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A groundbreaking new biography of one of the twentieth century's most important poets

On the fiftieth anniversary of the death of T. S. Eliot, the award-winning biographer Robert Crawford presents us with the first volume of a comprehensive account of this poetic genius. Young Eliot traces the life of the twentieth century's most important poet from his childhood in St. Louis to the publication of his revolutionary poem The Waste Land. Crawford provides readers with a new understanding of some of the most widely read poems in the English language through his depiction of Eliot's childhood--laced with tragedy and shaped by an idealistic, bookish family in which knowledge of saints and martyrs was taken for granted--as well as through his exploration of Eliot's marriage to Vivien Haigh-Wood, a woman who believed that she loved Eliot "in a way that destroys us both."

Quoting extensively from Eliot's poetry and prose as well as drawing on new interviews, archives, and previously undisclosed memoirs, Crawford shows how the poet's background in Missouri, Massachusetts, and Paris made him a lightning rod for modernity. Most impressively, Young Eliot reveals the way Eliot accessed his inner life--his anguishes and his fears--and blended them with his omnivorous reading to create his masterpieces "The Love Song of J. Alfred Prufrock" and The Waste Land. At last, we experience T. S. Eliot in all his tender complexity, as student and lover, penitent and provocateur, banker and philosopher--but most of all, Young Eliot shows us an epoch-shaping poet struggling to make art among personal disasters.

• Sales Rank: #717776 in Books
• Published on: 2016-04-05
• Released on: 2016-04-05
• Original language: English
• Number of items: 1
• Dimensions: 8.29" h x 1.38" w x 5.43" l, .0 pounds
• Binding: Paperback
• 512 pages

Review

“Assiduous . . . Crawford has done exceptional spadework in turning up clues that takes us deeper into Eliot's symbolic landscapes.” ―David Yezzi, The New York Times Book Review

“Impressive. . .Young Eliot marks both a milestone and a turning point. First, it coincides with the 50th anniversary of his death. . . Young Eliot is judicious, sympathetic [and] meticulous . . . it can hardly fail. The story it tells of a great poet's early life is enthralling.” ―Robert McCrum, The Guardian

“Even now, if you were to ask readers to name the 20th century's greatest poem, at least among those written in English, the answer would almost certainly be T.S. Eliot's 'The Waste Land' (1922). . .Young Eliot tracks in enthralling, exhaustive detail the poet's life up to the book publication of 'The Waste Land' . . .Earlier biographies have somewhat scanted Eliot's American childhood and youth, which is one reason why this new book is so valuable. It is magisterial in its minutiae . . .While proffering a steady flurry of names, facts and occasional trivialities, Crawford nearly always relates his discoveries to the poetry . . . No possible connection to Eliot's published work, however faint or distant, goes unnoticed. But Crawford, who is a professor of modern Scottish literature at the University of St. Andrews, also interweaves several ongoing themes. . .As Crawford observes, Eliot's early work is replete with sexual yearning and uncertainty, his later poetry rife with sexual disgust. The marriage of 'Tom and Viv' proved a disaster, but it gave the world 'The Waste Land.'” ―Michael Dirda, The Washington Post

“A rich exploration of Eliot's life, his grinding labors and excoriating intelligence.” ―Edna O'Brien, The New York Times Book Review

“This is the most complex and detailed portrait to date. Crawford's Eliot is a 'shy, sometimes naïve and vulnerable' young man whose poetry-particularly 'The Waste Land'-was shaped by the suffering of his early adult years. . . Sometime after 2020, when Eliot's letters to Emily Hale are released, Mr. Crawford plans to publish a second volume on Eliot from the publication of 'The Waste Land' to his death in 1965. If that volume is anything like Young Eliot in scope and storytelling, the two should form the definitive life of the poet for many years to come.” ―Micah Mattrix, The Wall Street Journal

“Robert Crawford's possibly unimprovable recent biography, Young Eliot: From St. Louis to The Waste Land, maps Eliot's progress from a shy, intellectual undergraduate to a shy, intellectual poet possessed of a voice that would change the English language. Crawford has taken on an immense task: to tell the story of the poet's poetic development alongside the story of his life, and he succeeds pretty much entirely. The book is brilliantly perceptive on the interaction of the life and the work, and it charts with erudition and wit the development of Eliot's unique poetic sensibility-particularly the origins of 'Prufrock.'” ―Damian Lanigan, The New Republic

“It is, of course, the first biography of Eliot to be able to make extensive use of his personal papers . . . It is also grounded in the most thorough archival work in the US, and the picture painted is enormously detailed, without overwhelming the reader. . . A major achievement: this is very much what a literary biography should be . . . It is likely to be a while before the next volume, if it is to be on the same scale, but it will be worth the wait if it does what this first book does: to offer a credible and three-dimensional portrait of this most elusive figure.” ―Rowan Williams, The New Statesman

“Crawford's account lends something special to Eliot's poems - not just a refreshed sensory palette, but a personal presence, a bloodstream. Where so often we go to Eliot's poems for a glimpse at humanity, Crawford helps us find something human, a man who dares to '[d]isturb the universe.'” ―Michael Andor Brodeur, The Boston Globe

“Magnificent . . . Superbly written and researched, it contains much new material.” ―Ian Thomson, The Independent

“A new biography sheds light on a tricky, brilliant writer. Young Eliot is the most carefully researched life to date . . . Few writers offer such a richly complex subject matter. Even fewer biographies offer such a fair assessment of the man.” ―The Economist

“Robert Crawford's intelligent, thoroughly researched and well-written book lights the long fuse that led from T.S. Eliot's birth in St. Louis in 1888 to the aesthetic explosion of 'The Waste Land' in 1922 . . . Crawford is perceptive about how Eliot's extensive reading, especially Arthur Symons' 'The Symbolist Movement in Literature' (1899) and the colloquial, slangy and allusive French poetry of Jules Laforgue, echoed through the most important poem of the 20th century.” ―Jeffrey Meyers, The San Francisco Chronicle

“There has always been something utterly mysterious as well as alluring about T. S. Eliot, perhaps the greatest poet of the twentieth century. The triumph of Robert Crawford's magnificent life of this poet (up through the publication of The Waste Land, when Eliot was 34) is that he brings us close to the poet--his vulnerabilities and harsh defenses--without destroying his allure. Crawford has uncanny sympathy for Eliot, writing with a tight grip on his poetic intelligence. The life-and-work unfold seamlessly, with vivid and fresh details. Young Eliot is a book I will re-read soon, just to experience again the quiet unfolding of Eliot's genius, its flowering in the central poem of literary modernism. Himself a gifted poet, Crawford never puts a foot--or a word--wrong. This biography is an achievement, and it deserves a wide and welcoming readership.” ―Jay Parini, author of Robert Frost: A Life

“Robert Crawford, who had extraordinary access to the Eliot archives, digs deep for this biography of 'Tom' Eliot, writing about the early influences of his family and hometown of St. Louis . . .Crawford is the first biographer to enjoy full access to the Eliot archive, as well as permission to quote from the poet's work. As a result, he has produced the first volume of a biography that not so much supersedes Ackroyd and Gordon as it amplifies and enriches their contributions to an understanding of the man and the work . . .Even Eliot adepts will find much to savor in the new material at Robert Crawford's disposal, an impressive array of sources that he handles with care.” ―Carl Rollyson, Minneapolis Star Tribune

“*Starred review* Drawing extensively on new interviews, original research, and previously undisclosed memoirs, biographer [Robert] Crawford offers the first book devoted to T.S. Eliot's youth, painting a vividly colorful portrait of the artist as a young man . . . Crawford's masterly biography, with its great depth, attention to detail, and close reading of the youthful Eliot's writings, is likely to become the definitive account of the great poet's early years.” ―Publishers Weekly

“*Starred review* A masterful biography of the canonical modernist. . . Drawing on sources not available to previous biographers, the author fashions an authoritative, nuanced portrait. . . Although Crawford modestly claims that his biography is neither 'official' nor definitive, it is unlikely to be surpassed.” ―Kirkus Reviews

“*Starred review* The man whose The Bard dispelled the myths and mists about Robert Burns now publishes the first volume of a biography every bit as magisterial on the most consequential anglophone poet of the twentieth century. . . It's hard to imagine a literary biography of greater merit being published this year.” ―Booklist

About the Author
Robert Crawford is the author of Scotland's Books and the coeditor of The Penguin Book of Scottish Verse. A fellow of the Royal Society of Edinburgh and the British Academy, he is the Professor of Modern Scottish Literature at the University of St Andrews. The Bard, his biography of Robert Burns, was named the Saltire Society Scottish Book of the Year in 2009. Crawford's seven poetry collections include Testament and Full Volume, which was short-listed for the T. S. Eliot Prize. He lives in Scotland.

