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NOBODY’S PERFECT

WRITINGS FROM THE NEW YORKER

Another guy who knows how to float like a butterfly and sting like a bee, thoroughly unpredictable as to whether he’ll...

An avalanche of Lane, resident wag at The New Yorker—and how enjoyable it is to be buried under it all.

“I am merely stating an argument,” says the critic. “Freedom to disagree is part of the fun.” A review, he continues, should be “a sensory report on the kind of experience into which [moviegoers] will be wading.” And that’s what he gives us: Lane out there sinking his arm up to the pit in some book, film, or personality, returning from the briars and swamps of culture with a reading of the atmospheric conditions. The writing is debonair, even when he sticks in the knife and gives it a twist. The magazine gives him enough room to stretch his legs, but not so much that he doesn’t have to work at compression; deadlines loom, so the impressions are reactive, but don’t loom so closely that he can’t consider his lines of attack, humor, and benediction. It’s a doorstopper of a tome, and so there are bound to be some slow moments. (“James Bond is doing just fine; it is Ian Fleming who needs help”— too much help, it appears, to warrant an explanation.) And Lane occasionally overdoes the humor in pieces like “Astronauts,” where the taglines fall over one another. Almost always, though, he finds the balance of brains to laughs: Ayn Rand’s Howard Roark, for example, “wants to be a universal life force who happens to specialize in architecture.” His prose swings with the sheer exuberance of someone having a good time and inviting us along, perhaps to spend some moments with a bunch of hairy gents dressed as nuns caroling, “For here you are, standing there, loving me,” and then to explain just how these participants in a “Singalong-a-Sound-of-Music” are involved in the Proustian principle of memory.

Another guy who knows how to float like a butterfly and sting like a bee, thoroughly unpredictable as to whether he’ll administer pain or pleasure.

Pub Date: Sept. 1, 2002

ISBN: 0-375-41448-7

Page Count: 528

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 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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