THE BLACK DEATH AND THE TRANSFORMATION OF THE WEST

Bold, novel theories, sure to be controversial, about the medieval pandemic known as the Black Death, by late Brown University historian Herlihy. The European pestilence (dubbed the Black Death centuries later by northern European scholars) began in 1348 and ravaged the continent in intermittent waves for a century. In that time it killed millions; Herlihy estimates that in villages as far apart as England and Italy populations were reduced by as much as 70 or 80 percent. It is regarded as one of European history's watershed events. While not disputing that, Herlihy revisits much of the conventional wisdom about the demographic, cultural, and even medical impact of the plague. Indeed, he questions whether the Black Death even was plague: He notes that medieval chroniclers did not mention epizootics (mass deaths of rats or other rodents, which are a necessary precursor to plague) and did mention lenticulae or pustules or boils over the victims' bodies, which is not characteristic of plague. Herlihy observes that the illness showed some signs of bubonic plague, some of anthrax, and some of tuberculosis, and speculates that perhaps several diseases ``sometimes worked together synergistically to produce the staggering mortalities.'' Herlihy sees Europe before the Black Death as engaged in a ``Malthusian deadlock'' in which a stable population devoted most of its energy to production of food and subsistence goods. The precipitous population decline occasioned by the Black Death compelled Europe to devise labor-saving technologies that transformed the economy. In more controversial theories, Herlihy argues from the increased use of Christian given names that the Black Death caused the Christianization of what had formerly been a pagan society with a Christian veneer, and contends that in the wake of the pestilence Europeans turned to preventive measures such as birth control to check explosive population growth. A stimulating discussion of some rarely considered aspects of one of history's turning points.

Pub Date: Sept. 28, 1997

ISBN: 0-674-07612-5

Page Count: 128

Publisher: Harvard Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 1997

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

SEVERAL SHORT SENTENCES ABOUT WRITING

New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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