Most helpful customer reviews

11 of 13 people found the following review helpful.
Deeply researched, stylishly written
By Thomas J. Farrell
When I was an undergraduate T. S. Eliot's poem "The Waste Land" (1922) made a bigger impression on me than did James Joyce's experimental novel ULYSSES (1918). In each of these famous works, the respective author excels at allusions, and each uses mythic touchstones to construct his literary work.

As an English major at St. Louis University, the Jesuit university founded in 1818 in St. Louis, Eliot's home town, I read his collection of his literary criticism titled OF POETS AND POETRY (1957) in connection with a required course for English majors, Practical Criticism: Poetry, which I took from Fr. Walter J. Ong, S.J. (1912-2003), the cultural historian and theorist. As a result, I was impressed with Eliot's knowledge of poetry and poets - and with his ability to articulate his views about the auditory imagination involved in poetry. Joyce excels in using the auditory imagination in ULYSSES, just as Eliot excels in using the auditory imagination in "The Waste Land."

When I took Fr. Ong's course, he was himself quite impressed with Eliot's essay "Tradition and the Individual Poet" (1919). For Eliot, tradition in poetry was an important framework in which a poet lived and worked - a kind of extended family, as it were, of dead poets with whose poetry the living poet interacted and communed as he offered up his new poems. But that wasn't all. The living poet's new poems also resonated with the poems of the past and thereby brought them to new life, as it were.

Now, Robert Crawford is himself a poet from Scotland. In the book YOUNG ELIOT: FROM ST. LOUIS TO "THE WASTE LAND" (2015), Crawford writes admirably flowing prose. He sounds like he is talking to an old friend in his home about the personal life of their mutual friend Tom Eliot and his family and friends.

In his friendly voice, Crawford in effect says, "Let us go then, you and I, over Tom's life, starting with his growing up in St. Louis, his education at Harvard, and his relocation in England, including his important friendships with Ezra Pound and others."

Crawford says, "A distant ancestor, Andrew Eliot, had emigrated from East Coker in Somerset, England, to Beverly in Massachusetts around 1670" (page 12). So when T. S. Eliot relocated in England, his was moving back to the country of his family's ancestors.

But Eliot famously claimed that he was writing impersonal poetry in his 1919 essay "Tradition and the Individual Poet." Indeed, at times, "The Waste Land" sounds impersonal. Crawford says, "He [Eliot in "Tradition and the Individual Talent"] presents poetry as a demanding calling, and tradition as a form of communion linking the living to the dead" (page 332). The dead poets of the past are part of the collective unconscious in the human psyche.

However, I should mention that Crawford says that Eliot's actual family tree shows that he "was related, distantly, to poets John Greenleaf Whittier and James Russell Lowell; to novelists Henry [sic] Melville and Nathaniel Hawthorne; to memoirist Henry Adams; and to the second and sixth presidents of the United States, John Adams and John Quincy Adams" (page 12).

In St. Louis, Eliot's grandfather, "the Harvard-educated Reverend William Greenleaf Eliot," a "pillar of Unitarianism," was "founder of Washington University" (page 13). "Tom [Eliot] had never met Grandfather Eliot, who died in 1887" (page 17). "Straight out of Harvard Divinity School, Grandfather Eliot had reached St. Louis in 1834 and founded the first Unitarian church west of the Mississippi" (page 17).

So T. S. Eliot's actual extended family was rather extensive long before he decided that he also should adopt an extended family of dead poets who were not actual blood ancestors.

But it is the ineluctable modality of creative writing that creative writing expresses the autobiography of the author, even when the author is deliberately involved in drawing on the resources of the collective unconscious in his psyche, as Eliot was involved in "The Waste Land." To his credit, Crawford highlights how certain important aspects of Eliot's personal life are expressed impersonally in "The Waste Land."

No doubt Eliot knew the depths of his psyche, including the collective unconscious in his psyche. Crawford says, "Written in Lausanne, this last section of the poem ["The Waste Land"] pivots between despair and saving guidance. Over a decade later, Tom [Eliot] told Virginia Woolf, `he wrote the last verses' of "The Waste Land" `in a trance - unconsciously,' and emphasized that `he did not like poetry that had no meaning for the ear'" (page 398).

Perhaps the acoustic imagination somehow evokes the collective unconscious in the human psyche.

No doubt the deep resonance of "The Waste Land" can be attributed in part to Eliot's acoustic imagination and in part to his use of myth. For example, he borrowed the imagery of the wounded Fisher King and the waste land from the medieval Christian Grail legends. In the Grail legends, the waste land appears to be an imaginative and fanciful way to express symbolically the woundedness of the Fisher King. Against the backdrop of the devastation of World War I, the waste land in Europe was real enough. No doubt the real enough desolation in Europe was matched by the emotional desolation Eliot and others felt as a result of the wholesale brutal slaughter of the war.

As Crawford makes clear, Eliot also had good personal reasons for feeling desolation about his personal life. Out of his deep desolation came "The Waste Land."

Crawford concludes his book with the following sentence: "It is as if he had never been young" (page 424). Yes, this impression of Eliot is really strong. Elsewhere, Crawford says, "He [Eliot] may have been thirty-one in late 1919, but he felt like an old man" (page 342).

You see, Eliot was born in 1888 in St. Louis. So he turned 31 in 1919, the year in which "Tradition and the Individual Talent" was published. He turned 34 in 1922, the year in which "The Waste Land" was published.

In terms of his chronological age when those two works were published, he was still a comparatively young man of extraordinary personal and professional maturity.

In terms of his chronological age when those two works were published, we could perhaps think of him as experiencing an early onset mid-life crisis. Perhaps the slaughter involved in World War I (1914-1918) contributed to his early onset mid-life crisis and to his maturity. Crawford says, "Almost a million British men had been killed in action; German and other losses were even higher" (page 342).

Crawford reports the following impressions that various people had of Eliot: "Reflecting on Tom [Eliot] in late February, Katherine Mansfield decided he was `attractive' yet `pathetic': `He suffers from his feelings of powerlessness. He knows it. He feels weak. It is all disguise. That slow manner, that hesitation, side long glances and so on are painful. And the pity is that he is too serious about himself, even a little bit absurd. But it's natural; it's the fault of London that. He wants kindly laughing at and setting free.' Mary Hutchinson felt similarly about this man she was so fond of, and `tried hard to "loosen him up."' [Ezra] Pound too perceived his good friend needed to be emancipated from at least some of his troubles, and strove to buy him time to write without anxiety" (pages 404-405).

In any event, World War I was followed by World War II, the Korean War, the Vietnam War, the Iraq War, the Afghanistan War, and other wars.

Symbolically, the wounded Fisher King has not recovered. As a result, Western culture to this day is symbolically the waste land.

We in Western culture today still need to find saving guidance.

According to Ong (mentioned above), our contemporary communications media that accentuate sound reached a certain critical mass by around 1960. As a result of the cultural conditioning of the communications media that accentuate sound, people in contemporary Western culture are undergoing deep tectonic shifts in their psyches. No doubt those tectonic shifts deep in the psyches enliven their acoustic imaginations and move them closer to the collective unconscious.

