Art historian Hollander tries to set the record straight about the ``tyranny'' of fashion and to clear its bad name, making a reasonably strong case but offering a surprisingly lifeless account in the process. Hollander (Moving Pictures, 1989, etc.) spends most of the book establishing modern masculine sartorial superiority, setting up the contrast between the men's suit, with its brilliant design- -serious, sexy, timeless—and what, until this century, was mere ephemeral female fashion frippery. From the 1600s until the early 1900s, women's dress became increasingly theatrical and decorative, and received more attention from society (i.e., men), while men's dress set the classical standard. Obscuring female form and motion with tiny waists and voluminous skirts, women's clothing earned fashion the reputation of being manipulative and deceptive. Hollander asserts, to the contrary, that fashion is an ``imaginative art.'' Only in the early 20th century, however, did women's fashion become realistic and dignified. The introduction of short skirts after WW I gave coherence to the female form (and made exposing legs, and thus the wearing of pants, possible). It is just recently, Hollander argues, that female dress has begun to set any significant standards for Western fashion: ``Women finally took over the total male scheme of dress, modified it to suit themselves, and have handed it back to men charged with immense new possiblities.'' Sex and Suits has several major weaknesses, however. Most frustrating, given the book's historical scope (from the Greeks to the Gap), is the profusion of generalizations (``In general, people have always worn what they wanted to wear; fashion exists to keep fulfilling that desire'') and occasional preposterous pronouncements resulting from her attempt to divorce shifts in fashion from social forces. Also, her take on the relationship between gender and contemporary fashion is dated. Still, despite its un-hip feel, a coherent defense of fashion's integrity. (45 b&w photos, not seen)
Pub Date: Sept. 9, 1994
ISBN: 0-679-43096-2
Page Count: 224
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1994
BOOK REVIEW
Literature knows few champions as ardent and insightful—or as uncompromising—as Gornick, which is to readers’ good fortune.
Gornick’s (The Odd Woman and the City, 2016) ferocious but principled intelligence emanates from each of the essays in this distinctive collection.
Rereading texts, and comparing her most recent perceptions against those of the past, is the linchpin of the book, with the author revisiting such celebrated novels as D.H. Lawrence's Sons and Lovers, Colette's The Vagabond, Marguerite Duras' The Lover, and Elizabeth Bowen's The House in Paris. Gornick also explores the history and changing face of Jewish American fiction as expressions of "the other." The author reads more deeply and keenly than most, with perceptions amplified by the perspective of her 84 years. Though she was an avatar of "personal journalism" and a former staff writer for the Village Voice—a publication that “had a muckraking bent which made its writers…sound as if they were routinely holding a gun to society’s head”—here, Gornick mostly subordinates her politics to the power of literature, to the books that have always been her intimates, old friends to whom she could turn time and again. "I read ever and only to feel the power of Life with a capital L," she writes; it shows. The author believes that for those willing to relinquish treasured but outmoded interpretations, rereading over a span of decades can be a journey, sometimes unsettling, toward richer meanings of books that are touchstones of one's life. As always, Gornick reveals as much about herself as about the writers whose works she explores; particularly arresting are her essays on Lawrence and on Natalia Ginzburg. Some may feel she has a tendency to overdramatize, but none will question her intellectual honesty. It is reflected throughout, perhaps nowhere so vividly as in a vignette involving a stay in Israel, where, try as she might, Gornick could not get past the "appalling tribalism of the culture.”
Literature knows few champions as ardent and insightful—or as uncompromising—as Gornick, which is to readers’ good fortune.Pub Date: Feb. 4, 2020
ISBN: 978-0-374-28215-8
Page Count: 176
Publisher: Farrar, Straus and Giroux
Review Posted Online: Oct. 9, 2019
Kirkus Reviews Issue: Nov. 1, 2019
PERSPECTIVES
PERSPECTIVES
“Ideology is fairy tales for adults.” Thus writes economist and conservative maven Sowell in a best-of volume shot through with…ideology.
Though he resists easy categorization, the author has been associated with hard-libertarian organizations and think tanks such as the Hoover Institution for most of his long working life. Here he picks from his numerous writings, which have the consistency of an ideologue—e.g., affirmative action is bad, period. It’s up to parents, not society or the schools, to be sure that children are educated. Ethnic studies and the “mania for ‘diversity’ ” produce delusions. Colleges teach impressionable Americans to “despise American society.” Minimum-wage laws are a drag on the economy. And so on. Sowell is generally fair-minded, reasonable and logical, but his readers will likely already be converts to his cause, for which reason he does not need to examine all the angles of a problem. (If it is true that most gun violence is committed in households where domestic abuse has taken place, then why not take away the abusers’ guns as part of the legal sentencing?) Often his arguments are very smart, as when he examines the career of Booker T. Washington, who was adept in using white people’s money to advance his causes while harboring no illusions that his benefactors were saints. Sometimes, though, Sowell’s sentiments emerge as pabulum, as when he writes, in would-be apothegms: “Government bailouts are like potato chips: You can’t stop with just one”; “I can understand why some people like to drive slowly. What I cannot understand is why they get in the fast lane to do it.” The answer to the second question, following Sowell, might go thus: because they’re liberals and the state tells them to do it, just to get in the way of hard-working real Americans. A solid, representative collection by a writer and thinker whom one either agrees with or not—and there’s not much middle ground on which to stand.
Pub Date: Oct. 4, 2011
ISBN: 978-0-465-02250-2
Page Count: 448
Publisher: Basic Books
Review Posted Online: Aug. 10, 2011
Kirkus Reviews Issue: Sept. 1, 2011
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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