In a dizzying display of historical cultural literacy, Harbison (English/St. Martin's School of Art, London; Eccentric Spaces; 1989, etc.) traces through a series of narrative works two themes he considers related: the decline of magical thinking, of belief in the supernatural; and the rise of the autonomous individual. Isolating seemingly unrelated texts from the spiritual, cultural, and creative complexities that produced them, Harbison imposes a thematic relationship that he believes they conceal. Thus, from Gilgamesh, Genesis, Greek myths, and the Norse Beowulf, he traces the internalization of evil and the loss of the supernatural. His literary adventure—not very well defined and somewhat impulsive, full of wordplay, epigram, and unrelated insights—proceeds through ChrÇtien de Troyes, Thomas Malory, and the Romance of the Rose; Dante's La Vita Nuova (awakening a ``hunger for allegory, which it is careful not to satisfy''); Chaucer's Troilus and Criseyde, Sidney's Arcadia, and Spenser's Faerie Queene; Shakespeare, Bunyan, Marivaux, and Richardson- -followed by a potpourri of Gothic tales by Walpole, Kleist, Hawthorne, and Kafka. The ironists Stendahl and James, who attempted to bring the magic of myth into realistic narratives, are succeeded by Proust—whose work Harbison finds to be ``a disordered flood of images or a delirium,'' reassembling ``the world out of order, attributing wrong causes, retaining vanished facts,'' and after whom ``fiction seems bereft and awash in used up possibility.'' Fascinating—but bewildering and not entirely trustworthy- -intellectual fun.

Pub Date: Oct. 1, 1993

ISBN: 0-87923-889-5

Page Count: 220

Publisher: Godine

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 1993

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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.


New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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With this detailed, versatile cookbook, readers can finally make Momofuku Milk Bar’s inventive, decadent desserts at home, or see what they’ve been missing.

In this successor to the Momofuku cookbook, Momofuku Milk Bar’s pastry chef hands over the keys to the restaurant group’s snack-food–based treats, which have had people lining up outside the door of the Manhattan bakery since it opened. The James Beard Award–nominated Tosi spares no detail, providing origin stories for her popular cookies, pies and ice-cream flavors. The recipes are meticulously outlined, with added tips on how to experiment with their format. After “understanding how we laid out this cookbook…you will be one of us,” writes the author. Still, it’s a bit more sophisticated than the typical Betty Crocker fare. In addition to a healthy stock of pretzels, cornflakes and, of course, milk powder, some recipes require readers to have feuilletine and citric acid handy, to perfect the art of quenelling. Acolytes should invest in a scale, thanks to Tosi’s preference of grams (“freedom measurements,” as the friendlier cups and spoons are called, are provided, but heavily frowned upon)—though it’s hard to be too pretentious when one of your main ingredients is Fruity Pebbles. A refreshing, youthful cookbook that will have readers happily indulging in a rising pastry-chef star’s widely appealing treats.    


Pub Date: Oct. 25, 2011

ISBN: 978-0-307-72049-8

Page Count: 256

Publisher: Clarkson Potter

Review Posted Online: Jan. 13, 2012

Kirkus Reviews Issue: Oct. 15, 2011

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