4 of 4 people found the following review helpful.
Exhaustively researched, well-written biography of T.S. Eliot
By Glynn Young
Before he was the winner for the Nobel Prize for Literature, before he was recognized for some of the most innovative and remarkable poetry of the 20th century, before “The Hollow Men” became one of the most recognizable poems in modern times, he was Tom Eliot, young Tom Eliot.

Thomas Stearnes Eliot was the youngest of six children, born in 1888 when his parents were 45. His siblings were considerably older than Tom. His was an upper class family in St. Louis, where his father was a vice president of a major brick manufacturer and his grandfather the founder of Washington University in St. Louis. His Unitarian family came from New England, and he was related to John Greenleaf Whittier, James Russell Lowell, Henry Melville, Nathaniel Hawthorne, Henry Adams, John Adams and John Quincy Adams.

We’re more familiar with the latter half of Eliot’s career, from the time he was established as a poet of international renown, his Nobel Prize, and the poetry that in many ways helped to define Modernism in literary history. But before he was the famous poet, he was the boy, the young man at Harvard, and the expatriate in England.

In “Young Eliot: From St. Louis to The Waste Land,” Robert Crawford explores the early Eliot in depth, covering the period from his birth to the publication of “The Waste Land” in 1922. Making use of letters, articles, other published resources and his own understandings of Eliot’s poems and poetry, Crawford draws a wonderfully three-dimensional portrait of the poet, including his growth and development, his flaws and failings, the relatively long incubation period for his poetry to become recognized, and the critical role played by how well Eliot fit into the literary circles of London from 1915 to 1922.

Crawford explains the huge impact that the discovery of the French Symbolist poets made on Eliot while a student at Harvard. His introduction was "The Symbolist Movement" in Literature by Arthur Symons (1899) and especially the poet Jules Laforgue (1860-1887), whose poetry is still in print. After graduation, Eliot spent a year studying in Paris. Eventually, he was accepted into Merton College, Oxford, for a year of study, but first went to the University of Marburg in Germany for a summer study session, which is where he was when World War I began in 1914. He was eventually allowed to leave, and reached England through neutral Holland.

England was where Eliot made his home from that time onward; the following year, he met Vivien (often spelled Vivienne) Haigh-Wood, and three months later they married. The marriage was troubled from the outset, with Vivien’s chronic illnesses and her affair with Bertrand Russell causing major stresses and fractures. Disliked by his literary friends, nonetheless Vivien, Crawford tells us, consistently championed Eliot’s poetry and what she considered her husband’s genius.

The circles the Eliots moved within the London literary scene included Ezra Pound (an early promoter of Eliot’s poetry), Bertrand Russell, Leonard and Virginia Woolf, and Edith Sitwell and her brother Osbert, among many others. Eliot had a serious knack for networking, and he utilized it to the fullest. Pound, for example, convinced the editor of Poetry Magazine in Chicago to publish “The Love Song of J. Alfred Prufrock,” who positioned it in the back of the magazine because he didn’t like it.

Crawford details all of the activities Eliot was involved in: literary journalism (articles and book reviews), his work at Lloyd’s Bank (which he found rather soothing), editing literary journals, and helping to promote other poets and writers like James Joyce. Eliot had a huge capacity for work. And he details the various influences leading up to the creation and publication of “The Waste Land.”

The author brings a wealth of research and understanding to the subject of Eliot. He is the Professor Modern Scottish Literature at the University of St. Andrews, and a fellow of both the Royal Society of Edinburgh and the British Academy. He’s the author of “The Savage and the City in the Work of T.S. Eliot” (1991), as well as several works on Scottish literature, including “Bannockburns: Scottish Independence and Literary Imagination 1314-2014,” “The Bard: Robert Burns, A Biography” (2009), and “Scotland’s Books: A History of Scottish Literature” (2009). He is also a published poet, with six poetry collections, including “Talkies” (1992), “Masculinity” (1996), “Spirit Machines” (1999), “Full Volume” (2008), “The Tip of My Tongue” (2011), and “Testament” (2014).

What emerges from “Young Eliot” is a distinctly human figure, a man of enormous intellect and talent whose hard work and innovative poetry eventually would catapult him into being one of the literary icons of the 20th century. In an exhaustively researched and well-written work, Crawford tells us where that all came from.

3 of 4 people found the following review helpful.
At first the book was tiresomely detailed--every repot card of ...
By Jackie Davis Martin
At first the book was tiresomely detailed--every repot card of Elio's grade school, and so on. But the book--and the writer's assiduous research--paid off when Eliot got to London. The reader is given much to think about in terms of writing, friendships, literary connections, and what makes people stay married. I had new insights into Eliot. I wanted the book to continue with his rest of his life, although the title made the limitations clear enough..

See all 17 customer reviews...

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All the work of this major poet who has "set a new standard for American poetry."*


Collected Poems brings together in one volume C. K. Williams's work of nearly forty years, enabling readers to follow the career of this great poet through its many phases and reinventions.

Here are his confrontational early poems, which bristle with a young idealist's righteous anger. Here are the roomy, rangy poems of Tar and With Ignorance, in which Williams married the long line of Whitman to a modern's psychological self-scrutiny; the compact sonnets of Flesh and Blood; and the inward investigations of A Dream of Mind. Here are the incomparable poems from the prize winning books Repair and The Singing. Here, too, are new poems, in which Williams's moral vigilance is brought to bear, again, on life during wartime. Collected Poems is the life's work of a modern master―fiercely intelligent, arresting in its beauty, unforgettable in its echoes and reverberations.

• Sales Rank: #703386 in Books
• Published on: 2007-11-13
• Released on: 2007-11-13
• Original language: English
• Number of items: 1
• Dimensions: 8.16" h x 1.74" w x 5.57" l, 1.53 pounds
• Binding: Paperback
• 704 pages

From Publishers Weekly
Williams's characteristic poems can be recognized as his on the page, in the ear or indeed from across a room. With long lines and flat language, his best work (in breakthrough books like 1983's Tar and the 1987 tour-de-force Flesh and Blood) has the rangy virtues of well-observed free verse, the spark and force of gritty, realistic short stories and the harrowing inwardness of no-nonsense personal essays about parents and children, lovers and strangers, New Jersey and France. Eschewing hints and symbols, Williams simply says what he knows he has seen: "the frail, false fusions and discursive chains of hope" or "that astonishing thing that happens when you crack a needle-awl into a block of ice." A Dream of Mind (1992) takes Williams's long, long lines into an almost Stevensian territory of abstract nouns and reflexive meditations on pity, fear and memory; later volumes, such as Repair (1999), soften Williams's typically violent pictures, more forgivingly portraying "this wedge of want my mind calls self." This weighty, even daunting, tome shows new and old readers the long arc of this Pulitzer Prize and National Book Award winner's career, from the morbid sanguinities of his apprentice work to the careful, moving, stanzaic focus evident in 21 new poems. (Nov.)
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From Booklist
*Starred Review* No matter when readers first discover Williams--whether in the whiplash-intense collections Lies (1969) and I Am the Bitter Name (1971), the Pulitzer Prize-winning Repair (2002), or the National Book Award-winning The Singing (2003)--they can't help but be subsumed by the disconcerting beauty and unsparing candor of his vision. As this magnificent gathering of more than 400 poems affirms, Williams has not only celebrated life in all its glorious complexity in compassionate, long-lined, tidally powerful poems for four decades but also valiantly protested war and hate. A master of arresting juxtapositions, Williams considers love made and lost, fatherhood, and all the conflicts of city life. Protean and searching, he is also an unsentimental nature writer, addressing environmental fears, the instructive sight of a trapped wasp banging against a window, ubiquitous machine noise, woods felled, and "bloated tract mansions" squatting where horses once ran. Book by book, Williams' resistance to destruction and corruption becomes more concentrated, and more resounding. The contents of 10 previous books are crowned with a set of clarion new poems to create a volume that belongs in every poetry collection Donna Seaman
Copyright © American Library Association. All rights reserved

Review
“Williams seems to me to fulfill, triumphantly, the big demands he places on himself. Reading his poems, you sense their considerable formal beauty, yet you also hear something more: a voice that has become a representative consciousness . . . As the poet’s sentences circle and plunge across his lines like plaited sinews, they join skeptical intelligence and emotional sincerity, in a way that dignifies all of our attempts to make sense of the world and of ourselves.” ―Peter Campion, The Boston Globe

Most helpful customer reviews

0 of 1 people found the following review helpful.
Poems are too long and not that rewarding.
By Bartleby (scrivner)
I don't find many of these poems readable they're just too long.

