Shylock—stereotype, archetype, icon—is, according to London Sunday Telegram theater-critic Gross (The Rise and Fall of the Man of Letters), the only character in a Shakespeare play to have an autonomous life. By tracing Shylock's origins and forms in literature, theater, and political and social history, Gross emphasizes his chameleonlike nature and what it reveals about the cultures in which he appears. An object of fun, contempt, pity, and rage, Shylock first appeared as the ``Satanic Jew''—the evil figure to be overcome—in The Merchant of Venice, written between 1596-98. An archetypal usurer with origins in folklore, politics, and popular culture, he embodied, says Gross, the era's ambiguities toward Jews, money, misers, and, on another level, toward emerging Economic Man, embodied in Shylock as a tough-minded businessman caught up in the court system and unable to protect his family or what he perceives as his rights. In the 18th century, Shylock was played as a clown, or as wolfish and cunning, until Edmund Kean's consummate interpretation in his London debut in 1814, a performance admired and immortalized by Hazlitt for the sympathy it evoked. A Victorian interpretation by Henry Irving displayed a Shylock possessed, the victim of persecution. Since then, Gross contends, literary critics from A.C. Bradley to Mark Van Doren, novelists from Sir Walter Scott to James Joyce, social theorists including Ruskin and Marx, psychologists from Freud to Reich, and all the great actors- -Gielgud, O'Toole, Olivier—have contributed to the evolution of a subtle, conflicted, mysterious Shylock who has acquired the archetypal dimensions of a Don Quixote or Robinson Crusoe. A lucid, perceptive, and learned guide that makes the familiar interesting and the esoteric familiar. A new incarnation for Shylock.
Pub Date: April 7, 1993
ISBN: 0-671-70707-8
Page Count: 356
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1993
An extraordinary true tale of torment, retribution, and loyalty that's irresistibly readable in spite of its intrusively melodramatic prose. Starting out with calculated, movie-ready anecdotes about his boyhood gang, Carcaterra's memoir takes a hairpin turn into horror and then changes tack once more to relate grippingly what must be one of the most outrageous confidence schemes ever perpetrated. Growing up in New York's Hell's Kitchen in the 1960s, former New York Daily News reporter Carcaterra (A Safe Place, 1993) had three close friends with whom he played stickball, bedeviled nuns, and ran errands for the neighborhood Mob boss. All this is recalled through a dripping mist of nostalgia; the streetcorner banter is as stilted and coy as a late Bowery Boys film. But a third of the way in, the story suddenly takes off: In 1967 the four friends seriously injured a man when they more or less unintentionally rolled a hot-dog cart down the steps of a subway entrance. The boys, aged 11 to 14, were packed off to an upstate New York reformatory so brutal it makes Sing Sing sound like Sunnybrook Farm. The guards continually raped and beat them, at one point tossing all of them into solitary confinement, where rats gnawed at their wounds and the menu consisted of oatmeal soaked in urine. Two of Carcaterra's friends were dehumanized by their year upstate, eventually becoming prominent gangsters. In 1980, they happened upon the former guard who had been their principal torturer and shot him dead. The book's stunning denouement concerns the successful plot devised by the author and his third friend, now a Manhattan assistant DA, to free the two killers and to exact revenge against the remaining ex-guards who had scarred their lives so irrevocably. Carcaterra has run a moral and emotional gauntlet, and the resulting book, despite its flaws, is disturbing and hard to forget. (Film rights to Propaganda; author tour)
Pub Date: July 10, 1995
ISBN: 0-345-39606-5
Page Count: 432
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1995
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
The memoir of George Dawson, who learned to read when he was 98, places his life in the context of the entire 20th century in this inspiring, yet ultimately blighted, biography. Dawson begins his story with an emotional bang: his account of witnessing the lynching of a young African-American man falsely accused of rape. America’s racial caste system and his illiteracy emerge as the two biggest obstacles in Dawson’s life, but a full view of the man overcoming the obstacles remains oddly hidden. Travels to Ohio, Canada, and Mexico reveal little beyond Dawson’s restlessness, since nothing much happens to him during these wanderings. Similarly, the diverse activities he finds himself engaging in—bootlegging in St. Louis, breaking horses, attending cockfights—never really advance the reader’s understanding of the man. He calls himself a “ladies’ man” and hints at a score of exciting stories, but then describes only his decorous marriage. Despite the personal nature of this memoir, Dawson remains a strangely aloof figure, never quite inviting the reader to enter his world. In contrast to Dawson’s diffidence, however, Glaubman’s overbearing presence, as he repeatedly parades himself out to converse with Dawson, stifles any momentum the memoir might develop. Almost every chapter begins with Glaubman presenting Dawson with a newspaper clipping or historical fact and asking him to comment on it, despite the fact that Dawson often does not remember or never knew about the event in question. Exasperated readers may wonder whether Dawson’s life and his accomplishments, his passion for learning despite daunting obstacles, is the tale at hand, or whether the real issue is his recollections of Archduke Ferdinand. Dawson’s achievements are impressive and potentially exalting, but the gee-whiz nature of the tale degrades it to the status of yet another bowl of chicken soup for the soul, with a narrative frame as clunky as an old bone.
Pub Date: Feb. 1, 2000
ISBN: 0-375-50396-X
Page Count: 288
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1999
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