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When Rilke first discovered Cezanne's paintings in an art salon in Paris, he was moved to remark, ``all reality is on his side.'' These letters, written to his wife, Clara, are the record of Rilke's efforts to impart something of Cezanne's la realisation to his own life and work, for the painter came to represent for Rilke, the poet, that perfect unity between the creator and his art which he must strive to emulate. A few impressions of van Gogh and other artists are interwoven, but the letters are primarily concerned with Cezanne. With luminous insight, clarity, and sympathy, they reflect how experiencing Cezanne's art became a sort of artistic watershed for Rilke, af ter which he could see with the ``right eyes.'' Highly recommended for liter ary and art collections. Carol J. Lich tenberg, Washington State Univ. Lib., Pullman
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