Writing with his usual stylistic verve and penetration, Kazin examines our great authors' uneasy but self-sufficient sense of God. In his fifth decade of producing criticism, Kazin masterfully continues the old-fashioned, demanding critical tradition of intimately reading the great works and grounding an analysis of them in a sense of history and biography. Like his survey of nature in American letters, A Writer's America: Landscape in Literature (1988), this new work is a focused retracing of manifestations of our country's brand of Protestantism, typically Calvinist, in the works of major writers, from Hawthorne's struggles with his Puritan inheritance to Faulkner's God-forsaken vision of the postCivil War South. Kazin is not out to reassess his familiar subjects— Melville, Whitman, Dickinson, T. S. Eliot, etc.—in any radical fashion, however passionately he writes about them. Nor, in his august manner, does he acknowledge much previous critical writing, even, most obviously, Van Wyck Brooks on Puritanism, Twain, or Emerson. Often, basic close readings are the chief matter, such as of Hawthorne's The Scarlet Letter, Whitman's Leaves of Grass, and Dickinson's poetry. When he finds a good anecdote or quote, he is apt to repeat it for its own sake, to say nothing of his dropping of eminent names. Deflating memories of the elderly Robert Frost in his egotistical, hoary-Yankee mode caustically pervade an examination of the poet's complex views of human existence and natural design. Conversely, Kazin musters a stirring, fervently moral tone to take on the religious watershed of abolitionism and the Civil War, encompassing Harriet Beecher Stowe's Uncle Tom's Cabin (``New England's last holiness'') and Lincoln's remarkable Second Inaugural Address on divine providence. Often more ecstatic than analytic, still this is an intensely erudite rereading of American authors' varieties of religious experience.

Pub Date: Oct. 16, 1997

ISBN: 0-394-54968-6

Page Count: 259

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 1997

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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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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.


New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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