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Book Reviews

ALWAYS FROM SOMEWHERE ELSE
Marjorie Agosin
Feminist Press
Biography

Poetry cannot soar when the soul it expresses is dragging self-made chains.

   ALWAYS FROM SOMEWHERE ELSE is the story of the author's father Moiss Agosin, a Jewish doctor from Chile. Marjorie Agosin's loving phrases clearly convey her father's caring nature and other admirable qualities, and her deep devotion to him, honoring his struggle to build the best life he could under difficult circumstances. Dr. Agosin was often disinclined to speech, and the author "has had to intuit much of the stories," as Elizabeth Rosa Horan says in the introduction. It is important to remember this when reading moving descriptions of events at which the author was not present. The Agosin family were wanderers, who fled as anti-Semitism grew too strong in each new place. Their travels are recounted beginning with the meeting of Moisés' parents Abraham and Raquel in Odessa in 1910, on to Istanbul, to Marseilles where Moiss is born, to Chile and the USA. In Chile, Abraham earns his way from poverty to upper middle class as a tailor, and Raquel is no longer forbidden to sing as she had been as a Jew in Eastern Europe. They find happiness and are honored in the community that is their refuge. Moiss is unhappy confronting institutionalized anti-Semitism in his schools, but he is determined and enterprising. He alleviates his unhappiness with passionate piano playing and wins respect as a doctor researching parasites at the University of Chile. However, when he is offered the position of Director of Medical History all the assistants of the department resign in a body in protest against working for a Jew. He rebuilds the department, converting it into a modern institution of science.
   Eventually he is driven from Chile by a newspaper campaign against him. He and his family alight in Georgia, USA, and there confront prejudice against them as both Jews and Latinos. The author concludes the book by identifying most Jews, including her family, as wanderers in permanent exile. ALWAYS FROM SOMEWHERE ELSE is a book pervaded by grief. It has been described as a meditation on outsider-ism. It is also, unintentionally, a study of the way a family passes misery down the generations from parent to child. It is not just the anti-Semitism of the rich Chilean Germans that is adopted from immigrant ancestors. Moiss teaches his daughter, just as his parents taught him, that Jews are outsiders with no home. He impresses on young Marjorie vivid stories about the pogroms that drove their family out of Russia. Abraham and Raquel refuse to dwell on their unhappy past, but Moiss intensely rebuilds it for his daughter.
   The author lives what she describes as a happy life in Chile, and shifts at age twelve to a physically safe life in the USA, but even so she indicates survivor's guilt when she asks herself, "Why did I survive?" I kept waiting for the book to recognize the responsibility of the individual for his/her own life, and never found it. Dr. Agosin is offered two different respected positions in Israel where he would suffer less from prejudice, and refuses them, staying in Georgia instead. Throughout the Stalin-like repressions of Pinochet in Chile, he and his family make visits from the USA back to Santiago and wait for their chance to return permanently. The author says that for two decades the Agosin's made no effort to become part of life in the country where they now live. Such books have a value. It is well to shine a spotlight on cruelty, heartlessness and false accusation in hopes that the perpetrators will see that such things are not acceptable. It is also well for anyone who is subject to prejudice to avoid looking for the worst in people who are not prejudiced. The author gives very little recognition to the many unprejudiced people she and her father must have encountered in their lives. Instead she emphasizes that their friends in Chile showed hypocrisy when they voted against Dr. Agosin's elevation to university director, and describes how little capacity for friendship she finds in North Americans.
   At first this book was difficult for me to read, because Marjorie Agosin is a poet and I am a prose reader by preference. It went much better when I learned to skip over the phrases that were inserted for their poetic value but left me wondering what the author was getting at. I leave it to experts to evaluate the poetry. ALWAYS FROM SOMEWHERE ELSE is recommended for a very specialized taste. It is a companion book, A CROSS AND A STAR, the biography of Frida, Moiss, wife of Dr. Agosin and the author's mother was reviewed last month. Both books, translated from the Spanish original, are part of the Helen Rose Scheuer Jewish Women's Series. The author has won the Letras de Oro Prize and the Latino Literature Prize, and is chair of the Spanish department at Wellesley College, Massachusetts.