11 of 12 people found the following review helpful.
A gorgeous work
By caetano-sf
C.K. Williams is one of my favorite poets. His poems have a strong narrative element which makes them extremely compelling. They are also, of course, highly personal, and it is wonderful to have the chance to read such a lengthy collection and reflect on how he's matured as a person and developed as a poet over the decades. I'll quote just one, a tribute he wrote to a dear friend:

"...to be able/to tell oneself that once/one knew a man wholly

unsusceptible/to triviality,/bitterness or rancor,/who'd fashioned himself/with such dedication/and integrity

that he'd been released/from those resentments/and envies that make/the fullest life seem mean:
you life was never mean,/never not inspiring."

2 of 2 people found the following review helpful.
C. K.Williams poetry
By Plein Page
I was introduced to the poetry of C. K. Williams through an online video of Mr. Williams reading some of his works. I liked his rhythms of normal speech interwined with almost musical cadences and the everydayness of his topics. Deeper feelings tucked into everydayness. After having heard him read his works, it was easier to read this collection.
Anyone interested in poetry should give this author a try. And by-the-by, the book arrive in very good condition.

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* Download Ebook The Eclogues of Virgil: A Bilingual Edition (English and Latin Edition), by Virgil

Download Ebook The Eclogues of Virgil: A Bilingual Edition (English and Latin Edition), by Virgil

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Be the initial who are reviewing this The Eclogues Of Virgil: A Bilingual Edition (English And Latin Edition), By Virgil Based upon some factors, reviewing this publication will certainly offer more advantages. Also you require to review it detailed, page by page, you can complete it whenever as well as any place you have time. Once again, this on the internet publication The Eclogues Of Virgil: A Bilingual Edition (English And Latin Edition), By Virgil will offer you very easy of reviewing time as well as activity. It also supplies the encounter that is economical to get to and also acquire greatly for far better life.

Virgil's great lyrics, rendered by the acclaimed translator of The Odes of Horace and Gilgamesh

The Eclogues of Virgil gave definitive form to the pastoral mode, and these magically beautiful poems, which were influential in so much subsequent literature, perhaps best exemplify what pastoral can do. "Song replying to song replying to song," touchingly comic, poignantly sad, sublimely joyful, the various music that these shepherds make echoes in scenes of repose and harmony, and of hardship and trouble in work and love.

A bilingual edition, The Eclogues of Virgil includes concise, informative notes and an Introduction that describes the fundamental role of this deeply original book in the pastoral tradition.

• Sales Rank: #727152 in Books
• Published on: 2000-06-15
• Released on: 2000-06-15
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .29" w x 5.50" l, .36 pounds
• Binding: Paperback
• 112 pages

Features

• ISBN13: 9780374526962
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Review

“Mr. Ferry is a gifted poet and much-admired translator . . . Those to whom the original is a sealed book will enjoy much of its charm through the medium of the author's accomplished translation, while those who, like Shakespeare, have 'small Latin' can experience the additional pleasure of savoring, with Mr. Ferry's help, the musical perfection of Virgil's lines.” ―Bernard Knox, The Washington Times

“Ferry has achieved a high degree of fidelity to what Virgil wrote . . . Simple, luminous clarity.” ―Richard Jenkyns, The New Republic

“Fresh-minted and sparkling . . . Ferry's translation wonderfully preserves the exquisite harmonies of the mode while giving it a vigorous edge of reality.” ―Robert Taylor, The Boston Globe

Language Notes
Text: English, Latin (translation)

About the Author

David Ferry, a finalist for the National Book Critics Circle Award in Poetry for his translation of Gilgamesh, is a poet and translator who has also won the Lenore Marshall Poetry Prize, given by the Academy of American Poets, and the Rebekah Johnson Bobbitt National Prize for Poetry, given by the Library of Congress. In 2001, he received an Award in Literature from the American Academy of Arts and Letters, and in 2002 he won the Harold Morton Landon Translation Award. Ferry is the Sophie Chantal Hart Professor of English Emeritus at Wellesley College.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Three Stars
By Lynda Ruth Burdick
good

7 of 8 people found the following review helpful.
Apology for the English Alexandrine
By Knot Hole Book Review
No reading of the Eclogues is complete without a reading of the Idylls of Theocritus.

Having said that, and having (re-)read that, I find myself commenting on the other review, which was excellent (though it was written for a different edition). I disagree that Virgil "slavishly imitated" Theocritus. My impression is that the Eclogues are more of an artful (and extensive) adaptation. The fear of plagiarism and insistence on originality is a modern phenomenon. Ancient literature depended upon the recasting of existing works to suit the poet's purpose and taste. Appropriation provided a cultural continuum that preserved and transmitted the beauty, values, and ideas of one's predecessors. In Virgil's case, poetic license would not have referred to a deviation from form or tradition as it does today; it would have meant knowing the rules and biding by them.

If anything was slavishly imitated by Virgil, it would have been the characters created by Theocritus. Daphnis, Thyrsis, Amaryllis, Tityrus, Corydon, Damoetas and Menalcas all make somewhat more than cameo appearances in the Eclogues. They have in fact re-emerged as Virgil's main cast of characters. In some cases they appear as the poet himself!

The Idylls as an art form only superficially affected Virgil. Of course he adapted the singing contests to his own settings and themes. The prizes still included cups, heifers, girls, banes and boons. While the Idylls were a collection of poems written at various times and for various purposes, the Eclogues appear to be (and there is ample evidence to support this) composed as a coherent set. They are the equivalent of a modern-day popular music album. Cohesive devices link one poem to another; matching numbers of lines provide internal balance; there is an introduction and a conclusion.

6 of 7 people found the following review helpful.
Poetic interpretation
By katyred
A lovely poetic interpretation of the Eclogues, but remember that it is a poetical interpretation. This is not a literal translation and Ferry takes some liberties with what might be Virgils' intentions to maintain a certain level of poetical language. If one is well acquainted with Virgil's shepherds, Ferry's might seem a little less vivid. I prefer Ferry's translations of Horace as being more dynamic.

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~ Ebook Download Lightning Man: The Accursed Life of Samuel F. B. Morse, by Kenneth Silverman

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In this brilliantly conceived and written biography, Pulitzer Prize–winning Kenneth Silverman gives us the long and amazing life of the man eulogized by the New York Herald in 1872 as “perhaps the most illustrious American of his age.”

Silverman presents Samuel Morse in all his complexity. There is the gifted and prolific painter (more than three hundred portraits and larger historical canvases) and pioneer photographer, who gave the first lectures on art in America, became the first Professor of Fine Arts at an American college (New York University), and founded the National Academy of Design. There is the republican idealist, prominent in antebellum politics, who ran for Congress and for mayor of New York. But most important, there is the inventor of the American electromagnetic telegraph, which earned Morse the name Lightning Man and brought him the fame he sought.

In these pages, we witness the evolution of the great invention from its inception as an idea to its introduction to the world—an event that astonished Morse’s contemporaries and was considered the supreme expression of the country’s inventive genius. We see how it transformed commerce, journalism, transportation, military affairs, diplomacy, and the very shape of daily life, ushering in the modern era of communication.

