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SOME OF THE DHARMA

Name: SOME OF THE DHARMA
Author: Jack Kerouac
ISBN: 0-670-84877-8

by Jack Kerouac ‧ RELEASE DATE: Sept. 1, 1997

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More ersatz Buddhism from postwar America's most overrated author. "Dharma" is a Buddhist term meaning, roughly, "law." Some of the Dharma purports to be a journal of meditations on that subject, but Kerouac is unable to keep his mind on track, resulting in a work that's ultimately chaotic. His technique seems sound enough: He takes a classic Buddhist philosophical statement and then decodes it for his own use. Unfortunately, his interpretations are usually far from the point, as Kerouac is unable to separate Hinduism, Taoism, and even Catholicism from Buddhism, with repeated incorrect assessments of how the Tao affects Buddhahood (it does not) or how Jesus was a Buddha-like figure (by most accounts he was not). Furthermore, Kerouac, by his own admission, is unable to stay sober long enough to attain any real enlightenment. He sets forth the goals of not drinking, meditating regularly, and abstaining from sex, but he makes lame excuses for his falling off the wagon, and his rationalizations for avoiding sex devolve into plain misogyny, such as his statement "PRETTY GIRLS MAKE GRAVES F*** you all," or his observation that jazz cannot possibly be a high art form if women can perform it. Kerouac's various conceits, e.g., that he is a greater writer than Joyce (whose term for verse—pome—he steals) or Burroughs (whose "cut-up" technique it appears Kerouac is trying to approximate), are downright absurd. Comparing himself as an artist to Mozart on the one hand, while unable to get his manuscripts published (a continual obsession in the journals) on the other, often renders Kerouac laughable. If the reader is left wondering what all this has to do with Buddhism, the answer is, very little. If you're searching for real Buddhism, pick up Suzuki; if you must indulge your guilty pleasures with more Kerouac, reread On the Road.

Pub Date: Sept. 1, 1997

ISBN: 0-670-84877-8

Page Count: 432

Publisher: Viking

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 1, 1997

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE SEA IS MY BROTHER
by Jack Kerouac

- BOOK REVIEW
JACK KEROUAC'S <I>ON THE ROAD<I>
by Jack Kerouac

- BOOK REVIEW
AND THE HIPPOS WERE BOILED IN THEIR TANKS
by William S. Burroughs and Jack Kerouac

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.