by John F. Loase ‧ RELEASE DATE: Sept. 1, 2014
Makes many good points and portrays a writer of intellect and compassion, but the arguments struggle to coalesce into a...
An intelligent and impassioned, albeit not quite cohesive, argument for uncertainty and a foundation in the arts.
Formally trained as a mathematician and psychologist, Loase spends a good portion of this slim volume laying the groundwork for his thesis that mathematics relies on a foundation constructed on assumptions. Along the way, he references certain principles of statistics and calculus as well as more esoteric branches of mathematics. He also touches on the work of several famous mathematicians, ranging from Bertrand Russell to Andrew Wiles, making his points without belaboring his ideas or getting bogged down in minutiae. However, once the mathematical chapters are finished, Loase’s arguments quickly begin to lose momentum. A chapter on science, for instance, veers off topic into what reads like an attack on atheists, specifically Richard Dawkins, whose name is consistently misspelled: “Richard Dawkings has made it fashionable to deify science at the expense of religion.” The following chapter on free will muddies the waters further, since the concept appears more as a statement of Loase’s faith than a reasoned argument. By the arrival of chapters extolling the importance of literature, film, art, and psychology, the overall thread of Loase’s thesis has been lost in the ether, with individual statements and assertions making sense but failing to coalesce into a logical whole. Furthermore, while Loase’s work on the concept of “sigfluence”—positive, significant, long-term interpersonal influence—is undoubtedly valuable in psychological and behavioral studies, its value to the idea of liberal arts being a useful guide to one’s life development is not made sufficiently clear; as such, the frequent references to it seem more like self-promotion than an attempt to contextualize and/or bolster his arguments. Fans of science, mathematics, the liberal arts, and the value of a well-rounded education may find themselves echoing Daniel Dennett: “There’s nothing I like less than bad arguments for a view I hold dear.”
Makes many good points and portrays a writer of intellect and compassion, but the arguments struggle to coalesce into a meaningful statement, likely leaving many readers underwhelmed.Pub Date: Sept. 1, 2014
ISBN: 978-1-62006-485-6
Page Count: 152
Publisher: Sunbury Press
Review Posted Online: June 27, 2015
Review Program: Kirkus Indie
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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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by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955
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.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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