As if Norman Mailer had devoured Derrida and spit out the bones.
Bare-chested, sometimes self-conscious lit-crit from novelist/professor Williamson (East Bay Grease, 1999, etc.).
Williamson’s ostensible subject is Jack London, who grew up down the street in Oakland a century before him. London does not figure in the canon, that body of received, approved literature of which Williamson is a champion: “When I get rolling in defense of the canon, my heart rate increases, my speech quickens, and I need only a pulpit to make the picture complete.” Not that the canon is complete. Williamson remarks that Poe was admitted to it not so long ago (perhaps, he does not say, because the French adore him), while Steinbeck and many others remain outside it. (Toni Morrison, on the other hand, is in it—Williamson finds her the lesser writer, but there it is.) London is problematic: He is, or at least was, popular, and “good stories that can be enjoyed by the hoi polloi . . . are not art”; and he espoused extreme political views that progressed from socialistic to fascistic with not much in between—all in keeping, Williamson proposes, with the luck of a poor kid who manages to get out of his crummy surroundings and then realizes just what lowlifes he had been forced to live among. Williamson, himself brought up in the East Bay’s rougher territory, stakes an us-against-the-world argument there: It’s a poor thing, and only someone brought up poor can understand why a person might call for the disenfranchisement of the unwashed masses. Mussolinian echoes aside, Williamson does venture that as the canon is changing and growing, it may find room for London and the other dead-end kids of the pen: “The poor are slowly infiltrating the ranks of academia, and in revolutionary fashion, they’re torching the fortress.” Fans of White Fang and The Iron Heel will rejoice. The deconstructionists, on the other hand . . .
As if Norman Mailer had devoured Derrida and spit out the bones.Pub Date: Oct. 20, 2007
ISBN: 978-1-933896-11-3
Page Count: 216
Publisher: Texas A&M Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2007
BOOK REVIEW
BOOK REVIEW
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
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
BOOK REVIEW
BOOK REVIEW
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