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THE NOVEL

A BIOGRAPHY

“I set out to write this book without an overarching theory of the novel,” Schmidt admits. “I had no point to prove.” He...

Writers, reading, invigorate the novel. That is both the theme and plot of Schmidt’s (Poetry/Glasgow Univ.; The Stories of My Life, 2013, etc.) encyclopedic compendium tracing the novel over 700 years.

The author sees the genre as alive and evolving, capacious enough to include such writers as Mulk Raj Anand, an Indian émigré to England, whose work Schmidt does not much admire; the prolific Irish writer Ethel Mannin; and Guyanese writer Wilson Harris, read by Derek Walcott and Anthony Burgess but not many others. Schmidt considers his subjects more or less chronologically for half the book, gathering contemporaries who read one another: Hawthorne, Melville and Stowe, for example; and Horace Walpole, Ann Radcliffe, Charles Brockden Brown and other practitioners of what Schmidt calls “The Eerie,” as distinct from, in another chapter, the Brontë sisters and their Gothic romances. The second half of the book is impressionistic, as Schmidt creates “a dialogue” among writers and their works. A chapter on “Portraits and Caricatures of the Artist” includes Joyce, Beckett, Burgess and Barthelme; “Tone and Register” ranges from Virginia Woolf to Jeanette Winterson. Along the way, readers will learn that Woolf was dismissive of Maria Edgeworth, whom she considered too demure; that Gertrude Stein could not abide James Joyce; and that pretty much everyone was in thrall to Henry James—Truman Capote praised him as “the maestro of the semicolon.” As commodious as this book is, at more than 1,100 pages, the selections and groupings seem arbitrary, as does Schmidt’s selection of writers’ comments. Writers are famously voracious readers, and some were frequent reviewers; often, they mention novels in their letters, memoirs and diaries. Schmidt, apparently, has read them all.

“I set out to write this book without an overarching theory of the novel,” Schmidt admits. “I had no point to prove.” He does, however, prove his wide-ranging reading tastes, his ability to weave a colorful literary tapestry and his conviction that the novel is irrepressible.

Pub Date: May 5, 2014

ISBN: 978-0-674-72473-0

Page Count: 1180

Publisher: Belknap/Harvard Univ.

Review Posted Online: Feb. 12, 2014

Kirkus Reviews Issue: March 1, 2014

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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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