New Releases by Lincoln Kirstein

"Fills out and refines his picturesque memoir of the enlisted man, adding many new poems. In Ballad forms unfashionable today, admittedly inspired by Rudyard Kipling and Robert W. Service, Mr. Kristein has welded together a sequence that can be compared, as its predecessor was, to such diverse works as The Naked and the Dead and Wordsworth''s The Prelude, yet stands out clearly on its own as an enduring picture pf "what is was like". "Mr .Kirstein is startlingly successful at capturing....those very accents of authenticity that made Dere Mabel and Rhymes of a Red cross Man basic utterances of World War I-Kenneth Rexroth, New Times Book Review. New Ballads, each a complete narrative or impression as before, are linked together by a chronology that begins with the narrator''s childhood in Boston during World War I, continues through Basic Training, "Stateside" diversions, the waiting with the Third Army in the U.K., the "Breakthrough" and the armored race toward Germany, V-E Day and after. The characters are GIs and Captains, 4Fs, an SS officer, General Patton, civilians in the U.S. and Europe, and always someone like the another, seeing, hearing, recording, looking back to the civil War, to Tintagel and the Round Table, to a Bayreuth Festival in 1924. The Charlotte, N.C., Observer called the fisrt edition "an exciting book. It is also funny, sad, hard, cheerful, lively, slicing, nasty, moving, quick, vital stuff".-Publisher

The Igor Stravinsky correspondence on The Rake''s Progress consists of correspondence, dated May 1950 to May 1951, between Stravinsky and his lawyer in New York, L. Arnold Weissberger, concerning the mounting of his opera, The Rake''s Progress. Also included are copies of letters to F. H. Ricketson of the Central Civic Opera House Association, Denver, Colorado; Lincoln Kirstein; Howard Taubmann of the New York Times; and Betty Bean and Dr. E. Roth of Stravinsky''s publishers, Boosey & Hawkes, London. The letters discuss business matters pertaining to the production of the opera, financial support for the work, where to stage the premier (including discussions about a possible staging at USC), locations for the opera''s American debut, problems associated with Italian singers performing in English, and various other financial and administrative matters pertaining to the completion and production of the work. Stravinsky''s letters to Weissberger are on his personal letterhead with his Los Angeles address, "1260 N. Wetherly Drive, Hollywood 46, California."