But we discover as well that Morse viewed his existence as accursed rather than illustrious, his every achievement seeming to end in loss and defeat: his most ambitious canvases went unsold; his beloved republic imploded into civil war, making it unlivable for him; and the commercial success of the telegraph engulfed him in lawsuits challenging the originality and ownership of his invention.

Lightning Man is the first biography of Samuel F. B. Morse in sixty years. It is a revelation of the life of a fascinating and profoundly troubled American genius.

• Sales Rank: #1106784 in Books
• Published on: 2003-10-21
• Released on: 2003-10-21
• Original language: English
• Number of items: 1
• Dimensions: 9.57" h x 1.72" w x 6.72" l,
• Binding: Hardcover
• 512 pages

From Publishers Weekly
The New York Herald may have eulogized the inventor of the telegraph in 1872 as "perhaps the most illustrious American of his age," but Samuel Morse may have concluded otherwise: he thought his life a failure. Hence the subtitle of this painstakingly researched, gracefully and soberly told life. Silverman, who won the Pulitzer and Bancroft prizes for his 1984 biography of Cotton Mather, presents us with a fool's progress of sorts. Morse seems to have fallen into inventing by way of a mediocre painting career. He was a disappointment to his pious Protestant parents, who envisioned a respectable career for their son but got a dreamer instead. By the age of 41, Morse was still dreaming of a commission from Congress to be hung in the Capitol dome and still undecided as to his calling in life. He dabbled in inventing, considered a career as a minister, became an art teacher at New York University, ran unsuccessful candidacies for mayor and for Congress on anti-immigration platforms and wrote screeds against Catholic conspiracies to undermine the American republic. He dabbled in a new technology, photography, and of course, promoted his electromagnetic telegraph, battling domestic and foreign competitors and, after finally achieving commercial success, a tide of lawsuits. Silverman's vivid portrait is of a naive, restless man who stays a dreamer all his life and dies disappointed. The author writes in a narrative style as staid and temperate as the Protestant bourgeoisie he writes about. This should appeal as both history of science and stolid biography. 49 photos and illus.
Copyright 2003 Reed Business Information, Inc.

From Booklist
Silverman has proved himself a masterful biographer in his books on Cotton Mather and Edgar Allan Poe and continues the tradition with this biography of the putative inventor of the electric telegraph. Silverman homes in on Morse's sui generis claim that he produced the telegraph on his own in 1832. This assertion was disputed by a gallery of litigious sharpers thirsting for wealth from telegraphy. It is also a question that Silverman sensibly consigns to the category of the insoluble. Indeed Silverman's great talent lies in the way he refrains from expostulating directly, allowing Morse's habits and actions to speak through his own words. Even the author's use of the acidic adjective accursed in his subtitle leaves readers unsure about whether bad luck or odium is implied. Morse's letters to his children, whom he dumped on relatives, indicate he neglected them to pursue his lifelong dream to become a painter. On the other hand, Silverman portrays Morse as easily depressed, vexed by the business disputes to which his artistic, pious, and overly trusting nature was ill suited. Set in his times, the man in full arises in Silverman's exemplary biography. Gilbert Taylor
Copyright © American Library Association. All rights reserved

Review
“An exhilaratingly vivid, historically balanced biography of Samuel F. B. Morse . . . Silverman’s well-paced, character-driven storytelling brings Morse’s raw, emotional persona to life.”
–James A. Buczynski, Library Journal

“Superb . . . Its thorough research, measured scholarship, and wonderful prose serve to illuminate brilliantly the Lightning Man’s eight decades of struggle, inner turmoil and genius. It is not easy to depict–sympathetically yet realistically–so flawed and complex a character. And yet Mr. Silverman has.
–Edward J. Renehan, Jr., The Wall Street Journal

“Now told brilliantly by Silverman . . . a life of great scope, with heroic heights and tragic lows.”
–Henry Petroski, Los Angeles Times

“[A] vivid portrait . . . Painstakingly researched, gracefully and soberly told.”
–Publishers Weekly (starred review)

“A superbly rendered life of the painter, sculptor, and photographer best known as the inventor of the electromagnetic telegraph . . . A first-rate, well-balanced blend of personal and cultural history.”
–Kirkus Reviews (starred review)

“Silverman has proved himself a masterful biographer . . . [His] great talent lies in the way he refrains from expostulating directly, allowing Morse’s habits and actions to speak through his own words. . . Set in his times, the man in full arises in Silverman’s exemplary biography.”
–Gilbert Taylor, Booklist (starred and boxed review)

Most helpful customer reviews

14 of 14 people found the following review helpful.
More relevant for the inventor today than you can imagine
By Deborah C. Taylor
I picked up this book on a whim, and found myself agog at Morse's veritable precognition about the telecommunication industry. I was quite unable to put the book down. This man may be long dead, but his ideas about leasing the right to use his telegraph, rather than opting to sell telegraph devices one-by-one, was a brilliant marketing decision on a par with today's great master's of business. The book is well-written and full of surprises, including what business decisions NOT to make. This is a great read for anyone who a)is in marketing; b) is in telecommunication; or c)mistrusts the Patent Office!

10 of 10 people found the following review helpful.
Excellent bio of telegraph inventor
By Joel M. Kauffman
Basically I agree with the reviews of Deborah Taylor, Charles De Fanti, Jr. and Matthew Wall. I had no idea that Morse was an accomplished painter and introduced daguerreotype photography to the USA and taught Matthew Brady. Thanks to Hollywood, I had no idea that one of the best features of the Morse telegraph system was automatic recording of the dot and dash signals, so no operator had to be present when they arrived. Or that he was involved with the trans-Atlantic cables. Or that he finally threw himself on the mercy of European governments in which the Morse telegraph system was being used and asked for an indemnity, one-time, saying he would be satisfied with whatever it was ($2 million in today's money).

We were never exposed to Morse's pro-slavery bible-based views, or his campaign support for General George McClellan in 1864 against Lincoln. The idea that English abolitionists were planted or encouraged to go to the USA to weaken us was there.

Silverman has provided a good index and astounding documentation of sources. Those of you who have looked at my other reviews and seen lists of errors will be impressed that I did not find a single one in this wonderfully readable book. My only wish is that there were a few more details of the telegraph devices. And why no table of the Morse code? No matter: this is one of the best books I have ever read on any topic.

7 of 7 people found the following review helpful.
Thorough and surprising
By Bas Vodde
"Lightning Man" is the 400+ page biography of Samuel F.B. Morse his surprising life. I've got an interest in telecommunication, computing and history thus ended up reading this book which contains elements of all. Yet, quickly I found myself surprised by what I was reading as I didn't know the eventful, controversial, and diverse life that Morse had.

The book contains 18 chapters (plus a coda) and consist of a near 450 fairly dense pages. It took a while to get through it for me yet not a moment I doubt whether I should continue. The book starts with the birth of Morse and quickly goes through its childhood and spends a fair amount of time to Morse his early life as a painter (!). From there it describes Morse's many sidetracks in politics and then the sudden invention of the telegraph (which I felt the author keeps a bit vague... on purpose). Morse spend many years perfecting and fighting to promote the telegraph and every step where he had a success, it was immediately followed by a challenge. The biggest challenge he had seemed to be by people challenging whether he actually was the invention of the telegraph and suing him for his patent. The book is full of court cases and patent trouble. Later in the book, it is clear that the invention of the telegraph was a major invention and permanently changed the life of many people. Though, he was wildly recognized as the inventor and did well financially also, he was still constantly fighting off challenges and seemed to suspect everyone he ever worked with. At times, it makes you wonder if Morse had just an enormous amount of bad luck (as the book subtitle suggests) or whether he was actually a very difficult person to deal with himself (and it is probably a bit of both). Later chapters focus on his support for lying the transatlantic cables, the growth of his telecom companies, and his now very controversial political views.

For me, the book surprised me already very early on when it described Morse's life as a painter (and a fairly good one!). I hadn't expect that for someone who, I figured, was best known as an inventor and early technologist. After his invention of the telegraph, his life didn't seem to consist much of improving his engineering designs (though I'm sure he wanted to) as it consisted much more fighting patent wars. Similarly the side-tracks in politics surprised me much and his controversial political views colored his character a lot.

