mabokov

May 032011
 

从9·11至今,有关本拉登及其基地组织的书籍不断出现。现在,拉登终于被美国干掉了。不过,有关他的书籍估计还会层出不穷~~~

May 2, 2011, 3:15 pm

A Survey of Books About Osama bin Laden and Al Qaeda

By MICHIKO KAKUTANI

Since 9/11, there has been an outpouring of books about Osama bin Laden, Al Qaeda, the Sept. 11 attacks and the war in Afghanistan. Below is an annotated list of some of the more useful ones.
Some of these books are primarily concerned with giving the reader a bildungsroman-like account of Bin Laden’s transformation into a charismatic leader from a callow young man who “couldn’t lead eight ducks across the street,” as Prince Bandar, the former Saudi ambassador in Washington, once said. They underscore the unresolved Oedipal problems (not unlike those of George W. Bush) that he had with his powerful and wealthy father, while exploring the role that older mentors played in his growing radicalization.

“The Bin Ladens,” by Steve Coll, also adds new details to our understanding of how the young Bin Laden evolved from a loyal family adjutant into an angry black sheep lashing out at some of the very connections his father and brothers had cultivated in their business dealings for years.

An earlier book by Mr. Coll, “Ghost Wars” (2004), traveled back in time to explore the role the C.I.A. played in the anti-Soviet jihad in Afghanistan in the 1980s, and how America’s abandonment of that country after the Soviet withdrawal left behind a chaotic land with heavily armed, feuding warlords: conditions that created a perfect environment for the rise of the Taliban and Al Qaeda. Jonathan Randal’s “Osama” and Michael Scheuer’s “Osama bin Laden” also examine America’s unwittingly role in the ascendance of these radical groups.

As for the American invasion of Iraq in 2003, most of these books agree that it was a terrible misstep that played into Bin Laden’s hands, fueling Qaeda recruitment efforts and diverting critical military and intelligence resources away from Afghanistan, which in turn led to the resurgence there of the Taliban. Peter L. Bergen’s new book, “The Longest War,” provides a devastating indictment of the Bush administration on many levels, from its failure to heed warnings about a terrorist threat, to its determination to conduct the war in Afghanistan on the cheap, to its costly, unnecessary and inept occupation of Iraq.

Both “The Longest War” and Lawrence Wright’s “Looming Tower” give readers a visceral sense of what day-to-day life was like in Qaeda training camps. Mr. Wright, noting that Bin Laden was not opposed to the United States because of its culture or ideas but because of its political and military actions in the Islamic world, observes that Qaeda trainees often watched Hollywood thrillers at night (Arnold Schwarzenegger movies were particular favorites) in an effort to gather tactical tips.

Mr. Bergen, for his part, observes that Al Qaeda became a highly bureaucratic organization with bylaws dealing with matters like salary levels, furniture allowances and vacation schedules.
“The Looming Tower” and “The Bin Ladens,” among other books, suggest that Bin Laden’s turn to war against the United States was not inevitable: bad luck, events in his life, politics in Saudi Arabia and neighboring countries, decisions made by the United States government and absurd turf wars between the C.I.A. and F.B.I. all contributed to Al Qaeda’s pulling off the Sept. 11 attacks. During the period when he was living in the Sudan, Mr. Wright says, Bin Laden “was wavering — the lure of peace being as strong as the battle cry of jihad”: agriculture “captivated his imagination,” and he reportedly told friends he was thinking of quitting Al Qaeda and becoming a farmer. The continuing presence of American troops in Saudi Arabia (after the first gulf war), however, angered Bin Laden, and the movement of American troops into Somalia in √1992 (on a humanitarian relief mission) made Al Qaeda feel increasingly encircled. In meetings held at the end of 1992, Mr. Wright says, the group “turned from being the anti-Communist Islamic army that Bin Laden originally envisioned into a terrorist organization bent on attacking the United States.”

THE LONGEST WAR: The Enduring Conflict Between America and Al-Qaeda (2011). By Peter L. Bergen. This volume by CNN’s national security analyst provides a succinct overview of the war on terror, giving the reader a sharply observed portrait of Bin Laden, whom Mr. Bergen interviewed in 1997, and an intimate understanding of how the organization operates on a day-to-day basis. Mr. Bergen argues that Bin Laden over-reached with the 9/11 attacks and that Al Qaeda has a growing list of enemies including Muslims who don’t share its “ultra-fundamentalist worldview.” The book also provides a harrowing account of Bin Laden’s escape from American forces at Tora Bora in December 2001, after the C.I.A.’s request for more troops was turned down by the Pentagon.

