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SHARP

THE WOMEN WHO MADE AN ART OF HAVING AN OPINION

A useful take on significant writers “in a world that was not eager to hear women’s opinions about anything.”

A debut book about the works of 20th-century women whose lives had a deep impact on culture.

“I gathered the women in this book under the sign of a compliment that every one of them received in their lives: they were called sharp,” writes New Republic contributing editor Dean. At first glance, the premise seems rather elementary. Such a qualifier can’t possibly carry with it the heft of a book’s premise. However, by exploring the different roles that women such as Joan Didion, Hannah Arendt, Renata Adler, Susan Sontag, and Dorothy Parker occupied in the writing world, Dean makes it clear that to be called “sharp” was a steppingstone for their respective careers. All of the women are obviously extremely different: Dorothy Parker was hardly a contemporary of Susan Sontag, nor did they function within the same society. Hannah Arendt was not as progressively irreverent as Renata Adler. However, Dean reveals intriguing connections that link most, if not all, of them together. Each one of these women was involved in one way or another with Condé Nast, an extremely influential publishing group that could make or break writers’ careers. In writing for the New York Review of Books or Vogue, among other publications, they were able to test out their ideas on a captive audience of fiery New Yorkers and sophisticated, fashionable women. As is often the case with geniuses, their writings were not received with open arms; there was push back from an audience used to a male authorial power. Interestingly, however different these women may have been from each other, the author ably explains the ways in which their lives intersected, the conversations they had, and the goals they shared. Unfortunately, Dean often discusses these female authors’ writerly independence in relation to the men that occupied important places in their lives, an odd choice in a book of this nature. Still, the author presents engaging portraits of brilliant minds.

A useful take on significant writers “in a world that was not eager to hear women’s opinions about anything.”

Pub Date: April 10, 2018

ISBN: 978-0-8021-2509-5

Page Count: 384

Publisher: Grove

Review Posted Online: Dec. 23, 2017

Kirkus Reviews Issue: Jan. 15, 2018

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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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