Stewart’s imaginative, often-witty anecdotes, analogies and diagrams succeed in illuminating many but not all of some very...
An aggressively unsimplified account of 14 great problems, emphasizing how mathematicians approached but did not always solve them.
Fermat’s Last Theorem, 350 years old and solved by Andrew Wiles in 1995, produced headlines because laymen were amazed that mathematicians could make new discoveries. In fact, mathematics is as creative as physics, writes prolific popularizer Stewart (Mathematics Emeritus/Univ. of Warwick; The Mathematics of Life, 2011): “Mathematics is newer, and more diverse, than most of us imagine.” Goldbach’s Conjecture—that every even number can be written as the sum of two prime numbers (250 years old, probably true but not proven)—provides the background for a chapter on the unruly field of prime numbers: those divisible only by one and itself (3, 5, 7, 11, 13…). Squaring the Circle—constructing a square with an area identical to a given circle (2,500 years old; proven impossible)—introduces pi. Schoolchildren learn that pi is the ratio of the circumference of a circle to its diameter, but it’s a deeply important number that turns up everywhere in mathematics. Most readers know that Newton’s laws precisely predict motions of two bodies, but few know that they flop with three. The Three-body Problem (330 years old, unsolved) continues to worry astronomers since it hints that gravitational forces among three or more bodies may be unstable, so the planets may eventually fly off.
Stewart’s imaginative, often-witty anecdotes, analogies and diagrams succeed in illuminating many but not all of some very difficult ideas. It will enchant math enthusiasts as well as general readers who pay close attention.Pub Date: March 1, 2013
ISBN: 978-0-465-02240-3
Page Count: 320
Publisher: Basic Books
Review Posted Online: Dec. 10, 2012
Kirkus Reviews Issue: Jan. 1, 2013
A generous and singularly insightful examination of memoir.
A bestselling nonfiction writer offers spirited commentary about memoir, the literary form that has become synonymous with her name.
Personal narrative has exploded in popularity over the last 20 years. Yet, as Karr (Lit: A Memoir, 2009, etc.) points out, memoir still struggles to attain literary respectability. “There is a lingering snobbery in the literary world,” she writes, “that wants to disqualify what is broadly called nonfiction from the category of ‘literature.’ ” In this book, Karr offers both an apology for and a sharp-eyed exploration of this form born from her years as a practitioner as well as a distinguished English professor at Syracuse University. She begins by considering classroom “experiments” she has conducted to show the slipperiness of memory and arguing the need to give latitude to writers tackling memoir. Writing with the intent to record what rings true rather than exact is one thing; writing with the intent to lie is another. Voice is another critical aspect of any memoir that manages to endure through time. By examining works by writers as diverse as Frank McCourt and Vladimir Nabokov, Karr demonstrates that it is in fact the very thing by which a great memoir “lives or dies.” Rather than focus on the narrative truism of “show-don’t-tell,” Karr thoughtfully elaborates on what she calls “carnality”—the ability to transform memory into a multisensory experience—for the reader. When wed to a desire to move beyond the traps of ego and render personal “psychic struggle” honestly and without fear, carnality can lead to writing that not only “wring[s] some truth from the godawful mess of a single life,” but also connects deeply with readers. Karr’s sassy Texas wit and her down-to-earth observations about both the memoir form and how to approach it combine to make for lively and inspiring reading.
A generous and singularly insightful examination of memoir.Pub Date: Sept. 15, 2015
ISBN: 978-0-06-222306-7
Page Count: 272
Publisher: Harper/HarperCollins
Review Posted Online: May 5, 2015
Kirkus Reviews Issue: July 1, 2015
PROFILES
Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.
A 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 13, 2012
Kirkus Reviews Issue: June 15, 2012
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