by Harold Bloom ‧ RELEASE DATE: Feb. 7, 1972
Professor Bloom (Yale; author of Blake's Apocalypse, 1963, and Yeats, 1970) interprets modern poetic history — the history of poetry in a Cartesian climate — in terms of Freud's "family romance," and advances creative anxiety as its motive principle. The poet's anxiety in the face of a strong predecessor is, in other words, an extreme version of the son's dubious regard for the father; and influence, far from a benign legacy of images and ideas, is a threat of death, smothering his desire and locking his rightful present up in the past. Bloom's emblem for it is the Covering Cherub of Blake and Ezekiel, while the prototype of the poet is Milton's Satan who rises to proclaim a good of his own — only after hitting the floor of the abyss. Each poet must create himself in a kind of damned antithesis to the parent poet and, turning from the language of revelation toward a more phenomenological analysis, Bloom identifies six phases in the process — beginning with a misreading of the forerunner, proceeding through the "revisionary ratios" of self-assertion, and ending in an embrace that is both surrender and appropriation. All this is put forth in support of an "antithetical practical criticism" which Bloom proposes as a corrective to the "tautological" and "reductive" methods now in use. The meaning of a poem, he suggests, is neither itself nor something outside poetry, but a precursor's poem. While he perhaps carries the idea a bit far, its advantages are self-evident in regard to such contemporaries as Ashbery and Ammons. Yet we are not entirely convinced by the author's insistence that his "interests are those of the practical critic"; there is a brooding, obsessive brilliance in the scholarship, in the convening of Blakean third parties (Sphinx, Muse, Tharmas), that indicates a combat of Bloom's own with the Cherub. Imposing, daemonic and — it seems so incidental — written with a mighty adversative flair.
Pub Date: Feb. 7, 1972
ISBN: 0195112210
Page Count: 212
Publisher: Oxford Univ.
Review Posted Online: Oct. 10, 2011
Kirkus Reviews Issue: Feb. 1, 1972
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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
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
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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
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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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