From Library Journal
When Caedmon originally produced these recordings, in the 1950s, they were on vinyl. Remastering them for cassette brings with it the question of how attentive potential listeners are going to be. And for Cummings and Pound, it's important that people listen closely. Cummings's voice is melodic, but those unfamiliar with his poems on the page will miss much of the subtle play with words that has become his trademark. Pound is, arguably, the finest poet here, but even his narrative portraits are speckled with foreign phrases, and there aren't clear demarcations between poems, further confusing the listener. It's therefore not surprising that this package contains only one cassette. Sandburg, who considered himself a populist poet, addressing the people much as an orator would, is actually better heard than read. All his finest longer works are here, including a more than generous selection from "The People, Yes." Keep in mind that these tapes were culled from several different recordings, so there are wide variances in tone, pitch, and quality. Sandburg is highly recommended; the other two are for larger collections. Rochelle Ratner, formerly with "Soho Weekly News," New York
Copyright 2001 Reed Business Information, Inc.
Cummings's eccentric use of punctuation and typography often intimidated readers. But the sheer cadences of the poems in this long program reveal their profound meanings. We gain further insight into his art through the lectures included in the program. Cummings's voice is unexpectedly high, and, like many poets, he has a habit of raising the inflection in his voice at the end of phrases. He seems to come alive as a reader in the selections recorded before a live audience. Because the recordings span Cummings's career, the quality is uneven. He gives no introduction to any of his poems. P.B.J. © AudioFile 2002, Portland, Maine--
Copyright © AudioFile, Portland, Maine
