Here's a book that is becoming more and more rare... a book about complex people with complex motives. Warren's poetic novel is wonderful to read just for the phrasing at times, but the characters, their history, their thoughts and actions, and their interactions are what really brings this to the top of my short list. It's a book for a book group. So many ideas so close to the surface, without being absolutely thrown in your face. Without giving away the end, I can say that you see much of it coming, but you don't care. You want to read every word to see what Warren has to say about the connections and lack of connections between people.

I found this book in a used bookstore and just opened it up and started reading. Something about it got me hooked, and I just keep going. The novel is contructed brilliantly, with Warren providing large backgrounds for all of his charecters in a very interesting way (the first 150 or so pages)...so that by the end of the novel there are truly gripping - and perhaps some of the the most powerful dialogues scenes I have ever read. I loved this book.

Interesting little book, this. Costs next-to nothing and takes almost no time to read. But there's more here than most of the other spurious profundity published these days.

Warren, a Kentuckian whose grandfather fought for the Confederacy during that war, looks at the effects of the war on both North and South. Warren is harsh on the hypocrisy of the North and its "Treasury of Virtue" as he calls it. But he is no Lost Causer; he is equally harsh with the South, with its "Great Alibi." And Warren is scathing with those racists who believed(and still believe)themselves to be the legatees of Jefferson Davis or Robert E. Lee. An essential book.

The noted poet and novelist Robert Penn Warren wrote several brilliant book-length essays on various subjects, including JEFFERSON DAVIS GETS HIS CITIZENSHIP BACK (which originally appeared in THE NEW YORKER) and INTEGRATION, but none better than this miniature classic of historical interpretation. In 1961, when LIFE magazine asked him for his thoughts on the centennial of the Civil War, he wrote this superb, thoughtful essay (originally subtitled "A Meditation on the Centennial"). In an extraordinarily compressed discussion, Warren notes a dizzying variety of effects that the war and the policies it brought in its wake had on American society. His two most important observations have to do with the ways that the North and the South used the war as alibis. For the victorious North, the war was a "treasury of virtue" that excused generations of corruption, short-sighted public policy, and neglect of national interests; after all, we won the war and freed the slaves. For the defeated South, the war was "the great alibi" that excused every failure to grapple with a region's pressing social and economic problems. Warren never wrote better than in these eloquent pages; this book should be required reading for anyone interested in the Civil War in particular or American history in general. Its reappearance, with a fine introduction by Howard Jones (author of MUTINY ON THE AMISTAD and other excellent histories of the Civil War era), is cause for celebration. -- Richard B. Bernstein, Adjunct Professor of Law, New York Law School, and Daniel M. Lyons Visiting Professor in American History, Brooklyn College/CUNY (1997-1998)

For most of my life, I hated poetry. One year, I had a great English teacher who really showed me what poetry was all about and got me interested. This book was just what I needed. I bought it because it had the look of the best prose book around (Writing Prose: Techniques and Purposes, Oxford University Press). It is a great introduction to poetry. It's full of great poems. It's just great. Gosh. You're going to love it. I get excited just thinking about it.

Anyway, it's basically just a big six-hundred page anthology of poems, *with commentary*. And that's key. There are a lot of great poems that you just can't get without a little bit of context.

My adventures in poetry never went further than this book, but I still read it often.

If there is only one book that teachers should let literature students read, it should be this one. Definitely the Bible of writers (and amateur writers), critics, or those who simply love the written Word. Cleanth Brooks gives as wide a perspective as possible about the different literary movements and the notable poets.It's just a shame that this book is VERY hard to find. A reprint would benefit English literature programs greatly.

In Brother to Dragons, Robert Penn Warren, former poet laureate and twice winner of the Pulitzer, combined the historical elements of the New Madrid earthquake and the murder of a slave by two of Thomas Jefferson's nephews with his love of poetry. This book has various "voices" relating the brutal events in verse, but history is only a vehicle for exploring the nature of evil and Jefferson's dream of the perfectability of mankind.

This is a marvelous rather experimental volume; it is both novel, play, and poem. It is grim; it is disturbing; it is absolutely wonderful. I highly recommend this work.