Joy Calderwood

BONE WHITE AND RAVEN BLACK
John Gohmann
Pathwise Press
Poetry Chapbook

   Just like the chapbook title, BONE WHITE AND RAVEN BLACK, these poems are stark, bleak and full of unusual powerful imagery that sticks in the mind long after reading the poems. "Night Poem" reads: "You love me? I didn't believe you in St. Johnsbury. I don't believe you now. The classical station fades out at midnight and the seed on my belly cools like candle wax. You used to say the night was a vessel moving forward, a giant's rowboat on a sea of black. I tell you it's an empty, waiting thing, a galvanized tub left forgotten in the corner of a dusty barn. When this town had only one radio tower it stood in my dreams, phallic, like a demented maypole. But last October, they built another, and now I dream of the tense silence, the drawn bow, and stringing deer in the sky."
   Love here is an illusion, another prop to occupy the protagonist's time. These poems are full of dark lyrical beauty that haunts the mind after reading them. Gohmann infuses each poem in this chapbook with a cold hard truth and displays a riveting eye for detail. These poems won't warm you on a cold night like a lover, but they will leave an indelible impression on you.

   To order: $3 cash or check made out to Christopher Harter, Pathwise Press, PO Box 2392, Bloomington, IN 47402.

Ralph Haselmann

CROSSING THE YELLOW RIVER:
THREE HUNDRED POMS
FROM THE CHINESE
Translated and Introduced
by Sam Hamill
BOA Limited Editions
Poetry

   First off, Sam Hamill is an accomplished poet in his own right with about a dozen excellent collections to his credit. Moreover he is a student of Chinese culture and the Chinese language. Comparisons with THE COLUMBIA ANTHOLOGY OF CHINESE POETRY and SUN FLOWER SPLENDOR , the standard anthologies of Chinese poetry in translation, come to mind and Mr. Hamill's volume more than holds it own. Though less comprehensive than the former volumes (no poets after the early Ming Dynasty appear) Mr. Hamill has opened the stately grounds of Chinese poetry to a new readership so that nothing of value and interest have been missed. His readers are given an opportunity to connect with this wonderful poetry in fresh and vibrant language.
   There are generous selections from the great masters Li Po, Tu Fu and Po Chu-i. Po Chu-I is a particular favorite though scholars and connoisseurs hold Li Po and Tu Fu in higher esteem:

River Flute
Po Chu-I (772-846)

Downriver, someone plays
a bamboo flute at midnight

Note by note, I'm transported
back into my youth at home

Listening, I feel my thin hair
quickly turning white

still growing old, still
sleepless, still alone

   Mr. Hamill's anthology is perhaps the best introduction to classical Chinese poetry currently available. It is a fine piece of work, beautifully translated, and dramatically successful in presenting the essentials of the vast plenum of Chinese poetry. The introduction treats the vicissitudes of translation and gives a thumbnail history of poetry translated from the Chinese from Pound's and Fenollosa's influential pioneering efforts through Waley's scholarly work and Rexroth's free re-workings. It would be hard to find a study of the art of translation, which is at once so useful, intelligent, short, lucid and readable. This book is highly recommended.

Richard Modiano

DIARY OF A SANTA FE CAT
Peggy van Hulsteyn
Sherman Asher Publishing
Humor

Diary of a Santa Fe Cat

   Vanity the cat chooses her ideal owners, visits the vet, falsifies her pedigree, and collaborates in writing a book. Accompanying these adventures is a string of delectable satires of human types 96 indigenous, the author says, to Santa Fe. You will enjoy recognizing many of them yourself. The chapter on writing should be framed and hung next to the desk of any writer with a feline roommate. In this first section of the book Vanity's character comes across with catly vigor and playfulness. In the second half Vanity goes skiing, leads a museum tour, attends City Council, and gets a job. She wears clothes and does the culture circuit. No more satire, this is fantasy; and the jokes are all about cat conceit. DIARY OF A SANTA FE CAT is a book to choose by subject and location: cat hum or, coffee table. Recommended dosage is to read the first half straight through, taking time to savor. Once the book has changed character, pick it up for a quick chortle when you have a spare moment. That way the repetitive parts of the humor won't matter. You won't even have to take an allergy pill if you are allergic to cats, but if you are allergic to puns, medicate heavily before reading.

