by Lawrence Rainey ‧ RELEASE DATE: Jan. 1, 1999
Focusing on anglophone literary modernism from 1912 through the postwar period, Rainey (Modernist Literature/Univ. of York, England) examines such issues as the shift from elitist to mass culture, the rise of the market in determining aesthetic values, and the role of patronage. Ezra Pound’s transformation from an esoteric poet to the founder of Imagism, which appealed to new institutions of mass culture, epitomizes a sweeping change in modern artistic practices. In 1922, the publication of Joyce’s Ulysses by Sylvia Beach and of Eliot’s The Waste Land in the journal Dial marked the entry of modernism into the public sphere via the process of its commodification. Rainey uses these simultaneous literary events to demonstrate the collapse of aesthetic autonomy under the weight of commercial criteria. Nevertheless, his meticulous exploration of Dial archives fails to convince the reader that modernism rendered superfluous “close reading,” the idea that works should be evaluated solely by their intrinsic aesthetic value. True, publishers practiced “not-reading,” since their parameters for book evaluation were dictated largely by practical considerations. This doesn’t mean, however, that the general public, and particularly students of literature, also judged books by their marketability. While “close reading” did undergo a noticeable decline, Rainey is premature in declaring it obsolete. The most enticing chapters of the book deal with the problem of patronage. Interpreting the Malatesta Cantos, Rainey reveals Pound’s attempt to encourage Mussolini to develop Italy as a thriving cultural center. His discussion of H.D. (Hilda Doolittle) challenges her reputation as an icon of modernist marginality in terms of sexual identity, race, and art. After dismissing ideological criticism, which only accepts “politically correct” values, Rainey portrays H.D. as a more three-dimensional personality, who takes advantage of financial comfort provided by generous sponsors and indulges in coterie poetics. Rainey’s revision of important modernist concepts is a sound contribution to literary history, although his study suffers from occasional overstatement and becomes mired in facts and figures dry enough to daunt even a dedicated reader.
Pub Date: Jan. 1, 1999
ISBN: 0-300-07050-0
Page Count: 256
Publisher: Yale Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1998
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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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