by Arnold Weinstein ‧ RELEASE DATE: March 21, 2006
Weinstein’s lengthy exegeses and analyses are not for the casual reader, but those who share his taste for challenging...
The author of A Scream Goes Through the House (2003) again examines what art reveals about our psyches, this time focusing on the novels of four modernist writers and one late-20th-century successor.
“These groundbreaking narratives seek to uncover the actual shape and texture of a life . . . its inside testimony of consciousness,” states Weinstein (Comparative Literature/Brown Univ.) in the preface to his dense, closely argued work of literary criticism. In Marcel Proust’s Remembrance of Things Past, people and even things are seldom what they seem; Proust’s seven-part epic is a “false-bottomed suitcase” that constantly undercuts the narrator’s (and readers’) perceptions to show how subjective our notions of the world are. James Joyce’s Ulysses plays every kind of game with the conventional novel to vividly recreate the complexities of the mind and the insistent demands of the body. In Mrs. Dalloway and To the Lighthouse, Virginia Woolf enters into her characters’ thoughts to remind us that “the self lives in and through others”; identity is a social relationship for her. William Faulkner’s doomed white Southerners in The Sound and the Fury and Absalom, Absalom sometimes can’t even distinguish between their inner torment and the brutal physical reality around them. While these writers plumb their characters’ interiors, Toni Morrison blisteringly shows black people so maimed by the horrors of slavery that they fear to explore their memories at all: “the untold, unknown, unshareable personal story . . . has become, in Beloved, lethal.” No brief résumé can do justice to Weinstein’s passionate examination of these seminal works, whose difficulty he acknowledges while persuasively contending that the authors had to break with 19th-century traditions in order to capture the ferment and instability of “life as we live it [without] an omniscient narrator.”
Weinstein’s lengthy exegeses and analyses are not for the casual reader, but those who share his taste for challenging fiction will be moved by his love for books that “both shock and educate us about the scope and intensity of human feeling.”Pub Date: March 21, 2006
ISBN: 1-4000-6094-X
Page Count: 528
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2006
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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
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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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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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