Joy Calderwood

DO NOT LOOK DIRECTLY INTO ME
Daniel Crocker
Green Bean Press
Short Fiction

   Dan Crocker is one of the best writers around today, and has gotten praise from the likes of Gerald Locklin and Gerald Nicosia. The title of this collection is Do Not Look Directly Into Me, but that is exactly what Crocker offers, a look into his psyche. The short stories are told in first person, and most offered amusing anecdotes into the life of a middle-class worker (a dishwasher in many of the stories). Crocker has a real ear for catching everyday language and colloquialisms and he spins a good yarn. The funniest had the unwieldy title of "Men, Or Why I Blame My Short Attention Span on Sesame Street, Or Things They Never Taught Us in Sunday School, Or It's Not the Cosby Show, Or The Water of Generations, about the misadventures of Dan and his gay friend, Athens, when they meet Athen's Grandparents and Dan is wearing a skirt and is drunk. The grandmother keeps calling Dan Athen's "girlfriend"! The dialogue is funny and right-on. Also good is "Chicken Blue", about a husband and wife couple who pick out men and women that turn them on in the crowd at a Blues Festival, so they can fantasize and have hot sex back at home later on. The story offers a twist ending. Least effective is "The Inner Charlie", an annoying, one-note joke that repeats the word Charlie several times each sentence. The story clobbers you over the head with its point. Overall a fine collection of short stories by an imaginative writer. Dan is a very good poet too, and this entertaining collection shows how versatile he is as a writer. Highly recommended. This is another nice looking production from Ian Griffin at Green Bean Press. Green Bean Press makes the best-looking books in the small press today.

   To order: $12.95 from Green Bean Press, PO Box 237, NYC 10013 or special order from your local bookstore.

Ralph Haselmann

ERRORS IN THE SCRIPT
Greg Williamson
Overlook Press
Contemporary Poetry

   One of the complaints that I've heard in recent years is that contemporary poets are too busy picking at their own scabs to advance the art of verse writing. Anyone who is of this mind is certain to welcome Greg Williamson's adventurous and challenging new collection of poetry, Errors In The Script. For those who fear the difficulties of poetry that does not make easy sense of itself, this is a fine book to steer clear of.
   Williamson combines rigorous syntactic and formal structures with both colloquial and more heightened diction. His sentences are testaments to the fact that these are not poems written in an insomniac's fit of emotion. Every stanza, every line, fits a specific place in the whole of each poem. And each poem pits its rigid form against the decidedly non-rigid elements of contemporary life upon which the pieces ruminate. Make no mistake, this is not an easy book, but it is original and rich, both structurally and thematically.
   Most startling and effective is the 26-poem sequence, "Double Exposures," which comprises the entire middle section of the book. Here, Williamson uses alternating lines to address the separate images caught in different double-exposure photographs. Read independently, each set of lines is clear and plain, in rhyming couplets which provide a strong backbeat. Read interspersed, as the lines are juxtaposed on the page from top to bottom, new meanings arise. The play of each pair of descriptions in the poems mimics the play of each pair of images in the photos. The result is a series of examples of how meaning is made through language and image. Evocative, surprising and profoundly original, "Double Exposures" enriches the legacy of what poetry can do.
   While the rest of the collection does not rise to quite the level of the middle section, the very formal explorations of very non-formal topics do prove interesting, as long as one has the patience to make one's way through the dense tangles of language which Williamson cultivates along the way. From Wile E. Coyote to Origami, from pissy muses to multiple choice riddles, Williamson finds his subjects all over the place. There is even an annotated excerpt from a lost romantic manuscript about a trip to the mall.
   The book proves to be as entertaining as it is enlightening, and it serves as a strange reminder of how we make our way through the world, doing our best to make sense of it, every day.