All in all, the book was well written and felt very well researched. It is very thorough, so thorough that at times I had difficulty remembering who was who or what event this referred too. I think I'd get a lot out of the book if I would read it for a second time. Yet, the book wasn't perfect either, its thoroughness made it dull at times. For that reason, as that is the only negative thing I can find in this interesting book, I'll go for a 4 out of 5 star review. Recommended for those interested in telecommunication and history, not for those who want to learn about how telegraphs work or who want quick-read story.

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An exhilarating reinvention of the gothic novel, inspired by the iconic characters of our greatest myths and nightmares. Now a hit television series on Netflix.

The body of a young girl is found mangled and murdered in the woods of Hemlock Grove, Pennsylvania, in the shadow of the abandoned Godfrey Steel mill. A manhunt ensues―though the authorities aren't sure if it's a man they should be looking for.
Some suspect an escapee from the White Tower, a foreboding biotech facility owned by the Godfrey family―their personal fortune and the local economy having moved on from Pittsburgh steel―where, if rumors are true, biological experiments of the most unethical kind take place. Others turn to Peter Rumancek, a Gypsy trailer-trash kid who has told impressionable high school classmates that he's a werewolf. Or perhaps it's Roman, the son of the late JR Godfrey, who rules the adolescent social scene with the casual arrogance of a cold-blooded aristocrat, his superior status unquestioned despite his decidedly freakish sister, Shelley, whose monstrous medical conditions belie a sweet intelligence, and his otherworldly control freak of a mother, Olivia.
At once a riveting mystery and a fascinating revelation of the grotesque and the darkness in us all, Hemlock Grove has the architecture and energy to become a classic in its own right―and Brian McGreevy the talent and ambition to enthrall us for years to come.

• Sales Rank: #106058 in Books
• Published on: 2013-04-16
• Released on: 2013-04-16
• Original language: English
• Number of items: 1
• Dimensions: 7.45" h x .90" w x 5.05" l, .52 pounds
• Binding: Paperback
• 336 pages

Review

“It takes a rare stroke of genius to reconfigure the gothic novel within the postindustrial barrens of steel country, and another entirely to upstage this conceit with a mythic and ambitious story of adolescence and alienation. Like a collaboration between Edgar Allan Poe and J. D. Salinger, this is a real emerging talent.” ―Philipp Meyer, author of American Rust

“A wonderfully creative and twisted reinvention of classic monster archetypes, wrapped up in a mysterious thriller. I loved it. Brian McGreevy is a welcome new voice in horror literature, but be warned: it's not for the faint of heart, or stomach.” ―Eli Roth, director of Hostel

“This is . . . horror with a respect for its literary antecedents.” ―Yvonne Zipp, The Washington Post

About the Author

Brian McGreevy grew up near Pittsburgh, Pennsylvania, and received his MFA from the Michener Center for Writers at the University of Texas. Now a screenwriter who has had two screenplays featured on the best of the year Black List, he is working on an adaptation of Dracula for Leonardo DiCaprio's production company. He lives in Los Angeles.

Excerpt. © Reprinted by permission. All rights reserved.
Something Happened
 
 
The lone wolf howls to rejoin the pack from which he is separated. But why does the pack howl when no wolf is lost?
Isn’t it obvious?
Because there is no other way to say it.
*   *   *
The night after the Harvest Moon, the body was discovered. It was nearing October and the sun was still hot, but the leaves were falling now with intention and every night was colder. Peter was walking home from the bus stop when he saw the flashing light of a fire truck up at Kilderry Park. He wondered if there had been an accident. Peter, who was seventeen at the time of which I’m writing, liked accidents: modern times were just so fucking structured. He saw in addition to the fire truck a few cop cars and an ambulance, but no signs of wreckage. He turned his head in passing, but there was nothing more to see beyond the norm. Two of the cops combing the area by the swings he knew; they’d hassled him a couple of times in that kind of obligatory cop way that, in Peter’s experience, every uniform was an SS uniform. Probably some junkie had OD’d or something. There was that bum who hung out around here, an old black guy with yellow and black teeth and one dead eye that looked like a dirty marble who might not have been old, really. Peter had given him a light once, but no change. Better that paid for his own drugs. His interest flagged. Old black junkie kicks it it’s no more news than chance of rain tomorrow. Then he heard it, one sentence. No sign of a weapon, Sheriff. Peter looked again but there was no more to see than a milling cluster of uniforms by the tree line and he put his hands in his pockets and went on.
He had a bad feeling.
Nicolae had always told him that he had been born with an unusually receptive Swadisthana chakra and that underneath the surfaces of things, the illusion of the illusion, there is a secret, sacred frequency of the universe and that the Swadisthana was the channel through which it would sing to you. And the Swadisthana being located of course just behind the balls, he should always always trust his balls. Peter did not know what it was, but something about the scene in Kilderry Park had his balls in a state of agitation.
When he got home he told his mother, “Something happened.”
“Hmm?” she said. She was smoking a joint and watching a quiz show. The trailer was warm and smelled sweet, pot and baked apple. “Hummingbird!” she yelled suddenly, in response to the question What is the only bird that can fly backwards.
He told her what he saw. He told her he had a bad feeling.
“Why?” she said.
“I don’t know, I just do,” he said.
She was thoughtful. “Well, there’s cobbler,” she said.
He went to the kitchen. She asked if he’d been in town.
“Yeah,” he said.
She emptied his backpack of items so small and modest it could hardly be considered stealing while Peter scraped the tar of sugar at the edge of the cobbler and tried to shake this feeling. The feeling that whatever had happened in Kilderry Park was no good. And not in some greater existential sense but no good with his number on it. There was a coffee mug on the counter with the comic strip character Cathy on it and a small chip the shape of a shark’s tooth that held loose change. He dipped his hand in the mug and went to the door and scattered a handful of coins on the stone path out front.
“Why did you do that?” said Lynda.
Peter shrugged. He had done it because he wanted to hear something dissonant and beautiful.
“You are one strange customer, you know that?” said Lynda.
“Yeah,” said Peter.


 
Copyright © 2012 by Brian McGreevy

Most helpful customer reviews

92 of 100 people found the following review helpful.
Post-modern genius or teen-romance hack?
By Nicholas Moses
This book isn't part of one of my usual genres, and I generally wouldn't touch books with it's cover art/Amazon description with a 15 foot pole. It sounds and looks like the setup for some tragic, overly affected take on Twilight.

But it's not. The plot is shockingly not full of holes (though there are some questions left unanswered, they aren't *unanswerable*), the actions of the characters are actually justifiable, and there isn't any awful fixation on the romance elements - which are sparse, as they should be. It's a story that includes vampires and werewolves, and those two concepts are the most sexual metaphors imaginable, and McGreevy seems to recognize that (and even manages to make a bit of self-referential fun of it). The story is good, and good enough to recommend the book based on. I watched the Netflix series, and it was also good - it followed the story (and in some cases the dialogue) closely, and the acting was good, so if you enjoy this book I'd definitely recommend it.

The story is good and manages to hover above cliché, sometimes even lambasting it. This isn't a happy tale, nor does it come to a contenting conclusion. One thing that the story does manage to handle very well is the juxtaposition of technology and magic - a technical challenge that seems inevitable for the genre (though as I said I'm no genre expert). There's "magic" in the story, no doubt about that, but it's exists in a naturalist sense rather than a romantic one. While the characters take the "magic" elements they can see at face value, there's a lot of discussion of other supernatural elements that are clearly taken as metaphor (for those who have read the book, the story Peter tells Letha is a good example). It pays homage to Frankenstein in a fairly neat albeit direct (Shelly? Like Marie Shelley? What a coincidence!) way, and the two doctors (one a morally obsessed but inadequate psychiatrist, one a power-mad researcher) play into that homage well.

