Fair enough, The Best-Loved Poems of Jacqueline Kennedy Onassis
may have become Caroline Kennedy's way of paying grand tribute to her late queen. In this anthology, she has managed to present Jackie's insights that were rather untapped by publicity.
The collection by parts ordered, is equipped with Caroline's introductions about how essential human aspects came to be signified or why the poems included mattered to her mother as well as (eventually) to their family in her youth.
Looking inside of the private Mrs. Kennedy could for an ordinary reader occur to be such an overwhelming poetic journey to cherish (as of an ideal and most promising remembrances with classic outfit). Most poems reflect the way she was brought up besides her latter influence by JFK's plagued yet intellectual administration.
America made her reach beyond herself like what the hero in Paul
Revere had suggested, being aroused by patriotism. Works by Emily Dickinson, Edna St. Vincent Millay and Robert Louis Stevenson would altogether say of Jackie's connection with the mundane yet mirthful human traditions and conservative routine with nature. Where life appeared to be passing under dull tone, she would don spirit of adventure in a way poets like Cavafy and Frost would celebrate through “Ithaca” and “The Road Not Taken” respectively, with verses truly powerful to stir enthusiasm against humdrum. Readers may also delight in the wandering Aengus' song which implies that Jackie's choice of Yeats is a means to escape into a world no wonders escape possibilities. In love, there is every reason to be hopeful and certain with Shakespeare's sonnets which the former First Lady had loaded in the April evening of Elizabethan poetry and music at the White House (1963) believing that love and passion, are entities inseparably fueled by poetry. She even made significant consideration of introspective moments for which were selected some uplifting Biblical passages and poems like “The Negro Speaks of Rivers” by Langston Hughes and the equally compelling “Ozymandias” by Shelley that strikes a chord on every heart found guilty under austere pride and corruption.
Caroline Kennedy devoted the book's last section to affirming her mother 'in her own words' and giving credits for her father. It justifies the sincerity of Jackie's emotions and wisdom with which she would like readers engaged, to manage their share of poesy—a unique experience even Caroline is convicted to continue herself within her family and the generations to follow, echoing the message down any other lines of descent the world throughout. Once reading this book goes twice, it would be hard to imagine how far repeating those poems may soar in freedom that readers' minds would surely find their hidden art stunning to explore about.