Robert Wynne



GRAVEYARD OF THE ATLANTIC
Alyson Hagy
Graywolf Press

Contemporary Short Stories

   The main characters in Alyson Hagy's GRAVEYARD OF THE ATLANTIC are all loners. If these encounters with untamed land and water had been diluted by the viewpoints of other people, they wouldn't be so immediate. The experience s in each story change a life or an outlook. Reading this collection I felt I was there on the Outer Banks of North Carolina, bracing against the wind, baiting hooks, being washed by waves and muddied by silt.
    In "Sharking" we explore the connections of a fisherman to a form of community. In this first-person account the author begins with a rather uncertain g rasp of the narrator's voice, using out-of-character vocabulary several times and once jumping out of his body entirely, but that no longer mattered t o me once the action started. This story contains, unexpectedly, the most riveting moment of the entire book.
    "The Snake Hunters" is about an encounter between an island boy and a group of mainland scientists. Aaron doesn't know what he wants or where he is going until the contrast with these dilettantes propels him. A reader who feels like fighting terrain will find satisfaction in the mud flats of Ocracoke Island. Tally is still emotional flotsam months after her husband's death in "North of Fear, South of Kill Devil." She is holed up on an island, barely able t o interact with anyone beyond the automatic. Here the perfection of the language pulls the island weather right into the room with you, as Tally is forced to discover what was the true harvest from her marriage.
   The title story "Graveyard of the Atlantic" is about a man who has been taking care of his poet wife for fifteen years. Their marriage appears to be rat her like trying to breathe on the moon. Into this life enters the hatching o f a turtle nest and an ex-nun who sees too much. As soon as I started this story I had to know the people and learn what they would do. "Semper Paratus" is narrated by a woman working Coast Guard search and rescue. I'm not going to tell you what the title means, because as you read you will discover it means more than the straight translation. The story starts slow and builds during a rescue to sheer adrenaline, and there it stays.
   "Brother, Unadorned" is a snapshot of a disconnected family. It attempts to create one of those moments in which a person is seen to be exactly who he is. This is possible to do in the written word, but it is very difficult. In this case I felt the author was more successful in conveying the narrator 's own flawed vision than her flash of understanding of her brother. "Search Bay" moves to Lake Huron and Hermit Hansen's hideaway on its shore , where his memories are reluctantly revived by a young trapper working near by. This story illuminates how and why Hermit Hanson is awash in his own life and will never reach shore. I didn't like the character enough to want his redemption, but the end moved me to feel for him.
   As I read GRAVEYARD OF THE ATLANTIC, I had the urge to go for a long walk on the Outer Banks myself. It didn't feel like they were 3,000 miles away. I t felt like a half step to one side would put me in the middle of the island s. This feeling has stayed with me for days. If you love both words and nature, this is the book for you.

Joy Calderwood

 

MINDFIELD:
New & Selected Poems
Gregory Corso
Allen Ginsberg, forward
Thunder's Mouth Press
Contemporary Poetry

   Gregory Corso was one of the last surviving Beats, as he died this past January 19, 2001 of prostate cancer. He was one of the better Beat poets. Indeed, CRYSTAL DRUM publisher Jeff Grimshaw recently remarked to me that Jack Kerouac's best poems could fill a postage stamp, Allen Ginsberg's best poems could fill a meaty pamphlet, but Gregory Corso's best work could fill a book. I wouldn't put Corso above Ginsberg, but this collection is that book, as it has excerpts from all of his books published in his lifetime as well as a selection of unpublished poems at the end. Of particular note is the inclusion of his most famous poem, "Bomb", an ode to atomic weapons with typeface in the shape of a mushroom cloud. Also great is the elegy for Jack Kerouac, "Elegiac Feelings American", which ends: " ...When you went on the road looking for America you found only what you put there and a man seeking gold finds the only America there is to find; and his investment and a poet's investment...the same when comes the crash, and it's crashing, yet the windows are tight, are not for jumping; from hell none e'er fell in Hell angels sing too and they sang to behold anew Those who followed the first Christ-bearer left hell and beheld a world new yet with guns and Bibles came they and soon their new settlement became old and once again Hell held quay The ArcAngel Raphael was I to you And I put the Cross of The Lord of Angels upon you...there on the eve of anew world to explore And you were flashed upon the old and darkling day a Beat Christ-boy... bearing the gentle roundness of things insisting the soul was round not square And soon...behind thee there came a following the children of flowers."
   Corso writes with a philosophical air and a dark sense of humor and pathos. His lesser poems are weird scribbles that stick in the mind. His greater poems are manifestos that deserve to be preserved. This is a fine place to start if you have yet to delve into the depths of Gregory Corso's poetry world.

