Like The Friday Book (1984), a collection of eclectic and irregularly insightful essays by the noted novelist—an admixture of reminiscence, manifesto, and review. Barth devotes one day a week to writing essay-lectures on such favorite topics as literary forms, traditions, and styles; the Chesapeake Bay area; his own books; or all those subjects at once in "a kind of thinking out loud [or] teaching oneself." Throughout these discursive pieces, the writer links his ideas loosely with his literary touchstones: Scheherazade, Don Quixote, Borges, Garcia Marquez, and the inconclusive, contested definiendum "postmodernism." His professionally well told memoirs of his second wife's profession ("Teacher") and his encounters with Borges are shot through with both incidental allusions and in-depth references, as are his idiosyncratic critical pieces, ranging from the aesthetic merits of the Chesapeake local arts and crafts to a concentrated reading of "Jack and Jill" and a consideration of Poe's gruesome genre effects in The Narrative of Arthur Gordon Pym. '4' Lectures: The Stuttgart Seminars on Postmodernism, Chaos Theory, and the Romantic Arabesque'' and a bravura triad on minimalism, maximalism, and the short story skillfully interweave all the sources and concerns of Barth's shorter, unrelated essays. Some of his comparisons are highly inventive (for example, the similarities among postmodernist referentialism, chaotic feedback, and the repetitive patterns of Persian carpets, together with their parallels in literature), but they tend to lack, or avoid, a conclusion. If this noncommittal reflex handicaps the writer's scrappy mini-manifestos against creative writing programs and realism ("Very Like an Elephant"), it keeps his discussions of storytelling clear and effective. A dilettante par excellence, Barth has read intelligently and indiscriminately enough to have something interesting to say at almost any time.
Pub Date: Aug. 14, 1995
ISBN: 0-316-08324-0
Page Count: 384
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1995
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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