A practical, nonboring companion for writers aiming to hone their style.
A self-described "language enthusiast" analyzes memorable sentences.
Woods, author of English Grammar for Dummies, among dozens of other books on writing and literature, offers an upbeat, informative guide for writers and readers, focused on the power of sentences. Each of the 25 chapters highlights one exemplary sentence, supplemented by many others that illustrate the same technique, drawn from a capacious range of sources, including Virginia Woolf, Stephen King, Dylan Thomas, Bob Dylan, the King James Bible, and even ads for potato chips, candy, and soda. Woods avoids literary jargon and carefully explains terms that might be unfamiliar to nonspecialist readers. Looking at structure, for example, she identifies several interesting constructions—parallelism, reversed sentences, questions, for example—and “crossed sentences,” which she calls “the neon signs of the sentence world. They attract attention.” Her primary example is John F. Kennedy’s “Ask not what your country can do for you, ask what you can do for your country,” and she also cites Groucho Marx: “Money will not make you happy, and happy will not make you money.” Some sentences, notes the author, succeed through surprise, such as Lucille Ball’s “The secret to staying young is to live honestly, eat slowly, and lie about your age.” A section on diction examines verbs, tone, word shifts (Gertrude Stein’s “There is no there there” is one example), and inventive coinage. Poetry appears most frequently in chapters on sound (onomatopoeia, repetition, and matching sounds) and visual presentation. A section on connection/comparison analyzes use of the first person and second person, synesthesia, and contrast—e.g., Neil Armstrong’s famous “That’s one small step for a man, one giant leap for mankind.” A final section on “Extremes” focuses on unusually long “marathon sentences” and sentences that are marvels of concision, such as E.M. Forster’s “Only connect.” Each chapter ends with inventive writing exercises.
A practical, nonboring companion for writers aiming to hone their style.Pub Date: Aug. 18, 2020
ISBN: 978-1-324-00485-1
Page Count: 256
Publisher: Norton
Review Posted Online: April 20, 2020
Kirkus Reviews Issue: May 15, 2020
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.
A brisk study of 20 of the Bard’s plays, focused on stripping off four centuries of overcooked analysis and tangled reinterpretations.
“I don’t really care what he might have meant, nor should you,” writes Smith (Shakespeare Studies/Oxford Univ.; Shakespeare’s First Folio: Four Centuries of an Iconic Book, 2016, etc.) in the introduction to this collection. Noting the “gappy” quality of many of his plays—i.e., the dearth of stage directions, the odd tonal and plot twists—the author strives to fill those gaps not with psychological analyses but rather historical context for the ambiguities. She’s less concerned, for instance, with whether Hamlet represents the first flower of the modern mind and instead keys into how the melancholy Dane and his father share a name, making it a study of “cumulative nostalgia” and our difficulty in escaping our pasts. Falstaff’s repeated appearances in multiple plays speak to Shakespeare’s crowd-pleasing tendencies. A Midsummer Night’s Dream is a bawdier and darker exploration of marriage than its teen-friendly interpretations suggest. Smith’s strict-constructionist analyses of the plays can be illuminating: Her understanding of British mores and theater culture in the Elizabethan era explains why Richard III only half-heartedly abandons its charismatic title character, and she is insightful in her discussion of how Twelfth Night labors to return to heterosexual convention after introducing a host of queer tropes. Smith's Shakespeare is eminently fallible, collaborative, and innovative, deliberately warping play structures and then sorting out how much he needs to un-warp them. Yet the book is neither scholarly nor as patiently introductory as works by experts like Stephen Greenblatt. Attempts to goose the language with hipper references—Much Ado About Nothing highlights the “ ‘bros before hoes’ ethic of the military,” and Falstaff is likened to Homer Simpson—mostly fall flat.
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.Pub Date: April 21, 2020
ISBN: 978-1-5247-4854-8
Page Count: 368
Publisher: Pantheon
Review Posted Online: Dec. 17, 2019
Kirkus Reviews Issue: Jan. 15, 2020
BOOK REVIEW
BOOK REVIEW
Bloom’s comedic talent doesn’t translate to the page—at least not yet. Check back as her career continues to mature.
The co-creator and star of Crazy Ex-Girlfriend talks about her life.
“By the time I turned thirty,” writes Bloom, “I should have understood that there was no such thing as ‘normal.’ ” In this offbeat compendium of personal moments from childhood to the present, the author shares her journey in search of that moment when she felt “normal” around other people. Among other topics, Bloom discusses her mental health issues as an adolescent and how she endured bullying during middle school: “Were you bullied in middle school? Yeah? You were? Bullshit. You weren’t bullied. I was bullied. I am the ultimate judge of bullying and I conclude that I was bullied and you were not bullied. So says me, court adjourned, gavel goes bang bang.” The author’s humor is more pointed in her assessment of the pros and cons of attending award shows (her personal review system “is based on the things that TRULY count: Food, Parking, Temperature in the Room, and How Much Shapewear Is Expected”), a chapter in which she writes in the voice of her dog, and a section about how she and her colleagues bypassed FCC regulations to make certain parts of Crazy Ex-Girlfriend acceptable for a broadcast network rather than “edgy cable” (developed for Showtime, the series landed with the CW). Bloom includes childhood diary entries, poetry, and drawings as well as a snarky sample resume for aspiring actors, and she maintains a certain diffident note as she rambles along. The book was written before the pandemic, when the idea of “normal” was still possible. Thankfully, the author shares a relevant afterword that helps balance the silliness and eccentricities of the scattered narrative. Fans of the TV show will enjoy learning the backstory about the creator and star, but general readers won’t find much to appeal here.
Bloom’s comedic talent doesn’t translate to the page—at least not yet. Check back as her career continues to mature.Pub Date: Nov. 17, 2020
ISBN: 978-1-5387-4535-9
Page Count: 256
Publisher: Grand Central Publishing
Review Posted Online: Sept. 9, 2020
Kirkus Reviews Issue: Oct. 1, 2020
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