Ralph Haselmann

MUERTE! Death in
Mexican Popular Culture
Harvey Bennet Stafford, editor
Feral House
www.feralhouse.com
Popular Culture

Muerte

   Not for the weak of stomach or anyone who just ate a big meal, MUERTE! investigates the Mexican fascination with death and dismemberment, alongside half naked babes (which needs no explanation.) Tabloid papers in Mexico rather than focusing on the torrid lives of the stars focus on the torrid deaths of the average person in Mexico. Splashed across the pages are color enhanced photos of murder and accident victims. Headless corpses, half-burnt torsos, abused children and women all find an audience in these magazines. The leading publications, ALARMA! and PELIGRO! sell fifteen million copies a week.
    Editor, artist Harvey Bennet Stafford, in a post modern fit, became fascinated with the Mexican fascination with death on a trip to Mexico. He bought every copy of the gory magazines he could find, and was surprised to discover that the same blood soaked rags could be found in the Mexican neighborhoods of San Francisco and Los Angeles. Not satisfied with viewing from the sidelines, Stafford began to accompany the tabloid photographers along on their shoots and purchased publication rights to many of the photos that are presented in all their crimson glory exclusively in the pages of MUERTA! He felt that there was an aesthetic and cultural content to the photographs that needed to be preserved. The story of his trip to Mexico to find and work with the tabloid photographers is as interesting as any of the photos found in the book.
    Along with miles of mesmerizing photos are contributions on the nature of death in Mexico from Diego Rivera, José Posada, Cuauhtémoc Medina and Lorna Scott Fox, most of who write for the tabloids. Stafford says in his introduction that he feels that the images presented in the Mexican tabloids are much purer than the mass-market images that are sold in America. Of course he has a point, they are very raw, but one also has to look at the fact that art always moves between refining itself and rediscovering its primitive roots. There is no doubt that there is a primitive attraction to death and blood. As the book reminds us Mexico is the home of the Aztecs who believed in blood sacrifice, but where did there fascination come from? Mexico also has a heavy Catholic tradition, and any Catholic worth his salt knows that at its base it is a blood cult.
   MUERTE! is an excellent book if you need to consider these primitive roots or have grown tired of the glossy images of pre death murder victims that are given us by our own news sources. On a lower level it is also an amazing collection of death scenes, if you are into that or even if you are not. I would not normally search out a book like this, even though I am Catholic, but when it came into my hands I didn't hesitate to flip through it more than once and showing it to my friends. As we went from page to page icking and yucking, I was reminded of the first porno magazine I ever looked at, I was in awe of the images on the page and knew that had meaning, but I just wasn't sure what it was.

Carlye Archibeque

SCENARIO FOR SCORSESE
E.M. Schorb
Denlinger's Publishers eBook
Click here to read the e-book
Noir Thriller

   Scorsese never enters into SCENARIO FOR SCORSESE. The title refers to a self-assessment written by a priest, who we meet nursing a drink in a div e in the stews of Manhattan. Father Michael Din has no calling to the priest hood, and he's wondering what to do about it. What he does in the next two days will decide that for him. Person by person Father Din meets the habitus of the Saints & Sinners Club, and each new acquaintance pulls him farther into the problem posed by Mon k, self-styled High Priest of the Church of Moral Freaks. Monk enjoys twisting people's minds, and Father Din finds that, calling or no calling, he cannot allow it. The beautiful Toddy Muir and her estranged husband must be protected, the pathetic Dedi Pavon and his sister Pilar avenged, and various peripheral characters removed from Monk's influence. Father Din is no hero, so where will he look for help, to his own senior priest, or to a vengeful cop out to get Monk at all costs? And when he asks, who will respond? How you react to the last section of the book will depend on your answer to the question: What is a priest, and what should he be? By this point in SCENARIO FOR SCORSESE, I guarantee you will have considered this question. Author E.M. Schorb presents us with the issue devoid of abstractions, in the lives of people we know. This is a wholly believable exploration of problems that are very real to so me people. Some of the squalor is shorn away to make it more palatable for the middle class reader, but even so, these problems are so unpleasant that most of us will never touch them. The scene in which Dedi shoots up heroin is wincingly real, however Schorb never loses sight of the more important confrontational issues in the situation. Even worse than Dedi's needle probing is Monk's sadistic game, which is going on at the same time.
    Unlike the author's award-winning mystery PARADISE SQUARE, a great deal of what we know about SCORSESE's characters comes from what is going on inside their heads, an irresistibly authentic introduction. The environment crawls with detail, little of it pleasant but much of it well written, sometimes even inspired. What is important about the environment, it is clear, is its effect on the people who live in it. It is fortunate for us, the readers, t hat the author's position of observer allows us to share the observer stance, because this would be a very uncomfortable world to be drawn into. Among the characters we meet are a small group affiliated in various ways with a Black Muslim group, bumbling about on its own plot line which intersects only faintly with the conflict represented by Father Din and Monk. True, the denouement is spectacular, but out of proportion with its actual effect on our story, and leaving out that whole secondary plot might have tightened u p the structure and pace. I say this with reluctance, because most of the people of this other plot gradually engage the sympathies, and I can understand that the author might have felt too much attachment to let go of them.
    SCENARIO FOR SCORSESE is notable for considering the needs and ethics of living without the slightest philosophizing, using only the experiences of its characters to convey its viewpoint. E.M. Schorb has made a very promising be ginning as a novelist in two different genres. I suggest the reader pay attention to the chapter titles in SCORSESE; some of them are little gems of summing-up. I am told that Schorb's third novel will be brighter in tone than SCENARIO FOR SCORSESE, more comparable in that way with PARADISE SQUARE. I anticipate that he will retain the human compassion and environmental richness of SCORSESE, which so effectively pulled me into a story I hope never to see in reality.
   Both of E.M. Schorb's novels are e-books, available at http://www.galaxymal l.com/retail/eternity/