The writing is interesting. A number of comments seem to think that the author should have hired a better editor. I'd respectfully suggest that they're not familiar with stream of consciousness writing. McGreevy's obviously borrowing a number of elements of his technique from the modernist writers. If you're completely uncomfortable with phrases like
"That is, most of a girl named Brooke Bluebell."
"Missing her exactly like he used to."
"Lost in her own thoughts."
Each one of those fragments and countless others appears in the text, capitalized and punctuated like a real sentence. I don't see them as editing mistakes, though, since they're clearly intentional. If that's the sort of thing that bothers you, though, you're probably not the kind of person who does a lot of reading anyway.

There are also several instances where dialogue continues (with no scene description) for a few (short) pages at a time. These are not the norm: most of the book is very concise, and there isn't a lot of extra dialogue. There really isn't a lot of extra anything: everything that happens in the almost 13 hour television series and more happens in this book's short 318 pages. There's something to be said for conciseness, and it works fairly well here. The author keeps you in the dark about at least a few things throughout the book and occasionally things are somewhat unclear due to the sparseness of the text.

There are certainly some flaws in the book, plot-wise. *SPOILER ALERT**SPOILER ALERT**SPOILER ALERT* A handful of characters that readers should care about have almost no development at all. Christina's friends, the totally forgettable twins, are an example, as are all of the show's major victims. Aside from that, Pryce is a particularly uninteresting character when he had so much potential to be the opposite (and muscular hypertrophy? really?). On that note, everything about the White Tower seems weak and unrelated to the plot. Ouroboros has nothing to do with the werewolf killings, or anything the main characters care about. As Olivia puts it, the only important function the biomedical lab does is provides her family money - she's right not just for her own concerns, but for the concern of readers. *SPOILER ALERT**SPOILER ALERT**SPOILER ALERT*

Overall it's an excellent read in a genre I would normally never touch. It seems to be the author's only release, as well, which is promising. His website is essentially a placeholder right now, but I'll be checking back for certain.

33 of 34 people found the following review helpful.
Great Book AND Show!
By Nat Rose
I actually got this book AFTER watching the show on Netflix (which is great, by the way. I think it actually enhances the book.) and wanting more information. The show is great with cinematography and characters, but of course details are left out, so this book was great. Reading it after I saw all the episodes was surprisingly enjoyable. You go in with a general understanding and then get many of your questions answered.
The book moves at a good pace, not dragging out any needless descriptions and Brian McGreevy has a surprisingly broad vocabulary (which I personally loved), so have your dictionaries near by!
There were some differences between the book and the show, as there usually are. I would recommend both.
Also, the word "Upir" is used in the book and never defined, although it is a very important word for the story.
Definition: "Upir" 1. "A type of dragon that feeds off humans but must die by its own hands to awaken its true powers.
(i.e. The upir are the most feared of the supernatural because of their blood thirsty fangs and their ability to hypnotize.)"
2. "Russian vampire that function during daylight hours. Eats children then their parents. Said to be the most vicious vampire."
(Definitions found on UrbanDictionary.com)
There is a third definition, but it's quite inappropriate and irrelevant.

I would definitely recommend this book! I enjoyed it quite a bit!

74 of 82 people found the following review helpful.
Just like the TV series.
By Kindle Customer
After watching the Netflix TV series I was curious to read this book to see if it would clarify a few points that didn't quite make sense. I don't want to write any spoilers or give specific details, but those unclear points were explained by reading this book quite nicely. Definitely recommended to all fans of good horror and original stories.

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* Ebook Mood Indigo: A Novel (FSG Classics), by Boris Vian

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The basis of the new major movie from Michel Gondry, starring Audrey Tautou, the beloved French modern classic hailed as "the most poignant love story of our time" by Raymond Queneau

The story is simple: Boy meets girl; boy marries girl; girl falls ill on their honeymoon with a water lily on the lung, which can only be treated by being surrounded by flowers; boy goes broke desperately trying to keep his true love alive.
First published in 1947, Mood Indigo perfectly captures the feverishly creative, melancholy romance of mid-century Saint-Germain-des-Prés. Recently voted number ten on Le Monde's list of the 100 Books of the Century (the top ten also included works by Camus, Proust, Kafka, Hemingway, and Steinbeck), Boris Vian's novel has been an icon of French literature for fifty years―the avant-garde, populist masterpiece by one of twentieth-century Paris's most intriguing cultural figures, a touchstone for generations of revolutionary young people, a jazz-fueled, science-fiction-infused, sexy, fantastical, nouveau-decadent tear-jerker that has charmed and beguiled hundreds of thousands of readers around the world. With the help of Michel Gondry and Audrey Tautou, it is set to seduce many, many more.

• Sales Rank: #321174 in Books
• Published on: 2014-06-24
• Released on: 2014-06-24
• Original language: English
• Number of items: 1
• Dimensions: 7.50" h x .62" w x 5.00" l, .35 pounds
• Binding: Paperback
• 224 pages

Review
“This is a great novel . . . Your heart will be broken. You will be confused and confounded. You will laugh aloud. And at least for a time, however hard you try, your own world will refuse to be what you think it is.” ―James Sallis, author of Drive, in the Los Angeles Times Book Review

About the Author
Boris Vian was a novelist, poet, jazz trumpeter, singer, translator, critic, actor, inventor, and engineer. He was the emblematic figure of the postwar Paris cultural milieu: friend to Camus, de Beauvoir, and Sartre (until Sartre seduced his wife); the Parisian champion of Duke Ellington and Miles Davis; the inspiration for and mentor to Serge Gainsbourg; the French translator of Raymond Chandler. Vian, who had suffered a pulmonary edema in 1956, died of cardiac arrest in 1959, at age thirty-nine, during a screening of a Hollywood adaptation of one of his novels, outraged at the American interpretation of his novel, set in America, where he had never been. His last words were reportedly: "These guys are supposed to be American? My ass!" Stanley Chapman was a British architect, designer, writer, and translator, most notably of Vian and Raymond Queneau. He was the founder of Outrapo and a member of Oulipo, the Collège de 'Pataphysique (of which Vian was also a member), and the Lewis Carroll Society. He died in 2009.

Most helpful customer reviews

1 of 1 people found the following review helpful.
But I thoroughly enjoyed them both
By bandit king
I must say I first watched the film before reading this book...which I'm sure I'm not supposed to. But I thoroughly enjoyed them both. Very surreal story with funny and interesting wordplay.Looking forward to reading more from Boris Vian!

0 of 0 people found the following review helpful.
Weird with Difficult French
By Donna
If you like weird stuff, maybe you will think this is good. This book is bizarre, as it was meant to be. That appeals to many people; I am not one of them, but that is me. The French is very, very hard for the student of French.

0 of 0 people found the following review helpful.
A magical surrealist tale of love and relationships.
By Abdulrahman Alhussain
This novel is so many things all wrapped into one. A magical surrealist tale of love and relationships. Definitely worth reading.

“What do you do for living, my lad?” asked the professor.
"I love Chloe" said Colin

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~~ Get Free Ebook Life Studies and For the Union Dead (FSG Classics), by Robert Lowell

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Robert Lowell, with Elizabeth Bishop, stands apart as the greatest American poet of the latter half of the twentieth century―and Life Studies and For the Union Dead stand as among his most important volumes. In Life Studies, which was first published in 1959, Lowell moved away from the formality of his earlier poems and started writing in a more confessional vein. The title poem of For the Union Dead concerns the death of the Civil War hero (and Lowell ancestor) Robert Gould Shaw, but it also largely centers on the contrast between Boston's idealistic past and its debased present at the time of its writing, in the early 1960's. Throughout, Lowell addresses contemporaneous subjects in a voice and style that themselves push beyond the accepted forms and constraints of the time.

