metblog has written a really interesting "modern adaptation of Spoon River Anthology" and, much to his credit, apparently asked some real authorities for help in this undertaking - and then placed them in the wrong university. Minor stuff, forgivable sloppiness.
I've read a lot of Masters scholarship in the last 4 months, so to me Swenson was simply one of the voices. So I'm glad I've read her piece, but it wasn't the best writing on the subject. Masters and his vision of life - specifically as presented in SRA - is another matter altogether. Check the Anthology out. If you lend it a sympathetic ear, it will reward you richly. In spite of himself and his ideas about good poetry, Masters accidentally wrote a hit book when his friend and editor refused to print his pseudoclassical fluff and told him to "for God's sake, lay off.
If that were all, we wouldn't be talking about the Anthology. Compared with today's standards, the sex and the corruption were puny, timid. Australian writer Margaret Rees has explained why we're still talking: The songs echo plaintively in the memory for a long while. Masters created Spoon River and its characters out of the situations and people he knew.
But it was not a small Illinois community he set out to depict. As commentators have pointed out many times - repeating what Masters himself had said - Spoon River is a microcosm through which we are presented with the author's vision of how the world works. An unsigned New York Times review from the year of the publication of the first, incomplete, version of the Anthology explains why the village setting is particularly effective and well-suited to such an undertaking: In the city the weak and the degenerate tend to segregate: In the small community the exact opposite obtains; the individual who falls below the community standard or departs from its regularity, stands out with uncompromising distinctness.
To reiterate one of my earlier points, the same review goes on to say: Masters's psychology, however, the novel point is that the subject confesses trom the immunity of the grave. The shades of Spoon River rehearse their crimes, sadden us with their little, sordid, futile lives, and now and again hearten us with their dreams and victories. They keep nothing back, not even the aspiration not bold enough to face a philistine world. They reply to each other from the grave, refuting accusations, gibing at hypocrisies, contrasting points of view with delightful humor, satire, and irony.
The cadences are monotonous and closer to prose than to song. See all reviews. See all customer images. Most recent customer reviews. Published 1 month ago.
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He fiercely rejected much of the rhetoric and mores of his time. He was more educated than most, and the education was the result of his own need to know, not of his pursuit of position what he called "the wondrous cheese" in one poem. Being individualistic or contrary is not what makes Masters so interesting; he was not unique in that.
And I'm not saying he will give you all the perspective you'll need should you decide that today's rhetoric doesn't quite explain the world to you. But he will be one very alternative voice, one that helps understand how relative the meaning of certain words is. It can be enlightening to realize that words we hold dear and think we understand perfectly well weren't always defined as they are today, that they can be made to mean almost anything with enough repetition and amplification. For example, to Masters being democratic meant being against Lincoln - and not at all simply because Lincoln was what was then known as a Republican.
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Incidentally, Masters didn't like John Brown either. He didn't think "Brown was the sort of man who should be celebrated. Masters was a pamphleteer as much as he was a poet - or more so. I think he was politically confused but I'm not looking for a prophet. I'm interested in alternative perspectives, and Masters will give you one.
So, of course, could some other pamphleteers, whose politics might be easier to define. And herein lies an interesting paradox. Somebody like an Emma Goldman was many times clearer about how society works and how justice might prevail. Masters was 'for the people;' in his law practice he was often the advocate of labor. At the same time he was a typical 21st-century American liberal, who's for the people and justice - so long as there's no 'strife.
That's the power of poetry written with conviction, even if the conviction is misguided. So was Masters a great poet? Most commentators seem to feel that SRA was the only one of his 50 books that represented a literary accomplishment. Let's say that's true. So what was it about SRA that made it so special? Three things, I think. No matter how much of himself he put into most of these characters, he was speaking as them, which forced him to curb his preaching and lecturing urges. Masters is seldom original when he writes in regular forms. It seems as though some obscure instinct of relation set his mind echoing with old tunes, old words, old pictures," wrote Amy Lowell.
When his friend and publisher Reedy practically forced him to abandon that style, Masters was freed to explore other themes and real emotions of actual people he knew. SRA is not a collection of epitaphs. It's a collection of utterances from people who are already dead, so they can 'tell it like it is' or was. These are dramatic monologues, where two rules seem to dominate: You can't not quote one poem in this context: I pulled the wires with judge and jury, And the upper courts, to beat the claims Of the crippled, the widow and orphan, And made a fortune thereat.
