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GOING TO THE TERRITORY

In sonorous, often autobiographical terms, these essays (reprinted from speeches and articles originally published between 1963-83) survey the role of the artist in society, the role of society in fiction, and the relationship of black cultural values to American myths and the American dream. The tone is judicious throughout, though Ellison remains very much a spokesman for his own generation—a group for whom slavery was a memory as immediate as memories of grandparents. The essays are often rooted in recollections of the 1930's—his years as a music student at Tuskegee and, somewhat later, as an ambivalent New Yorker committing himself to a literary life ("the writing of novels is the damndest thing I ever got into"). There is no apparent theory or method here—just a meticulous marshalling of memories, facts, and measured conclusions. One of the strongest essays is a tribute to Richard Wright, whom Ellison decided to meet after reading a poem by Wright while still at Tuskegee. Visiting New York at the same time that Wright was transferred from Chicago to New York (as editor of the magazine New Challenge and Harlem bureau reporter for The Daily Worker), Ellison not only got to know this uncompromising, troubled genius, but was one of the few to read Native Son in manuscript: "I didn't know what to think of it except that it was wonderful. I was not responding critically. After all, how many of you have had the privilege of reading a powerful novel as it was, literally, ripped off the typewriter?" Ellison later developed critical reservations about ideological bias in Wright's fiction, but the essay expresses them without detracting from Wright's enormous achievement. Curiously, another very fine essay is on a writer who must be the antipode of Wright—the novelist Erskine Caldwell. Ellison is no ideologue. Indeed, some of the reprinted speeches might have been better edited to remove glowing references to then-reigning presidents (including Richard Nixon). These flattering comments were probably graceful in context but out of context sound vaguely sycophantic. It's the only awkwardness in an otherwise magisterial performance.

Pub Date: July 23, 1986

ISBN: 0679760016

Page Count: 325

Publisher: Random House

Review Posted Online: Sept. 22, 2011

Kirkus Reviews Issue: June 15, 1986

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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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