• Sales Rank: #439079 in Books
• Brand: Lowell, Robert
• Published on: 2007-10-16
• Released on: 2007-10-16
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .40" w x 5.50" l, .40 pounds
• Binding: Paperback
• 176 pages

Review

“Robert Lowell is, by something like a critical consensus, the greatest American poet of the mid-century . . . More than any contemporary writer, poet, or novelist, Lowell has created the language, cool and violent all at once, of contemporary introspection.” ―Richard Poirier, Book Week

“Life Studies gives us the naked psyche of a suffering man in a hostile world, and Lowell's way to manage this material, to keep it, is by his insistent emphasis on form. The natural heir to Eliot and pound as well as to Crane, he extends their methods.” ―M. L. Rosenthal, Salamagundi

About the Author

Robert Lowell (1917-1977) was the author of a dozen volumes of poetry, for which he twice received the Pulitzer Prize.

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15 of 18 people found the following review helpful.
"For the Union Dead" - A Timeless Civil War Poem
By KBM
I read this poem again on Martin Luther King Day, a fitting day for this poem, a tribute to the Union dead of the Civil War and a particular remembrance of the black soldiers who wore the uniform of the Union-- particularly of the Massachusetts 54th Regiment (made famous to non-Civil War students by the movie Glory several years ago).

The 54th Massachusetts was the first black regiment to march from the North to fight the Confederacy. These men were quite brave knowing that in battle they would likely get little or no quarter, and if captured they would most assuredly be sent south back to slavery. These men had much to prove, what with years of racism from North and South to be broken and defeated by their bravery and sacrifices-- not to mention the Confederate army that they would later face on the battlefield. They would win ever-lasting fame for their courage during their doomed assault on Fort Wagner at Charleston Harbor, South Carolina, July, 1863. The attack would be a night assault on this heavily guarded fort. The fighting would be intense and the 54th would not be successful. Their white colonel, Robert Gould Shaw would be killed, and almost half the regiment would be lost. The first Medal of Honor for a black man would be earned there.

They marched down Beacon Street, with the Massachusetts State House on one side and Boston Common on the other - off to war, off to death and glory on a twin mission; to fight for the Union and show the world that they were equal in ability to whites. Directly across the street from the Massachusetts State House on Beacon Street there now stands the brilliant monument by Augustus St. Gaudens, forever commemorating the 54th, the first black regiment and their white commander Colonel Robert Gould Shaw.

This monument on Beacon Hill is one of the finest monuments of any kind in the United States. As a tribute to Shaw and the 54th it is unparalleled in the physical world; but in the emotional world, the world of poetry, Robert Lowell comes quite close. Lowell brilliantly describes the monument to the 54th and works it into the life of Boston that foremost of abolition cities of the North. Standing before the 54th monument on Beacon Hill, as the crowds walk swiftly by and the traffic speeds along past the State House, one can almost hear the men breath as they are forever frozen in bronze on their march south to battle. There are few monuments in bronze as lifelike as this one: it is an incredible tribute to the 54th and their commander and adorns the city of Boston as fittingly as the obelisk at Bunker Hill or the colonial historical sites of Adams, Revere, Hancock, and several miles to the west, Lexington and Concord.

Lowell's "For the Union Dead" is a successful poem on so many levels and succeeds completely where Tate's "Ode to the Confederate Dead" so totally fails. It unifies time and place, and brings context and permanence where everything seems to be shifting and changing. As a tribute to the 54th and the Union dead of the Civil War its elements run as deep as the waters off the coast of Boston seen from the top of Beacon Hill so long ago when the skyscrapers didn't block the view.

Having started his education at Harvard, Lowell transfered to Kenyon College to study under John Crowe Ransom another of Vanderbilt's Fugitives, like Allen Tate and Donald Davidson. It is an astounding thing that the two greatest Civil War poems of modern times ("Lee in the Mountains" and "For the Union Dead") and the worst ("Ode to the Confederate Dead") should be written by poets with Nashville connections. Lowell went on to graduate school to study under Robert Penn Warren, another Vanderbilt "Fugitive".

St. Gaudens placed a Latin inscription on the monument, the motto of the Society of the Cincinnati (a society of Revolutionary War officers started by George Washington and Henry Knox): "Relinquit Omnia Servare Rem Publicam". The translation is: "He left behind everything to save the Republic". Lowell opened his poem with this Latin phrase but changed the singular "he" to "they" in the Latin so that his poem would refer to all the men of the 54th not just its white commander, Robert Gould Shaw, to read: "Relinquunt Omnia Servare Rem Publicam".

"For the Union Dead" was published in 1964 during the height of the Civil Rights movement. Active in Civil Rights efforts, it is perfectly understandable that Lowell should have written this poem of unity and appreciation with concern, too, that the past should be remembered and its lessons learned. The battlefield of Fort Wagner had been by then reclaimed by the sea at Charleston Harbor and the monument to the 54th had fallen into disrepair. In fact, it was during this time that the St. Gaudens monument had been removed and stored in a crate to prevent damage from "shaking" from the construction of the underground Boston Commons parking garage. So, the battleground is gone, and Shaw's monunument is gone (but only temporarily), and history fades while "progress" continues speedily obliterating the memory of those that have come before.

"The stone statues of the abstract Union Soldier
grow slimmer and younger each year-
wasp-waisted, they doze over muskets
and muse through their sideburns . . ."

Lowell's brilliant poem is his way of retaining the past and ensuring that important historical memory is not lost forever. The men of the 54th Massachusetts, black and white, were leaders in bringing an end to slavery and establishing equality under the law for blacks in America. The story of their bravery and sacrifice is important to understanding American history and the Civil War. These men demonstrated with their actions and their blood that they were equals and merited equal positions in American society. As Americans North and South we ought to continue to embrace their memory and appreciate the many challenges that they overcame and the lessons that they taught us with their sacrifices at Fort Wagner and elsewhere.

We can look back to the 54th Massachusetts as a standard bearer in the struggle for Civil Rights in America. In the 1980s, my husband was privileged to be part of an effort to restore the St. Gaudens monument to its original beauty and power. Lowell's poem is a tribute to this beautiful work of art, and the men of the 54th Massachusetts who so inspired it. It is our duty a to remember our past, appreciate and commemorate our war dead, and learn those lessons that they underscored for later generations with their lives.

"Two months after marching through Boston,
half the regiment was dead;
at the dedication,
William James could almost hear the bronze Negroes breathe."

This is one of the finest poems of the 20th century and stands with "Lee in the Mountains" as one of the two great modern poems of the Civil War.

14 of 17 people found the following review helpful.
Important with a capital 'I'
By frumiousb
For a long time, one of my favorite poems has been Robert Lowell's "Skunk Hour", but I have never read the book which was the context around it. Lowell is one of those writers who are often pushed down your throat as being "The Most Important Poet Ever!" by college professors and I have to admit that this attitude lead me to resist reading further.
I want to say that this was a mistake, because of how much I enjoyed this book, but I'm not sure how well I could have appreciated these poetry books had I been younger. They are not simple about anything they touch-- not histories (public or private), not love, not death, not depression. They are complicated words that are painted in detailed layers, so the richness gets deeper the longer you look. The setting is so subtle that when Lowell does say something overt, it comes as a distinct shock.
I didn't want to stop reading the book when it was over, and went back and started reading the poems again-- it was that compelling.

14 of 18 people found the following review helpful.
One of America's finest poets at the peak of his powers.
By Frank Beck
In LIFE STUDIES, published in 1959, Lowell described his experiences growing up in a prominent Boston family, using a style so intimate and revealing that it became known as "confessional poetry." Four years later came FOR THE UNION DEAD, in which he used the same style to address social themes as well as personal ones. Together, these two books constitute a watershed in modern American poetry. In a host of poems, including "Beyond the Alps," "Skunk Hour," and "For the Union Dead," Lowell created a style that was colloquial and contemporary, but echoed the grandeur of a poetic tradition running back to Shakespeare. Of all the American poets to emerge since the war, few have had the wide-ranging influence of Lowell and a young student of his named Sylvia Plath. This is a book that every literate American should know.

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