Lectures, introductions, symposium contributions, and other miscellaneous pieces (written on Friday mornings)—most of which end up as arguments for Barth's "postmodernist" approach to fiction, with extensive references to his own work (especially the numbing LETTERS). "The novelist is not finally a spectator, an imitator, or a purger of the public psyche, but a maker of universes: a demiurge. At least a semidemiurge." Likewise, "Whatever else it is about, great literature is almost always also about itself." Thus, Barth applauds the celebration of virtuosity for its own sake and the device of stories-within-stories-within-stories (which he explores to comical excess); he's interested in mythic patterns, with Eastern and ancient narrative forms; he praises Borges, Garda Marquez, and late Calvino. And, in a central 1979 essay, "The Literature of Replenishment," he takes on professors Gerald Graft and Robert Alter, appraises "modernism," deplores the school-of-thought that "rushes back into the arms of nineteenth century middle-class realism," and comes up with "a worthy program" for postmodernist fiction: the "synthesis or transcension of these antitheses, which may be summed up as pre-modernist and modernist modes of writing." Unfortunately, though some of this theory sounds plausible and heartening, when Barth turns to specifics (usually in discussing his own work), postmodernism most often seems academic, mannered, show-offy, self-involved. And though the style in many of these essays (and especially in Barth's mini-introductions) is jazzy and genial, the sameness of the subject-matter throughout becomes enervating, with only sporadic relief from Barth's whimsical approach ("the important subject of dippy verses as a legitimate contaminant of novels") to serious esthetic issues. Primarily for those involved in the philosophy-of-fiction quarrels, then, along with passionate fans of Barth's novels and stories.
Pub Date: Oct. 18, 1984
ISBN: 0801855578
Page Count: -
Publisher: Putnam
Review Posted Online: Sept. 18, 2011
Kirkus Reviews Issue: Sept. 15, 1984
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
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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