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THE PUSHCART PRIZE XXV

BEST OF THE SMALL PRESSES

Seventy-four entries were selected out of over 5,000 nominations. Another cut might well have been made, but there is wheat...

The 25th anniversary edition of a tradition in American literature, heavier on quantity than quality but still worth perusing for some showstoppers.

Henderson’s introduction alone makes for worthwhile reading: the cast of beginning editors he names reads like the list for a literary hall of fame, and his history of the prize charts a recent trajectory of publishing at large. Among this year’s entries, essays, memoirs, and short stories dominate, with poems interspersed like an unfortunate form of punctuation: Cathleen Calbert’s “Bad Judgement,” with its dazzling and vibrant rhythm and flow, and the brutally full-bore “Six Apologies, Lord” by Olena Kalytiak Davis, among a few others, are strong exceptions. But it is a dozen or so short stories and a few memoirs and essays that deserve special recognition. Standouts include Salvatore Scibona’s “Prairie” (which evokes the solitary feel of growing up the Canadian prairie), Ken Kalfus’s “PU-239” (which tells of a nuclear reactor technician with nothing to lose), and other impressive inclusions (such as Kathleen Hill’s “The Annointed,” Jane McCaffrey’s “Berna’s Place,” and Joan Silber’s “Commendable”). Memoirs are surprisingly good: Bret Lott’s “Toward Humility” is notable, as well as Andrew Hudgins’s “Half-Answered Prayers.” And there is literary criticism, as well: in “Milton at the Bat,” Jeffrey Hammond writes a defense of Milton that reads like a modern-day defense of poetry. It is ironic that Hammond’s piece shares the stage with Seamus Heaney’s “New Staves” (an attempt to answer the question “What good is poetry?”), since a comparison of the two illustrates the imbalance that appears throughout the collection: while Heaney’s answer feels flat and rote, Hammond’s is enthusiastic and convincing.

Seventy-four entries were selected out of over 5,000 nominations. Another cut might well have been made, but there is wheat here among the chaff.

Pub Date: Nov. 1, 2000

ISBN: 1-888889-22-5

Page Count: 620

Publisher: Pushcart

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 1, 2000

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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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