What should be done? To the question that hung over 19th-century Russia and dogs the world today, Isaiah Berlin would answer, stand firmly uncertain. Russian-born and Oxford-bred, Berlin has almost single-handedly kept alive in the West a sense of the intellectual fervor and moral complexity of pre-Revolutionary Russian thought. In these essays of 30 years, he demonstrates, with the clarity, vividness, and precision he attributes to Tolstoy, that failure of the 1848 revolution in Western Europe forced Russian intellectuals, now isolated and insulated, "to develop a native social and political outlook," harsh, unsentimental, and ultimately uncompromising; that there exists "a great chasm between those who relate everything to a single vision. . . [and] those who pursue many ends" (in "The Hedgehog and the Fox," on Tolstoy's view of history); that Herzen and Bakunin, at one in elevating the ideal of individual liberty, divided irreparably on means, Herzen, "the sworn enemy of all systems" (and Berlin's greatest hero), holding that liberty is an absolute value not to be suppressed for the sake of future happiness or any other "huge abstraction." And, in "The Birth of the Russian Intelligentsia," he credits "the great Russian essayist Belinsky," hardly known in the West, with virtually inventing the kind of social criticism which enjoins art to be responsible to life—in the specifically Russian context, to set men free. Neatly to link Berlin's themes does not do justice, however, to the exceptional richness and suggestiveness of their development. Within a frame of reference that extends from the author of the Book of Job to D.H. Lawrence and Franklin Roosevelt, he exactly places the figures of his Russian protagonists; and each of them he portrays as an individual. Tolstoy "was by nature a fox, but he believed in being a hedgehog," and the conflict emerged in his unresolved (between determinism and free choice) view of history in War and Peace; the gentle, skeptical, tolerant Turgenev created, in Fathers and Children, the "brutal, fanatical, dedicated figure" of the agitator Bazarov; "Does he then symbolize progress?" Turgenev remained ambivalent, "the notoriously unsatisfactory, at times agonizing, position of the modern heirs of the liberal tradition"—to which Berlin wholeheartedly subscribes. An absorbing, arresting group of studies, and as important a book as will be published this year.
Pub Date: April 1, 1978
ISBN: 0141442204
Page Count: 452
Publisher: Viking
Review Posted Online: May 15, 2012
Kirkus Reviews Issue: April 1, 1978
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
BOOK REVIEW
BOOK REVIEW
The author’s sincere sermon—at times analytical, at times hortatory—remains a hopeful one.
New York Times columnist Brooks (The Social Animal: The Hidden Sources of Love, Character and Achievement, 2011, etc.) returns with another volume that walks the thin line between self-help and cultural criticism.
Sandwiched between his introduction and conclusion are eight chapters that profile exemplars (Samuel Johnson and Michel de Montaigne are textual roommates) whose lives can, in Brooks’ view, show us the light. Given the author’s conservative bent in his column, readers may be surprised to discover that his cast includes some notable leftists, including Frances Perkins, Dorothy Day, and A. Philip Randolph. (Also included are Gens. Eisenhower and Marshall, Augustine, and George Eliot.) Throughout the book, Brooks’ pattern is fairly consistent: he sketches each individual’s life, highlighting struggles won and weaknesses overcome (or not), and extracts lessons for the rest of us. In general, he celebrates hard work, humility, self-effacement, and devotion to a true vocation. Early in his text, he adapts the “Adam I and Adam II” construction from the work of Rabbi Joseph Soloveitchik, Adam I being the more external, career-driven human, Adam II the one who “wants to have a serene inner character.” At times, this veers near the Devil Bugs Bunny and Angel Bugs that sit on the cartoon character’s shoulders at critical moments. Brooks liberally seasons the narrative with many allusions to history, philosophy, and literature. Viktor Frankl, Edgar Allan Poe, Paul Tillich, William and Henry James, Matthew Arnold, Virginia Woolf—these are but a few who pop up. Although Brooks goes after the selfie generation, he does so in a fairly nuanced way, noting that it was really the World War II Greatest Generation who started the ball rolling. He is careful to emphasize that no one—even those he profiles—is anywhere near flawless.
The author’s sincere sermon—at times analytical, at times hortatory—remains a hopeful one.Pub Date: April 21, 2015
ISBN: 978-0-8129-9325-7
Page Count: 320
Publisher: Random House
Review Posted Online: Feb. 15, 2015
Kirkus Reviews Issue: March 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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