OSAMA: The Making of a Terrorist (2004). By Jonathan Randal. This book by a former Washington Post correspondent is less a biography of Al Qaeda’s mastermind than a history of the contemporary jihadi movement, which Mr. Randal argues was inadvertently strengthened by American hubris, ignorance and missteps in the Middle East and Persian Gulf. Mr. Randal chronicles Bin Laden’s combat experiences as an anti-Soviet jihadi, his growing radicalization and the role that various mentors and surrogate father figures played in his evolution.

THE BIN LADENS: An Arabian Family in the American Century (2008). By Steve Coll. In this family epic, Mr. Coll, a Pulitzer Prize-winning author, creates a psychologically detailed portrait of Bin Laden and his relationships with his father, Muhammad, who made a fortune in Saudi Arabia as the king’s principal builder; and his older brother Salem, a British-educated, music-loving playboy, who used to organize family expeditions to Las Vegas. Mr. Coll suggests that Bin Laden’s turn to war against the United States was not inevitable, but the result of many factors. Those included his worsening relationships with the Saudi royal family and his own relatives as well as growing anger at America, which had pressured the government of Sudan to expel him from the country (where he raised horses and sunflowers on a farm while training jihadis) and send him into exile in Afghanistan in 1996.

HOLY WAR, INC.: Inside the Secret World of Osama bin Laden (2001). By Peter L. Bergen. In an early study of Al Qaeda, this CNN analyst emphasizes the crucial role that the Afghan-Soviet conflict played in radicalizing many Islamic militants in the 1980s, giving fighters like Bin Laden the confidence that they could defeat a superpower and replacing the notion of Arab nationalism with that of a larger Islamist movement. Mr. Bergen argues here that Bin Laden’s anger at the United States has little to do with Western culture — say, movies or drug and alcohol use — but rather stems from American policies in the Middle East, namely “the continued U.S. military presence in Arabia; U.S. support for Israel; its continued bombing of Iraq; and its support for regimes such as Egypt and Saudi Arabia that bin Laden regards as apostates from Islam.”

OSAMA BIN LADEN (2011). By Michael Scheuer. Mr. Scheuer, who once headed the C.I.A.’s Osama bin Laden unit, dissects the puritanical religious views that informed Bin Laden’s thinking. As he did in earlier books like “Imperial Hubris,” Mr. Scheuer contends that Bin Laden was not an irrational terrorist, but a shrewd strategist and tactician who wanted to lure the United States into a financially draining quagmire in the Middle East. He regards the American invasion of Iraq in 2003 as a recruiting bonanza for Al Qaeda and a great gift for Bin Laden.

THE LOOMING TOWER: Al-Qaeda and the Road to 9/11 (2006). By Lawrence Wright. Based on more than 500 interviews, this book gives readers a searing view of the events of Sept. 11, 2001, and how that tragic day came about. Mr. Wright, a writer for The New Yorker, suggests that the emergence of Al Qaeda “depended on a unique conjunction of personalities” — that is, Bin Laden, whose global vision and charismatic leadership would hold together the organization; and his deputy Ayman al-Zawahri, who promoted the apocalyptic idea that only violence could change history. In Mr. Wright’s account, we see how a shy young Osama bin Laden, who loved the American television series “Bonanza,” became a solemn religious adolescent, and how under the Machiavellian tutelage of Mr. Zawahri, he grew increasingly radicalized.

IN THE GRAVEYARD OF EMPIRES: America’s War in Afghanistan (2009). By Seth G. Jones. This book by an adjunct professor at Georgetown University charts several decades of relations between the United States and Afghanistan, focusing on what went awry after America’s successful routing of the Taliban in late 2001. Mr. Jones blames the invasion of Iraq for diverting resources and attention from the war in Afghanistan, and notes that as the situation deteriorated, there was a spillover effect in Pakistan, which offered a haven to many Taliban and Al Qaeda fighters. Among Mr. Jones’s conclusions is that the United States must “persuade Pakistani military and civilian leaders to conduct a sustained campaign against militants mounting attacks in Afghanistan and the region” and threatening the foundations of “the nuclear-armed Pakistani state.”

