IMAGINED PLACES

JOURNEYS INTO LITERARY AMERICA

Pearson (English and Journalism/Old Dominion Univ.) recounts, in a series of charming informal essays, his experiences visiting six places with literary associations—Frost's Vermont, Faulkner's Mississippi, Flannery O'Connor's Georgia, Hemingway's Key West, Steinbeck's California, and Twain's Missouri. Although each chapter includes a biography of the author and a history of the place, all carefully researched with familiar citations, this is neither a literary nor a travel book, for the emphasis falls on the unexpected people and experiences Pearson found as he went in search of his literary prototypes. In Vermont, he finds TV producer Norman Lear living on Frost's farm, and in a village near Manchester, Barbara Comfort, artist, mystery writer, and inventor of, among other things, an edible toothpick. In Mississippi, Pearson comes across Mahatma Gandhi's grandson, and while few remember O'Connor in Milledgeville, Georgia, Pearson learns a lot about the serial murders there that became the subject of Pete Dexter's Paris Trout. In Hemingway's Key West he finds ``Papa's'' old sparring and drinking partners, businessmen thriving on the real-estate market, and a lady who prospers from designing silk pajamas for Bill Cosby. Salinas, California, is still Steinbeck country, home to Steinbeck's laborers, landscape, and a restaurant where ``each waitress could pass for Steinbeck's mother.'' Perhaps the only place that should have been left in Pearson's dreams is Hannibal, where he took his two young sons to discover a shabby, depressed area surviving on tourists. Clemens Field, a recreation spot, retains the walls and barbed wire from when it was a camp for German POWs. Pearson's descriptions and interviews are first-rate, but his literary allusions are often strained (in part because many of the places are not important in the literature), as is, occasionally, his writing: ``the sunshine is as thick as melted butter.'' Still, a pleasant read, full of rich anecdote and detail. (Thirty b&w photographs—not seen.)

Pub Date: Oct. 31, 1991

ISBN: 0-87805-526-6

Page Count: 224

Publisher: Univ. Press of Mississippi

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 1991

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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