THE FACTSHEET FIVE ZINE READER

Name: THE FACTSHEET FIVE ZINE READER
Author: R. Seth Friedman
ISBN: 0-609-80001-9

edited by R. Seth Friedman ‧ RELEASE DATE: May 1, 1997

A useful introduction to, and anthology of, the rude, antic, crowded new world of fanzines (``zines,'' for short), featuring both a terse, informed overview of the field—Friedman, the editor/publisher of Factsheet Five, a zine that reviews other zines, estimates that he has read some 50,000 zines in the past decade. Zines, Friedman explains, are often one-person operations, sporadically issued, devoted to a single topic, and distinguished, at their best, by writing ``more opinionated than newspaper editorials, more personal than magazine articles, more topical than books.'' There's certainly some strong writing on display here (such as a piece by Al Aronowitz from Long Shot on beat poetry and jazz), with an emphasis on the confessional (as in Doug Holland's remarkable ongoing chronicle of his hard, peculiar experiences, published in Pathetic Life). There's also much that's flimsy and obsessive, but that, probably, is part of Friedman's point: Zines aren't so much about creating alternative outlets for fine writing as they are about the simple, essential need to communicate. (75 b&w photos and line drawings)

Pub Date: May 1, 1997

ISBN: 0-609-80001-9

Page Count: 192

Publisher: Crown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1997

Categories: GENERAL NONFICTION

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

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972

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

Categories: GENERAL NONFICTION

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DEAR MR. HENSHAW

by Beverly Cleary ‧ RELEASE DATE: Aug. 22, 1983

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.