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Conceptual ambition, sense of purpose and a fan’s evangelical devotion distinguish this collection from the typical novelist’s gathering of nonfiction miscellany.

If this is a closet-clearing exercise by Lethem (Chronic City, 2009, etc.), his is an impressively rich closet. In addition to being a writer who blurs the distinction between genre fiction (sci-fi, detective, western) and postmodern literature (a term he questions), Lethem writes with a commitment to sharing his enthusiasm for whatever obsesses him—underdog novelists such as Paula Fox and Thomas Berger, under-acknowledged rock bands such as the Go-Betweens, seminal inspirations such as Philip K. Dick and J.G. Ballard. “I began writing in order to arrive into the company of those whose company meant more to me than any other: the world of books I’d found on shelves and begun to assemble on my own, and the people who’d written them, and the readers who cares as much as I did,” he writes toward the conclusion of this collection. While the results illuminate his formative influences and artistic development, they also cast considerable light on the culture at large, which is both reflected in Lethem’s work and has profoundly shaped it. His personal pantheon extends from popular music (he writes at incisive length about both Bob Dylan and James Brown) to the international literary alchemy of the late Roberto Bolaño, enlisting the reader as an accomplice in his quest. Intensifying that intimacy, he shares his complicated relationships with two college buddies, Bret Easton Ellis and Donna Tartt, who both achieved precocious literary success well before he did, and he recalls his bitter response to James Wood after the latter wrote a mixed review of Lethem’s breakthrough, Motherless Brooklyn. Inevitably a mixed bag, but with high ambitions and a strong sense of purpose.


Pub Date: Nov. 8, 2011

ISBN: 978-0-385-53495-6

Page Count: 480

Publisher: Doubleday

Review Posted Online: Aug. 20, 2011

Kirkus Reviews Issue: Sept. 1, 2011

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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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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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