GHOST WARS: The Secret History of the CIA, Afghanistan, and bin Laden, From the Soviet Invasion to September 10, 2001 (2004). By Steve Coll. Mapping the long, mistake-filled road to 9/11, this book examines the C.I.A.’s covert role during the Soviet occupation of Afghanistan in the 1980s and America’s later neglect of the country during the post-cold war ’90s, when the Taliban and Al Qaeda took advantage of the political vacuum. Mr. Coll chronicles the failures of both the Clinton and Bush administrations to mount a serious attack on Al Qaeda and to implement a coherent counterterrorism strategy.

May 012011
 

玛格丽特·乔治(Margaret George)是英国历史题材小说舞台上的一位重磅角色。她已经出版的历史小说包括《玛丽》(Mary)、《苏格兰女王》(Queen of Scots)、《亨利八世》(Henry VIII)和《克里奥派特拉回忆录》(Memoirs of Cleopatra),等。最近,玛格丽特·乔治又推出了一部新作,《伊丽莎白一世》(Elizabeth I)。

Any novelist who deals with Elizabeth I has two problems: a surfeit of detail and a paucity of motive. It’s reasonably easy to find out about the trivia of daily life and to trace the actions of important people; much less easy to figure out why anyone did what they did.

Elizabeth herself left little material that would tell us what lay behind her actions. George made two clever decisions in handling this dilemma: telling the story from two viewpoints — those of Elizabeth and her look-alike younger cousin, Lettice Knollys; and beginning the story not during the perilous years before Elizabeth’s accession but in her late middle age.

——Diana Gabaldon

有关伊丽莎白一世的历史题材小说并非空白。而玛格丽特·乔治的这部作品被认为是超越了前人的一部杰作。书评家们指出“《伊丽莎白一世》不仅仅是又一部有关那位条顿女王的小说”。同样拥有历史小说作家身份的作家戴安娜·嘉宝顿(Diana Gabaldon)的重点推荐理由更是直接,“如果是玛格丽特·乔治的作品那就值得一读”。

May 012011
 

Carson McCullers Talks about Love(卡森·麦卡勒斯谈爱情)是一部正在上演的音乐剧。由苏珊娜·维嘉(Suzanne Vega)创作并担当主演。表达了对于美国南方哥特小说创作的代表人物卡森·麦卡勒斯的热爱和敬仰。

Carson McCullers

苏珊娜·维嘉的卡森·麦卡勒斯情结只是因为大约30年前的一次偶然:那个时候的苏珊娜在书店看到了一本麦卡勒斯传记。她当时并没有去购买阅读这本书。但是封面给她留下了深刻的印象。据说因为她们长得非常像。从此,她对麦卡勒斯的热爱日渐加深,成了麦卡勒斯的忠实拥趸。她反复阅读了卡森·麦卡勒斯的《心灵是孤独的捕手》(The Heart Is a Lonely Hunter)、《婚礼成员》(The Member of the Wedding)等等。她的很多歌曲灵感都来源于麦卡勒斯的作品。而要为麦卡勒斯创作一部音乐剧的设想也在她的头脑里盘旋了20多年了。现在,她的愿望终于实现。

根据苏珊娜·维嘉的介绍,音乐剧Carson McCullers Talks about Love(卡森·麦卡勒斯谈爱情)的全部歌词都来源于卡森·麦卡勒斯的小说。

Suzanne Vega

苏珊娜·维嘉是美国著名的词曲作家、歌唱家。曾经7次获得格莱美奖提名,已经销售了700多万张唱片。

点击阅读英文介绍

Apr 282011
 

近两周来,小说《亚瑟的悲剧》(Tragedy of Arthur)的受关注度极高。以下是来自《纽约时报》的书评文章:

Fake Memoir With Bogus Shakespeare

By MICHIKO KAKUTANI

Author of Tragedy of Arthur

“The Tragedy of Arthur” is a novel about the discovery of what is reputed to be a lost Shakespeare play, and with it Arthur Phillips has found the perfect vehicle for his cerebral talents: his ingenuity; his bright, elastic prose; and, most notably, his penchant for pastiche — for pouring his copious literary gifts into old vessels and reinventing familiar genres.

