Immense critical biography that makes Kafka the ``representative man'' of the 20th century and places him at the center of High Modernism in Prague. Karl (William Faulkner: American Writer, 1989, etc.; English & American Literature/NYU) draws on a relentless tide of fact and historical reasoning to separate out Kafka's many variations on himself: as obsessive writer, episodic depressive, diarist, insurance agent, letter writer, family member, disease victim, lifelong hypochondriac, frequenter of gentile Czech prostitutes, and man who belonged to a despised German-speaking minority within a Jewish minority and felt he had no native tongue with which to speak his deepest feelings. But each time Karl quotes Kafka, the writer springs alive on the page and struggles against the biography hardening around his ankles. Is this nervous, evasive phantom at last to be set before us plain, his every private thought caught naked? Working in Karl's favor, once one accepts his unsmiling seriousness, is Kafka himself, a spellbinding creature. Working against Karl is his tie to the reader, who hopes for the comfortable familiarity of Brian Boyd on Nabokov or the artistry and fervor of Richard Ellmann on Joyce—but must settle for a faceless and not very graceful biographer intent on his cultural perspectives and on proving something many readers may not care about anyway. All this said, this is a generally gripping and edifying book. Fresh material comes from works in German unavailable to English-language readers, from what Karl ``discovered in Prague about Kafka's cultural activities,'' and from a newly unearthed batch of 32 letters Kafka wrote to his parents near the end of his life. Karl is as rich with ideas and as fearless at entering Kafka's world as was Kafka himself. Despite its flaws, then, an important biography and likely to become a standard critical biography of K. (Thirty-two page b&w photo insert—not seen.)
Pub Date: Nov. 1, 1991
ISBN: 0-395-56143-4
Page Count: 768
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1991
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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