From Library Journal
Warren may be a touch unfashionable now: dead white man of letters, Southern novelist, Harvard-educated, and a purveyor of the "new criticism," the textual analysis that drove literary studies in the 1960s. And it doesn't help that he once espoused segregationist beliefs (adamantly retracted in adulthood). But readers briefly acquainted with his poems from the rather stodgy selections in anthologies may be surprised to find how down-to-earth and actually readable these poems are. Harold Bloom's introductory essay points the reader toward Incarnations (1966-68) and what comes afterward as the strongest work. Short, long, rhymed, unrhymedAthe range here is impressive. The long narrative poem "Audubon: A Vision," which spawned many imitations, exemplifies how Warren's historical approach is both sensual and personal, enlivened by some of the best natural description of our time: "and the large bird,/ Long neck outthrust, wings crooked to scull air, moved/ In a slow calligraphy, crank, flat, and black against/ The color of God's blood spilt, as though/ Pulled by a string." Painstakingly edited by Burt, a professor at Brandeis, this collection brings together published and unpublished work chronologically and details the poet's revisions through various drafts. An important purchase.AEllen Kaufman, Dewey Ballantine Law Lib., New York
Copyright 1998 Reed Business Information, Inc.
From Booklist
Although Warren is best known as a novelist, especially for
All the King's Men (1946), he wrote poetry before turning to fiction and devoted the last 20 years of his career to it. Introducing the first edition of all Warren's published verse, Harold Bloom, perhaps the most well-read living American, avers that Warren's lasting fame depends on his poetry and that he is "clearly" one of "the modern poets who will be permanent in our literature." Those are very large claims, but to sample in this big book, beginning with Bloom's list of his favorites, is to start agreeing with Bloom--strongly. Adept in both formal and free verse, thanks to an innate rhythmic capability and a love of the music--both the sounds and the silences--that written speech connotes, Warren seems determined to answer the question, What is life? by expressing keen observation, colored by personal experience, in precise, concrete language. Even if he finds no final answers to the question, he does find the world and helps readers cherish it more fervently.
Ray Olson
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