Mr. Phillips’s earlier novels, of course, testified to these gifts, though they also tended to point up his reluctance to delve convincingly into the inner lives of his characters. His much talked-about first novel “Prague” — about young Americans in Europe — was filled with echoes of Nabokov and James. “The Egyptologist” worked variations on old Hollywood mummy movies and H. Rider Haggard stories. “Angelica” gussied up the Victorian ghost story with some postmodern pyrotechnics. And “The Song Is You” read like a mash-up of “Sleepless in Seattle” and a cheesy stalker movie.

With “The Tragedy of Arthur” Mr. Phillips has created a wonderfully tricky Chinese puzzle box of a novel that is as entertaining as it is brainy. If its characters are a little emotionally predictable, we don’t mind all that much: we’re more interested in seeing how the author cuts and sands his puzzle pieces, assembles them into a pretty contraption and then inserts lots of mirrors and false bottoms.

Mr. Phillips — who, in addition to writing, has been a child actor, a jazz musician and a five-time “Jeopardy!” champion — begins this complicated enterprise by cunningly creating a frame story to explain the finding of the lost Shakespeare play “The Tragedy of Arthur” in which, he, Arthur Phillips, author of four novels, is a central player.

In a lengthy fake memoir that is supposed to be the “Introduction” to this Shakespeare play, Mr. Phillips pretends to be a fictional version of himself, recounting the story of how his con-man father — who is also named Arthur and who is serving jail time for forgery — came to give him “a quarto edition, dated 1597” of the lost play and how that play came to be authenticated by assorted forensic and scholarly experts and published, here, in these pages, by Random House.

The narrator — that is, the fictional Arthur Phillips — has an intense love-hate relationship with his father. He feels his dad repeatedly abandoned him and his twin sister, Dana, during their childhood because he could not resist committing petty crimes that kept getting him sent to jail. At the same time young Arthur hungers after his absent father’s approval: he wants his Shakespeare-loving father to ratify his own creative efforts as a writer.

In recounting the tale of his fictional namesake Mr. Phillips does a clever job of orchestrating well-known Shakespearian themes, like the contingency of reason and love; the rift between appearance and reality; and twins and doubles and confused identities. He makes questions of legitimacy (which percolate through the history plays) and authenticity (which underlies Shakespeare authorship debates) central to this novel.

Mr. Phillips depicts the fictional Arthur’s father, Arthur Sr., as a phony and pretender — as a sort of combination of the con-man father in Geoffrey Wolff’s memoir “The Duke of Deception” and one of the charming, prodigal fathers in John le Carré’s fiction.

Arthur Sr. has served jail time for things like forging fake grocery store coupons and scratch-off tickets for the New York Lottery. When his children were young, he even enlisted their help in creating phony crop circles as a prank. Why? “To astonish,” his son explains. “To add to the world’s store of precious possibility. To set the record crooked once and for all, so that someone’s life (some stranger’s) was not without wonder. It almost seems like a charitable act, if you subtract his ego.”

Given his father’s suspect history, why would the narrator believe for a second that “The Tragedy of Arthur” is the real thing? After all, the play is oddly filled with echoes of Phillips family history, including a dog with the same name as Arthur Sr.’s onetime pet.

Why would young Arthur lend his own reputation as a writer to another one of his father’s scams? The novel suggests hypotheses of widely varying plausibility: that for once in his life Arthur Sr. is telling the truth and has in fact stumbled across that rare and amazing thing — a new Shakespeare play, which he stole from the library of a wealthy man who didn’t know what he owned; that Arthur Sr. found a fake Shakespeare play and embellished it with some of his own imaginative embroiderings and then reprinted it on old paper with old ink; that young Arthur has himself written this phony play and pretended that his father gave it to him in order to inflate his father’s legend of shamelessness and manipulation.

How good a job does the real Mr. Phillips do of faking an early (and not very good) Shakespeare play? Well, let’s just say it’s hard to imagine that the fictional Arthur Phillips or the fictional Random House managed to find experts who would give the play their stamp of approval. The whole production feels truncated and rushed, and it’s filled with labored, lumpy poetry. On the other hand, we are supposed to suspect that “The Tragedy of Arthur” (or to be more precise, “The Most Excellent and Tragical Historie of Arthur, King of Britain”) is a fake Shakespeare play written by a Shakespeare-loving con man. So its actual quality is sort of beside the point.

