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QUARREL AND QUANDARY

Name: QUARREL AND QUANDARY
Author: Cynthia Ozick
ISBN: 0-375-41061-9

ESSAYS

by Cynthia Ozick ‧ RELEASE DATE: Sept. 13, 2000

Ozick is perceptive as usual, but these often seem like old war-horses revisiting familiar battlefields.

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Ozick's new collection of essays from such magazines as The New Republic and The American Scholar thoughtfully explores the delicately calibrated and often adversarial tensions that affect the relation between art and politics.

In her foreword, the author admits to resisting the political, but suggests that in writing on such highly politicized figures as Anne Frank and the Unabomber, she might have "willfully entered the lists of tenet and exigency." While George Orwell may have been right that the claim that "art had nothing to do with politics is itself a political attitude," Ozick nevertheless resists those who chide Jane Austen for not criticizing British Imperial policy. Two notable pieces, "Who Owns Anne Frank?" and "Public Intellectuals," provocatively explore these two opposing positions. The first is a quiet but impassioned objection to the way Anne Frank's life (especially in the dramatized version of her diary) has been transformed into a universal message of hope and forgiveness that ignores the reality of evil. In Ozick's opinion, it might have been better if the diary had never been found. In the second, she chides E.M. Forster for making "art for art's sake" the theme of a speech he delivered at a writer's conference in 1941—as war raged in Europe. Two personal essays, "A Drugstore Eden" and "How I Got Fired From My Summer Job," are, respectively, an affectionate recollection of reading in the hammock behind her father's drugstore, and a wryly humorous account of misunderstandings and differing expectations. In other notable essays she compares Dostoevsky, a former radical, with the Unabomber; notes that the movie of Henry James's Portrait of a Lady is inferior to the novel, and again, referring often to James, explores an artist's need to be selfish.

Ozick is perceptive as usual, but these often seem like old war-horses revisiting familiar battlefields.

Pub Date: Sept. 13, 2000

ISBN: 0-375-41061-9

Page Count: 288

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 15, 2000

Categories:

GENERAL NONFICTION

- BOOK REVIEW
ANTIQUITIES
by Cynthia Ozick

- BOOK REVIEW
CRITICS, MONSTERS, FANATICS, AND OTHER LITERARY ESSAYS
by Cynthia Ozick

- BOOK REVIEW
FOREIGN BODIES
by Cynthia Ozick

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.