The bar association sang my praises In a high-flown resolution. And the floral tributes were many-- But the rats devoured my heart And a snake made a nest in my skull! Those two lines at the end, that two-fisted punch - in my book it doesn't get much better. And SRA has a lot of those punch lines. If you respond to art based on its merit and not political labels associated with its creator, they may. You won't necessarily agree with Masters; he is dated. But he will get you to think and he'll do it with a power that you won't find in many other places.
So did the book 'meet my expectations'? I bought it for May Swenson's page intro and I got that. The introduction had some insights and some errors.
Book review: Lost River Anthology
Hod Putt didn't lie side by side with his victim. That's a venial mistake. Saying 'veniality' when you mean 'venality' "political swindling, graft, veniality, enforced poverty" is perhaps less so. Was Ida Chicken vain and silly, as Swenson suggests? A Study Guide to SRA published by a theater in Alabama says on page 4 that Masters died in ; meanwhile on page 2 there's a picture of his tombstone that clearly says The author of The Spoon River Metblog has written a really interesting "modern adaptation of Spoon River Anthology" and, much to his credit, apparently asked some real authorities for help in this undertaking - and then placed them in the wrong university.
Minor stuff, forgivable sloppiness. I've read a lot of Masters scholarship in the last 4 months, so to me Swenson was simply one of the voices. So I'm glad I've read her piece, but it wasn't the best writing on the subject. Masters and his vision of life - specifically as presented in SRA - is another matter altogether. Check the Anthology out. If you lend it a sympathetic ear, it will reward you richly. In spite of himself and his ideas about good poetry, Masters accidentally wrote a hit book when his friend and editor refused to print his pseudoclassical fluff and told him to "for God's sake, lay off.
If that were all, we wouldn't be talking about the Anthology. Compared with today's standards, the sex and the corruption were puny, timid. Australian writer Margaret Rees has explained why we're still talking: The songs echo plaintively in the memory for a long while. Masters created Spoon River and its characters out of the situations and people he knew. But it was not a small Illinois community he set out to depict. As commentators have pointed out many times - repeating what Masters himself had said - Spoon River is a microcosm through which we are presented with the author's vision of how the world works.
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An unsigned New York Times review from the year of the publication of the first, incomplete, version of the Anthology explains why the village setting is particularly effective and well-suited to such an undertaking: In the city the weak and the degenerate tend to segregate: In the small community the exact opposite obtains; the individual who falls below the community standard or departs from its regularity, stands out with uncompromising distinctness. To reiterate one of my earlier points, the same review goes on to say: Masters's psychology, however, the novel point is that the subject confesses trom the immunity of the grave.
The shades of Spoon River rehearse their crimes, sadden us with their little, sordid, futile lives, and now and again hearten us with their dreams and victories. They keep nothing back, not even the aspiration not bold enough to face a philistine world. Please try again later. This collection is series of thoughtful meditations that, when read together, speak to each other in surprising ways.
Shreve is a writer who's not afraid to explore the frailties and insecurities that make characters complex, or the beauty that's often hidden in the world around us. They aren't related, but do share some themes: The stories are fiction in the sense that the characters and situations have been altered or invented, but they certainly speak to deeper emotional truths that Shreve has learned.
Some of the stories, like "Slammin' Leap," "Love's Ghosts," and "Getting Lucky," are about young characters, viewed through a sometimes-wistful, often wiser lens. My favorite is "The Junket," which is also the longest and, to my eyes, best-developed piece in the collection. It's about a young man who flies out to Las Vegas with his fiancees father on a gambling junket. Here, Shreve recreates the Las Vegas of the s with many small details and asides that make the piece real. We see that, with enough money to gamble, a man can be a king in Las Vegas One person found this helpful 2 people found this helpful.
Richmond Shreve has created a work that provides a truly captivating passage easily flowing downstream, if you will through a variety of diverse settings, narratives, and stories. And he has found the voice for each of his wide range of narrators that is both unflinching and remarkable. Before you know it, you find yourself lost in the different stops along the way.
Lost River Anthology is must reading for all of us who know the difference between the journey and the destination. One person found this helpful. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Learn more about Amazon Giveaway.