The “game” that McGann refers to is art, which can never fully fulfill its mission or be rendered perfectly in its...

DANTE GABRIEL ROSSETTI AND THE GAME THAT MUST BE LOST

McGann (Media/Univ. of Virginia) examines the poetry and paintings of Dante Gabriel Rossetti in an effort to determine why the artist’s stature, so high between 1850 and 1910, fell dramatically with the rise of Modernism.

McGann cautions that “[i]t is perhaps a bad idea to try elucidating Rossetti’s work with the blunt instrument of critical prose,” but with that dull tool McGann manages to create a precise portrait of Rossetti and his contributions to the cultural milieu of Victorian England. Praising Rossetti for his aesthetic tastes and his confidence in his artistic judgment, McGann sketches a portrait of this artist who dominated the worlds of both art and letters: Rossetti’s poems and paintings are analyzed side by side in order to illustrate the interconnection of word and image. As a member of the pre-Raphaelite Brotherhood, Rossetti desired a return to the direct and unmediated depiction of nature, as evidenced in Italian painting prior to the High Renaissance and the literary work of Dante. Beyond his work as a painter and poet, McGann describes how Rossetti was concerned with the form of art: textual materiality and graphic design provided impetus for much of his innovation. Modernists rebelled against Rossetti since he represented the height of Victorian art, but McGann uncovers overlaps between Modernism and Rossetti suggesting that Modern tenets of art were present in Rossetti’s work. Although not a biographer, the author includes moments from Rossetti’s life that illuminate his ouevre (such as when he buries a manuscript of poetry with his dead wife but then later digs it up to revise his words).

The “game” that McGann refers to is art, which can never fully fulfill its mission or be rendered perfectly in its execution. Nonetheless, if both Rossetti and McGann must eventually lose their game, their efforts are stronger than most.

Pub Date: June 1, 2000

ISBN: 0-300-08023-9

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 15, 2000

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IN MY PLACE

From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)

Pub Date: Nov. 1, 1992

ISBN: 0-374-17563-2

Page Count: 192

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 1992

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DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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