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DANGEROUS PILGRIMAGES

TRANS-ATLANTIC MYTHOLOGIES AND THE NOVEL

In another of his able (if not overly inspired) surveys, Bradbury (The Modern American Novel, 1983, etc.) traces the ``flourishing traffic in fancy, fiction, dream, and myth'' between the old world and the new. Ranging from Washington Irving and Charles Dickens to Evelyn Waugh and Martin Amis, Bradbury attempts to reveal, as reflected in European (primarily British) and American fiction, ``the barter of myths and illusions,'' the ways in which writers on opposite sides of the Atlantic have imagined (and influenced) each other's societies. He points out that the fantasies that each have nursed of the other have often had a profound impact and have sometimes led to disillusion. The protagonist of Herman Melville's novel Redburn goes to England and discovers that the idyllic travel guides he's read have little to do with reality. Such works, Melville writes, ``are the least reliable books in all literature; and nearly all literature, in one sense, is made up of guide- books.'' Bradbury considers Chateaubriand's Indian romance Atala, Washington Irving's History of New York and Sketchbook of Geoffrey Crayon, Dickens's Martin Chuzzlewit, Hawthorne's The Marble Faun, and the works of Henry James, Oscar Wilde, and Mark Twain, among others, as he plots the ways in which ideas of American ``innocence'' and European ``civilization'' have clashed, flourished, and intermingled. Toward the end he flags a bit, giving perfunctory summaries of the Lost Generation and Modernism, but the narrative revives in his discussion of the the perennially new America imagined by the French critics Jacques Derrida and Jean Baudrillard. Bradbury suspects that, despite the emergence of a new ``Euro-identity,'' and despite America's growing interest in the Pacific Rim, the great fictions that Europe and America share, and which are ``part of our essential record of human understanding,'' will retain their power. Bradbury necessarily skimps here and there, but he digests, summarizes, and critiques enough to make this into a readable, useful, original guide.

Pub Date: Aug. 1, 1996

ISBN: 0-670-86625-3

Page Count: 528

Publisher: Viking

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 1996

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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

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NUTCRACKER

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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