An academic yet concise, fresh, and deeply informed look at how we read.
How does the study of disability help us to understand stories?
In this important contribution to disability studies, literary scholar and critic Bérubé (Literature, Director of the Institute for the Arts and Humanities/Pennsylvania State Univ.; The Left at War, 2009, etc.) examines how characters with intellectual disabilities shape “the specific narrative they inhabit.” What can these characters know about this narrative? How can they serve as “a device for exploring the phenomenon of human sociality?” How can they inform our assumptions about “the ‘real’ and the ‘normal?’ ” Central to this inquiry is the overarching question of how to define intellectual disability. The author resists diagnosing characters and perpetuating stereotypes of such conditions as autism and Down syndrome, rather arguing that each character is distinct. He is skeptical, for example, about whether the theory of mindblindness—the inability to imagine that other people have minds—is useful for understanding autism, but he sees that a character’s “strategic adoption of mindblindness” may allow for “complex readings” of a narrative. Focusing on three themes—motive, time, and self-awareness—Bérubé analyzes a copious number of novels, plays, and movies. He assumes his readers’ familiarity not only with significant texts in disability studies, but also with the literary works he discusses, including the Harry Potter series, The Woman Warrior, The Sound and the Fury, A Wrinkle in Time, Life and Times of Michael K, Don Quixote, and The Curious Incident of the Dog in the Night-Time. Bérubé helpfully offers a synopsis of Philip K. Dick’s “little known and rarely studied Martian Time-Slip,” which he considers “one of Anglophone literature’s most fascinating attempts to textualize intellectual disability.” For Bérubé, considering such disability serves “as an invitation to…hyperattentiveness,” a way to reinvigorate perception, “to make objects unfamiliar, to render people imaginable.”
An academic yet concise, fresh, and deeply informed look at how we read.Pub Date: Feb. 2, 2016
ISBN: 978-1-4798-2361-1
Page Count: 240
Publisher: New York Univ.
Review Posted Online: Oct. 19, 2015
Kirkus Reviews Issue: Nov. 1, 2015
BOOK REVIEW
BOOK REVIEW
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
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
BOOK REVIEW
BOOK REVIEW
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