I find most contemporary poetic practice notable only for its miserly concern for the difficulties attendant upon the small, the domestic, the momentary--huge acreages felled only to tell us that someone built a fence in their backyard once, and their husband helped them and the bindweed grew up around it and that was symbolic of relationships enduring and such. I'm therefore ensanguined by Burt's new collection (definitive enough, I should think, to silence the shrieks of Robert Penn Warren harpies), which teaches us that bindweed can't "hold candle to chokeweed," that fences tend "to grow thick with unfencing menses," and that husbands are meaningful only inasmuch as they "lung persevering into the guts of Cromwell." As a result, this collection--under Burt's sprightly editorship --provides a needed corrective; Warren takes an uncompromising view of the suffering subject splayed upon the rack of history, and the results are cheerful and life-affirming. This book made me realize that there's a reason for everything; I will recommend it to my co-workers.

A New Critic to her core, Gordon's discipline, control, and craftsmanship shine through in her short stories. This collection should show anyone why she was such a tremendous influence on Flannery O'Connor. As a master of the short story, Gordon deserves the recognition accorded O'Connor, Katherine Anne Porter, and Eudora Welty. I hope someone will reissue Gordon's anthology 'The House of Fiction.'

Warren is a master with words. The quality of the writing will keep you glued to the book until the very last page. This complicated tale of love gone bad is truly gripping. This book is no Jackie Collins or Harlequin Romance - it's REALLY REALLY GOOD.

I've read it over three times and every time I do, I always imagine that if St. Michael the greatest Archangel of God ever decided to be a writer, he would write like Warren!

The recent publication of Robert Penn Warren: A Biography by Joseph Blotner may very well announce the definitive biography of one of the most famous American men of letters, a work which is both eminently readable and thoroughly enjoyable, imitating to a great degree the work of Mr. Blotner's subject.

The work is readable because the biographer uses the strictly chronological method, introducing the book with a calendar of important events in Warren's personal and professional life and repeating relevant dates at the top of every page. The reader is guided from RPW's birth in Kentucky to a poetry-loving father and a school teaching mother through a lonely childhood when the frail undersized youngster lived in a self-contained world of books. We learn how the 17 year old lost his chance for a naval career at Annapolis, his fondest dream, when his younger brother flung a piece of coal over a hedge and hit RPW in the eye, the left eye which he would later lose to surgery, and how he entered Vanderbilt University and met John Crowe Ransom, his teacher, the first poet he had ever seen, his idol with whom he shared his own poems in private.

Aided by the vehicle of Blotner's lucid prose style, we travel with Warren as he wins assistantships, fellowships, and scholarships from Vanderbilt to the University of California to Yale and finally to Oxford. We watch him settle into married life, become editor of the Southern Review, and earn fame with his novel All the King's Men.

Like the best biographers, Blotner does not avoid the dark side of his subject. He shows Warren's poetic preoccupation with the loving but aloof father figure, a reflection of his own. He tries to explain Warren's attempted suicide in college as the result of an emotional breakdown because he had fallen so far behind in his studies. He describes the often heart-rending details of Warren's relationship with his first wife whose neurasthenic personality forced her to spend most of her time bedridden and the rest of it fighting with her husband. He devotes the latter part of the book to a detailed description of RPW's last years when, his body riddled by cancer, he wished for death, which arrived mercifully in 1989.

Besides being readable, Mr. Blotner's work is highly entertaining, made more so by his vast research and his way of scattering quotations from letters and works of RPW into the biography's running commentary. We see the human being, not the literary giant, in his letters to friends, such as the following written to Katherine Anne Porter when he was struggling with All the King's Men: "At times I feel that I see my way through the tangle; then at moments, I feel like throwing the whole damned thing into the Tiber." We learn where his passion always was when, being awarded a MacArthur Prize Fellowship, thereby gaining long desired financial independence, he writes: "I've stopped writing anything I don't want to write. Poetry is where my heart is."

If there is any fault to Mr. Blotner's presentation, it is that, like many other biographers, he has become enamored of his subject. He sometimes interrupts his story with subjective praises, such as, "America's preeminent man of letters, master of genres, prodigiously creative, heavy with awards and prizes honoring his genius, Robert Penn Warren was also that rare being, a genuinely good man." In this case, Mr. Blotner perhaps should not be blamed. RPW was, after all, the only writer ever to be awarded the Pulitzer Prize for two genres, fiction and poetry, and twice for the latter. How many other writers excelled in so many genres, including essays, poems, novels, historical fiction, biographies? Perhaps Mr. Blotner's passion for RPW can be forgiven when we consider his subject's view of art and life, "What is man but his passion?" (Audubon: A Vision).