Not only does Mr. Phillips have a lot of fun concocting this play, borrowing a little from “Henry IV, Parts 1 and 2,” “Henry V,” “Hamlet” and even “Macbeth” along the way, but also in writing “The Tragedy of Arthur” — the book we hold in our hands, not the play within it — he’s constructed a sly, spirited novel that deftly showcases his own versatility and shiny literary panache.

Apr 262011
 

Dame Beryl Bainbridge won the Whitbread novel award twice

【按:经过读者参与的票选,贝丽雅·班布里奇的小说Master Georgie当选为布克最佳小说。这位获得布克奖提名(进入最后短名单)次数最多,但从未获得过一次布克奖的双栖作家也算是终于得尝所愿了。以下资料来源于BBC】

Man Booker Prize organisers had asked readers to vote for their favourite of five Dame Beryl books shortlisted for the main prize – which she never won.

Master Georgie, shortlisted in 1998, beat Every Man For Himself in the running in 1996 by a handful of votes.

A bound copy of the book was presented to daughter Jojo Davies and grandson Charlie Russell at a party in London.

The prize’s literary director, Ion Trewin, said he was “delighted to be able finally to crown Master Georgie a Booker bride”.

Master Georgie, shortlisted in the year that Ian McEwan’s novel Amsterdam won the prize, is set during the Crimean War.

Dame Beryl’s other shortlisted books were The Dressmaker, nominated in 1973, The Bottle Factory Outing, recognised in 1974, and An Awfully Big Adventure, a contender in 1990 that was made into a film starring Alan Rickman and Hugh Grant.

Dame Beryl died in July, 2010, at the age of 75.

#########################

The writer, whose works included The Dressmaker and Injury Time, passed away in the early hours of Friday morning after a short illness, her agent said.

Liverpool-born Dame Beryl was nominated five times for the Booker Prize and won the Whitbread novel award twice.

Dame Beryl’s 1989 novel An Awfully Big Adventure was made into a film six years later starring Alan Rickman and Hugh Grant.

She won the Whitbread award for Injury Time in 1977 and, in 1996, for Every Man For Himself – which was also shortlisted for the Booker.

Dark themes

Dame Beryl began her career as an actress and performed in repertory theatre before she had her first novel published in 1967.

A Weekend With Claude tells the story of a violent, predatory man.

Dark themes continued with books including 1968′s Harriet Said, the story of two teenage girls who seduce a man before murdering his wife.

A number of her books were set in her home city of Liverpool, including 1973′s The Dressmaker – a tale of love and murder during World War II.

And 1978′s Young Adolf tells the tale of a young Hitler working as a waiter at the city’s Adelphi Hotel in the early 20th Century.

Dame Beryl’s historical novels included 1984′s Watson’s Apology, a portrait of a Victorian murder while Master Georgie, published in 1998, was set in the Crimean War.

Her publicist Susan de Soissons said: “She was one of the huge doyennes of literature and everyone adored her.”

Writing on micro-blogging site Twitter, author Margaret Atwood said: “Oldpal Dame Beryl Bainbridge dies – very sad. Wondrous original, great sport, loved her books. Hope she has champagne in heaven & a smoke…”

The novelist, who specialised in black comedy, wrote columns for the Spectator and the Evening Standard.

Dame Beryl, who in 2008 was featured in a Times newspaper list of the 50 greatest British writers since 1945, also wrote several television plays.

She was made a dame in 2000.

Apr 222011
 

以下书评文章转自《华盛顿邮报》:

Paula McLain’s ‘The Paris Wife’: A novel about Hemingway’s first wife

By Donna Rifkind (a writer in Los Angeles)

Paula McLain’s historical novel about Ernest Hemingway’s first marriage has been climbing up the best-seller lists as steadily as reviewers have been dismissing it. The Los Angeles Times called the book “a Hallmark version” of Hemingway’s Paris years, hampered by “pedestrian writing and overpowering sentiment.” The New York Times concurred, calling Hemingway’s wife Hadley “a stodgy bore” and McLain’s prose cliche-ridden and plodding. So who’s right: enthusiastic book-buying audiences or unsympathetic critics?

