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Balls for a One-Armed Juggler
In a recent survey of Canadian poetry, Milton Wilson said of Irving Layton:
"I look forward to elaborate and fantastic visions of judgement, to wry subtle, even comic exploitations of his aging ego, and finally to the full poetic emergence of Layton the moralist and dramatist."
In BALLS FOR A ONE-ARMED JUGGLER, Layton has fulfilled these predictions made by one of Canada's most perceptive and intelligent critics. This is a book to pout beside Whitman's LEAVES OF GRASS and Beaudelaire's FLOWERS OF EVIL as achieving an intense personal definition.
Layton asks in his forward: "What insight does the modern poet give us into the absolute evil of our time?" He believes the poet must remember "he addresses mankind at large, not small coteries of the frightened and sensitive" and that "there is a new dark knowledge waiting to be assimilated into the minds and consciences of those who are his contemporaries.
This volume is a distillation of Laton's previous ones. The same preoccupations are here - poetry, sex, society, evil - but they has been crystallized by an enlarged and more complex awareness as well as by a severe mastery of craft so that only the purest elements remain.
Regarded by many as this country's most substantial poet, Irving Layton has published sixteen volumes of original work, besides editing two anthologies of Canadian verse, the most recent of which is the very successful LOVE WHERE THE NIGHTS ARE LONG. His poems appeared in numerous Canadian, American, and English periodicals and have been translated into Italian, Spanish, Portuguese, German, and French. In 1960 he received the Governor-General's Medal for his A RED CARPET FOR THE SUN and in the following year the President's Medal from the University of Western Ontario. He won a Canada Council award in 1959.
"I look forward to elaborate and fantastic visions of judgement, to wry subtle, even comic exploitations of his aging ego, and finally to the full poetic emergence of Layton the moralist and dramatist."
In BALLS FOR A ONE-ARMED JUGGLER, Layton has fulfilled these predictions made by one of Canada's most perceptive and intelligent critics. This is a book to pout beside Whitman's LEAVES OF GRASS and Beaudelaire's FLOWERS OF EVIL as achieving an intense personal definition.
Layton asks in his forward: "What insight does the modern poet give us into the absolute evil of our time?" He believes the poet must remember "he addresses mankind at large, not small coteries of the frightened and sensitive" and that "there is a new dark knowledge waiting to be assimilated into the minds and consciences of those who are his contemporaries.
This volume is a distillation of Laton's previous ones. The same preoccupations are here - poetry, sex, society, evil - but they has been crystallized by an enlarged and more complex awareness as well as by a severe mastery of craft so that only the purest elements remain.
Regarded by many as this country's most substantial poet, Irving Layton has published sixteen volumes of original work, besides editing two anthologies of Canadian verse, the most recent of which is the very successful LOVE WHERE THE NIGHTS ARE LONG. His poems appeared in numerous Canadian, American, and English periodicals and have been translated into Italian, Spanish, Portuguese, German, and French. In 1960 he received the Governor-General's Medal for his A RED CARPET FOR THE SUN and in the following year the President's Medal from the University of Western Ontario. He won a Canada Council award in 1959.
- GenresPoetry
122 pages, Hardcover
First published January 1, 1963
3 people want to read
About the author
Irving Layton
85 books40 followersPoet, Teacher.
Born as Israel Pincu Lazarovitch, author Irving Layton immigrated to Canada in 1913, as a baby, his family settling on the infamous St. Urbain Street in the city of Montreal. In the heavily French-speaking province of Quebec, some locals were weary of English foreigners and Jewish families, however, the Lazarovitches adapted to the city where a great Canadian literary scene flourished, producing several English (Canadian) authors such as Mordecai Richler, Leonard Cohen and Louis Dudek.
In the early 1930's, Irving Layton received a Bachelor of Science degree in Agriculture from MacDonald College. In 1946, he received his M.A. in Political Science. He also began teaching English, History, and Political Science at the Jewish parochial high school, Herzliah, in 1949. He taught modern English and American poetry at Sir George Williams University (now Concordia) and worked as a tenured professor at York University in the 1970s. He lectured occasionally at McGill University in Political Science. He taught English and Literature at the Jewish Public Library.
Irving Layton often recited his works at readings and travelled the world doing so, gaining fame and popularity. Over the course of his life, Irving Layton received many awards and honours for his writing. In 1959, Irving Layton received the Governor-General's Award for "A Red Carpet for the Sun." He was titled an Officer of the Order of Canada in 1976. In 1981, he was nominated for the Nobel Prize for Literature by Italy and South Korea. He also received the Petrarch Award for Poetry.
Well loved, Irving led a full life surrounded by students, friends and family. He was married four times - to Faye Lynch, Harriet Bernstein, Annette Pottier and Betty Sutherland. He also lived with a woman named Aviva Cantor for several years. He fathered four children during his life named Max, Naomi, David and Samantha Clara.
Born as Israel Pincu Lazarovitch, author Irving Layton immigrated to Canada in 1913, as a baby, his family settling on the infamous St. Urbain Street in the city of Montreal. In the heavily French-speaking province of Quebec, some locals were weary of English foreigners and Jewish families, however, the Lazarovitches adapted to the city where a great Canadian literary scene flourished, producing several English (Canadian) authors such as Mordecai Richler, Leonard Cohen and Louis Dudek.
