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LITERARY FEUDS

A CENTURY OF CELEBRATED QUARRELS--FROM MARK TWAIN TO TOM WOLFE

Still, for literary enthusiasts, an amusing compendium of the vitriol and ego for which our most enduring writers somehow...

Readable, engaging look at memorable fights among (mostly) 20th-century literary personalities.

Fulbright scholar Arthur (The Tailor King, 1999, etc.) maintains a lively enthusiasm in examining conflict among prickly literary lions, believing that these episodes address the “paradoxical relationship between these writers’ lives and their works.” His eight chapter-length essays also provide a rich background in different literary epochs. Ironically, some feuds grew out of writers’ early friendships in their years before fame, as in with Mark Twain and Bret Harte; although Twain was initially indebted to Harte, he turned on his mentor after Harte succumbed to impoverished mediocrity. Similarly, Ernest Hemingway’s early expatriate experiences, when he worshipfully attended the Paris salon of Gertrude Stein, were savagely mocked by him once his own fame was established, particularly in response to Stein’s cooling on his work. Interestingly, the most genteel clashes recounted here occur over aesthetic and philosophical conflicts (between Vladimir Nabokov and Edmund Wilson, and, less strikingly, C.P. Snow and F.R. Leavis), while the most vicious feud replays important political schisms between the Old and New Left, via Lillian Hellman’s ill-advised libel suit against Mary McCarthy. Finally, there is the post-1950s free-for-all among privileged white male celebrity writers as Gore Vidal, Truman Capote, Norman Mailer, John Updike, John Irving, and Tom Wolfe have at it, managing to appear both witty and puerile in their elaborate jousts at one another’s expense. Although this is studded with fine-tuned bons mots (as when Vidal opines that to attack Capote is “attacking an elf”), the reader may finally agree with Wilson’s observation that literary feuds find notable authors at their most “querulous and unattractive.” Too, Arthur might have produced a more provocative work had he included more obscure writers and contemporary mud-slingers like Curtis White, Dale Peck, and Francine Prose.

Still, for literary enthusiasts, an amusing compendium of the vitriol and ego for which our most enduring writers somehow set aside the time.

Pub Date: Dec. 13, 2002

ISBN: 0-312-27209-X

Page Count: 256

Publisher: Dunne/St. Martin's

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 1, 2002

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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