Score one for the consumers. “The Paris Wife” is a richer and more provocative book than many reviewers have acknowledged. What they call cliches are simply conventions that all historical novels share, including Nancy Horan’s “Loving Frank,” the acclaimed best seller that McLain’s book superficially resembles. And “The Paris Wife” is a more ambitious effort than just a Hallmark version of Americans in Paris. It’s an imaginative homage to Hadley Richardson Hemingway, whose quiet support helped her young husband become a writer, and it gives readers a chance to see the person Hemingway aspired to be before fame turned him into something else.

Building her fictional but scrupulously true-to-life narration around many source materials, including two full-length biographies of Hadley as well as Hemingway’s posthumous memoir, “A Moveable Feast,” McLain begins by dramatizing how damaged Ernest and Hadley were by the time they met in Chicago in 1920. Hadley’s father had killed himself in their St. Louis home when she was 13, a grim foreshadowing of Ernest’s father’s suicide and, decades later, Ernest’s own. She had also mourned the deaths of a beloved older sister and her mother.

Ernest, who had been seriously wounded in Italy during the Great War while a teenager, was suffering from the shaking nightmares and depression that today we call post-traumatic stress disorder and was then known as shell shock. This early brush with death had a profound influence on much of Hemingway’s future behavior and on all the fiction he wrote. McLain is right to underscore it, along with Hadley’s abundant sympathy for his suffering, with compassionate sensitivity.

Ernest and Hadley were down when they met, but they weren’t out. He was 21 and burning to be a writer. She was 28 and yearning to be a wife. They fell hard for each other. If the novel’s beginning sections stumble over a few expository bumps (Hadley: “What do you mean to do?” Ernest: “Make literary history, I guess.”), the narrative finds its flow a few months after the couple’s wedding, when they make their way to Paris. Hadley’s impressions of the city — dirty, war-shocked, tawdry and raw — stand out against Ernest’s instantaneous delight, though in time she came to appreciate “the oddity and the splendor.”

There was no doubt that here, on the cheap, Ernest was able to make Paris his informal university. Here he could learn from working-class Parisians as well as expatriate intellectuals, many of whom — notably Ezra Pound and Gertrude Stein — served as mentors who helped him forge a blazingly new way to write fiction. He could study the Cezannes at the Musee du Luxembourg, figuring out how to translate the depths of their purity into language. And he could devote long, arduous hours to writing in cafes and garrets, knowing that Hadley, who hoped for his success as fervently as if it were her own, would be waiting for him soothingly at home.

Like all perfect setups, this one would not last. The tale of its ruin is familiar, but it gains freshness from Hadley’s point of view. With his first flush of literary notoriety, Ernest cast off his mentors, alienating them with a self-sabotaging viciousness that became a lifelong habit. At the same time, his social circle widened to include a recklessly modern new crowd, including Scott and Zelda Fitzgerald, Duff Twysden — the model for Lady Brett Ashley in “The Sun Also Rises” — and Sara and Gerald Murphy. Their high-life bohemianism threatened Hadley, who was by now happily if squarely encumbered with a baby son. Then, in a still-sickening betrayal, Ernest engineered an exit from his marriage by conducting a prolonged, open affair with Hadley’s friend Pauline Pfeiffer, the perilously chic Vogue staffer who became the second of his four wives.

McLain writes about Hadley’s pain during the death throes of her marriage with a terrible delicacy, suitable for this modest, steadfast woman who was nobody’s fool. (It’s clear that the author knows plenty about abandonment: Her 2003 memoir, “Like Family,” is a scorchingly frank reminiscence of growing up in foster homes in the 1970s.) At a low point, when Ernest, Hadley and Pauline are vacationing together in southern France, Hadley takes note of their three bicycles on a rock path. “You could see just how thin each kickstand was under the weight of the heavy frame, and how they were poised to fall like dominoes or the skeletons of elephants,” she says. Hemingway fans will not fail to remember the haunting image in his story “The Snows of Kilimanjaro” when death approaches “in pairs, on bicycles, and moved absolutely silently on the pavements.”

Fame turned Hemingway into a self-crafted legend, an archetype and finally a parody. He was, as Joseph Epstein wrote in The Washington Post in 1970, “the first of the American writers we came to know too well.” Part of McLain’s accomplishment in this origin story is to make us look again at the Paris husband behind the Paris wife; not at the mythical swaggering Papa, but at the young, death-consumed writer who became a poet of death, who invented a new language to bring it to life, and whose brute emotional literary power will not be dismissed.