Joy Calderwood

UNFOLDING BEAUTY:
CELEBRATING CALIFORNIA'S
LANDSCAPES
Edited by Terry Beers
Heyday Books
Anthology - Poetry/Essay/Literature

   How often I have wished that I could have lived in California 150 years ago when the state was unspoiled, the way it looked when John Muir staggered around, drunk on the beauty of the place. From alpine mountains to forbidding deserts, from the sweep of the great Central Valley to dramatic seacoasts, California is a fascinating crazy-quilt of topographies, both emotional and physical. If you couldn't see it as it was before traffic jams, over-population, air-pollution, industrialization, and the myriad other woes which have befallen the place, or if you weren't on hand for seminal events, then lucky reader, you may have your California served up as a movable feast. UNFOLDING BEAUTY is a delicious array of literary dishes and the first publication of the California Legacy project, a collaborative work between Santa Clara University and Heyday Books, with Terry Beers as editor and Maitre de Cuisine. And it is the benchmark for what promises to be a great series.
    A feast for the mind's-eye this book, like walking into a roomful of gorgeous Ansel Adams silver gelatin prints, or a gallery of California Impressionist Plein Air paintings. Divided into seven generous courses, each one a geographical section of California, beginning with the San Francisco Bay and looping from there to the northwest, the Sierra Nevada, the southern deserts, the southern coast, the central coast, and finally the great central valley. Each section begins with an introductory sketch and a bit of background written by the editor.
    The anthology is composed of essays, poetry, and excerpts written by a list of writers as wonderfully rich and diverse as the state's terrains: native sons William Saroyan and John Steinbeck, emigres Wallace Stegner and the magnificent poet Robinson Jeffers. There is a pair of Jacks - London and Kerouac. There are passages by Robert Louis Stevenson and Richard Henry Dana as well as poets Kenneth Rexroth, Gary Soto, Gary Snyder and Dana Gioia. These writers not only paint word pictures of the varied landscapes but also chronicle the presence of humanity with its various agendas crashing against the changeless zeitgeist of California over the last 90 years. There is an excerpt from Norman Mailer's THE DEER PARK, a California novel he wrote early on in his career; followed by an excerpt from Aldous Huxley's TOMORROW AND TOMORROW AND TOMORROW. There is advice from Christopher Isherwood on how to get the worst possible first impression of Los Angeles: "one should arrive there by bus, preferably in summer and on a Saturday night." And Meat School poet/author Charles Bukowski has a say about L.A.'s weather, indoors and out, in a piece called: "we ain't got no money, honey, but we got rain."
   A generous feast, in fact enough larder for more than a few nights, this storehouse is recommended to lovers of California, lovers of literature, indeed to lovers in general. Kudos to Terry Beers for his eclectic selection, fine commentaries on each author, and information-dense introductions to each geographical section. We are not alone in endorsing the book, in fact Freeman House, author of Totem Salmon, said: "If I were...king (of California), UNFOLDING BEAUTY would be required reading in every high school from the Siskiyous to the Mojave."

Michael Paul



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