In the early 1930's, Irving Layton received a Bachelor of Science degree in Agriculture from MacDonald College. In 1946, he received his M.A. in Political Science. He also began teaching English, History, and Political Science at the Jewish parochial high school, Herzliah, in 1949. He taught modern English and American poetry at Sir George Williams University (now Concordia) and worked as a tenured professor at York University in the 1970s. He lectured occasionally at McGill University in Political Science. He taught English and Literature at the Jewish Public Library.
Irving Layton often recited his works at readings and travelled the world doing so, gaining fame and popularity. Over the course of his life, Irving Layton received many awards and honours for his writing. In 1959, Irving Layton received the Governor-General's Award for "A Red Carpet for the Sun." He was titled an Officer of the Order of Canada in 1976. In 1981, he was nominated for the Nobel Prize for Literature by Italy and South Korea. He also received the Petrarch Award for Poetry.
Well loved, Irving led a full life surrounded by students, friends and family. He was married four times - to Faye Lynch, Harriet Bernstein, Annette Pottier and Betty Sutherland. He also lived with a woman named Aviva Cantor for several years. He fathered four children during his life named Max, Naomi, David and Samantha Clara.
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Displaying 1 - 2 of 2 reviews
January 25, 2025
Irving Layton’s Balls for a One-Armed Juggler is a bold, provocative exploration of masculinity, brimming with the raw energy and unfiltered voice that defines his poetic legacy. Published during an era when conventional ideals of manhood were being questioned and redefined, Layton’s work encapsulates the tensions between traditional machismo and a more vulnerable, self-aware masculinity.
At first glance, Layton’s poetic voice appears brash, even unapologetically domineering, a hallmark of his persona. His tone often carries the weight of bravado, a swaggering confidence that challenges societal norms and poetic decorum alike. Yet, upon closer reading, this machismo is far more complex than mere posturing. Layton’s masculinity is layered—a performance that reveals underlying insecurities, tender observations, and a relentless search for authenticity.
The titular poem, "Balls for a One-Armed Juggler," exemplifies this dynamic. Layton’s use of visceral imagery and unorthodox metaphors reflects both the strength and the fragility of the human condition. The juggler, a figure of resilience and determination, is also a poignant symbol of imperfection and struggle. Layton’s admiration for such flawed persistence mirrors his own wrestling with what it means to be a man in a world rife with contradictions.
Throughout the collection, Layton’s machismo voice is tempered by moments of vulnerability and introspection. Poems addressing love, aging, and mortality reveal an unexpected softness, a willingness to confront emotional truths often obscured by societal expectations of masculinity. His portrayal of romantic relationships, for instance, oscillates between fiery passion and profound tenderness, challenging the reader to reconcile these seemingly opposing forces.
Layton’s exploration of masculinity is not without its critiques. At times, his bravado can feel overbearing, overshadowing the subtler, more nuanced elements of his poetry. However, this tension—between the bombastic and the introspective—is precisely what makes his work so compelling. It reflects the complexity of masculinity itself: a performance that both asserts and questions, that seeks to dominate while yearning to connect.
Ultimately, Balls for a One-Armed Juggler is a masterful examination of the human spirit, filtered through the lens of a poet unafraid to confront his contradictions. Layton’s voice, simultaneously abrasive and tender, invites readers to wrestle with their own understandings of identity, strength, and vulnerability. For anyone interested in the interplay between poetry and masculinity, this collection is a great read.
At first glance, Layton’s poetic voice appears brash, even unapologetically domineering, a hallmark of his persona. His tone often carries the weight of bravado, a swaggering confidence that challenges societal norms and poetic decorum alike. Yet, upon closer reading, this machismo is far more complex than mere posturing. Layton’s masculinity is layered—a performance that reveals underlying insecurities, tender observations, and a relentless search for authenticity.
The titular poem, "Balls for a One-Armed Juggler," exemplifies this dynamic. Layton’s use of visceral imagery and unorthodox metaphors reflects both the strength and the fragility of the human condition. The juggler, a figure of resilience and determination, is also a poignant symbol of imperfection and struggle. Layton’s admiration for such flawed persistence mirrors his own wrestling with what it means to be a man in a world rife with contradictions.
Throughout the collection, Layton’s machismo voice is tempered by moments of vulnerability and introspection. Poems addressing love, aging, and mortality reveal an unexpected softness, a willingness to confront emotional truths often obscured by societal expectations of masculinity. His portrayal of romantic relationships, for instance, oscillates between fiery passion and profound tenderness, challenging the reader to reconcile these seemingly opposing forces.
Layton’s exploration of masculinity is not without its critiques. At times, his bravado can feel overbearing, overshadowing the subtler, more nuanced elements of his poetry. However, this tension—between the bombastic and the introspective—is precisely what makes his work so compelling. It reflects the complexity of masculinity itself: a performance that both asserts and questions, that seeks to dominate while yearning to connect.
Ultimately, Balls for a One-Armed Juggler is a masterful examination of the human spirit, filtered through the lens of a poet unafraid to confront his contradictions. Layton’s voice, simultaneously abrasive and tender, invites readers to wrestle with their own understandings of identity, strength, and vulnerability. For anyone interested in the interplay between poetry and masculinity, this collection is a great read.
March 21, 2024
I'm angry. Furious. Enraged. Irritated. Infuriated. Aggravated. Incensed. Vexed. Wrathful. Fuming. Riled. Peeved. Exasperated. Livid. Cross. Incensed. Outraged. Perturbed. Displeased. Resentful. Upset. Agitated. Testy. Bitter. Offended. Indignant. Provoked. Rankled. Ruffled. Disgruntled. Huffy. Seething.
Displaying 1 - 2 of 2 reviews