His breadth is intimidating, his depth daunting, and his conclusions staggering. (26 plates)
How far from an object or event do we need to be to see it clearly? In nine connected essays, noted Italian intellectual Ginzburg ponders the nexus between distance and vision and thus explores the relationship between the difficulties of objectivity and the confusions of subjectivity.
From this stimulating starting point, Ginzburg (History/UCLA and Univ. of Bologna; The Cheese and the Worms, not reviewed, etc.) acts as intellectual cicerone for an arty/smarty jaunt through the ages. The heavyweights of the western tradition are trotted out, poked, pondered, and plundered as he teases new insights from an impressive array of materials. The scope of his primary sources—philosophers from Aristotle to Adorno, authors from the gospel writers to Proust, artists from Caravaggio to Magritte—befits a thinker of dazzling erudition and innovative brio. Chapters typically begin with a quick distillation of a moment of cultural concern, such as Pope John Paul II's apology for Catholic anti-Semitism, third-century Biblical scholar Origen's “Homilies on Exodus,” or Alan Sokal's postmodern hoax in Social Text that rocked the ivory towers of academia in 1996. Ginzburg stitches one thinker to another, piecing together a world of disparate geniuses into a unified analysis of human perception. In one of many memorable passages, he analyzes the moral implications of proximity by probing a moment from Balzac's Le Père Goriot, in which two characters muse over the necessary emotional distance to commit murder. He persuasively argues that questions of distance and perception are inextricably tied to matters of myth, morality, conscience, deceit, representation, and culture. Ginzburg's work represents the finest in philosophical musings, as he coaxes the reader into new perceptions of the seemingly simple concept of distance, which he renders startlingly fresh.
His breadth is intimidating, his depth daunting, and his conclusions staggering. (26 plates)Pub Date: Aug. 1, 2001
ISBN: 0-231-11960-7
Page Count: 260
Publisher: Columbia Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2001
Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.
Pub Date: Aug. 22, 1983
ISBN: 143511096X
Page Count: 133
Publisher: Morrow/HarperCollins
Review Posted Online: Oct. 16, 2011
Kirkus Reviews Issue: Aug. 1, 1983
A crash course in big-bucks tort litigation, as rich as any novel on the scene. In the mid-'70s, the small industrial town of Woburn, Mass., found itself afflicted with a plague of biblical dimensions: 12 local children, 8 of them close neighbors, had died (or were dying) of leukemia. The parents suspected the water supply, which was foul-smelling, rusty, and undrinkable, but they had no hard evidence of a link to the cancers. But in 1979, the accidental discovery of carcinogenic industrial wastes in the town's wells led the grieving parents to hire personal-injury lawyer Jan Schlichtmann, new to the profession but intoxicated with the sizable damages he'd won so far. This is magazine journalist Harr's first book, but his complex portrait of Schlichtmann is the work of a master. Egomaniacal, quixotic, workaholic, greedy, altruistic, and naive, Schlichtmann is Everylawyer, and as he allows the Woburn case to consume his practice, he almost loses his license and his life. Harr wisely downplays the dying-children angle, focusing instead on Schlichtmann's case against the two corporate Goliaths who dumped the waste: Beatrice Foods (represented by Jerome Facher of Boston's Hale & Dorr) and W.R. Grace (represented by William Cheeseman of Boston's Foley, Hoag & Eliot). Despite their white- shoe lineage, Facher and Cheeseman play dirty, withholding evidence and repeatedly seeking Schlichtmann's suspension for having filed a ``frivolous'' lawsuit. But the real villain of the story is Federal District Judge Walter J. Skinner, whose personal dislike of Schlichtmann (and camaraderie with Facher) leads him to grant the defense's motion to split the trial into two protracted phases. By the time Judge Skinner submits four incomprehensible questions to be bewildered jury, Woburn's young victims have been forgottenand the whole legal system has suffered a tragic loss. A paranoid legal thriller as readable as Grisham, but important and illuminating. (Film rights to Disney)
Pub Date: Sept. 1, 1995
ISBN: 0-394-56349-2
Page Count: 512
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1995
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