Robertson-Lorant's debut is a solid, eminently readable life of Herman Melville (1819-91), one of America's more enigmatic literary geniuses. Rather than build Melville up—and then hunt him down—as a ``Great White Male,'' Robertson-Lorant explores the sensitive soul of the creator of Moby-Dick—a sensitivity symbolized, to her mind, by Melville's death from ``an enlargement of the heart.'' Melville grew up in New York City and, after his father's life ended in disaster, went to sea as a cabin boy. He would travel the world before settling again in the US in his mid-20s. Turning to writing, Melville published the only works of his to find immediate popular success: the novels Typee and Omoo. Robertson-Lorant shows how these quasi-autobiographical tales of adventure in the Pacific were understood by Melville's readers in the 1840s to make significant, even radical, statements about sexuality and society. Melville married a judge's daughter, and moved in elite circles. But aside from a close friendship with Nathaniel Hawthorne, he never really capitalized on his prominence. His subsequent books, most of which, like his masterpiece Moby-Dick, were epic allegorical romances, found few contemporary admirers. By the 1860s Melville had to accept work as a low-level customs bureaucrat. Family troubles—discord with his wife, and the apparent suicide of his son—plagued him. Displaying an impressive grasp of literary history, Robertson-Lorant ably catalogues Melville's intentions and unconscious impulses, relating them to the ups and downs of his personal and public lives. Her pacing is brisk throughout, her readings of Melville's fiction sophisticated and just, although they occasionally suffer from a touch of syntactical indigestion, as complicated deconstructive and gender concepts threaten to burst the bounds of mainstream biography. But the effort to incorporate such insights pays off, helping legitimate Robertson-Lorant's claim that Melville, while a sexual progressive, cannot be categorized by today's labels. Nonetheless, a fine guide to Melville's peregrinations in literature and in life. (40 illustrations, not seen)
Pub Date: June 1, 1996
ISBN: 0-517-59314-9
Page Count: 736
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1996
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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