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HOW MILTON WORKS

With forcefulness, fluency, and persistence, Fish succeeds in making his case and honoring his subject: a definitive work.

Nearly 35 years after the publication of Fish’s first landmark study comes this culmination of his lifetime of Milton scholarship.

Fish has distinguished himself most recently as a freelancer in the culture wars, subverting political and intellectual pieties with the skill and cunning (and occasionally the disingenuousness) of a first-rate lawyer. Here, however, he shows himself to be a truly passionate critic, immersing himself in the texts of Comus, Lycidas, Areopagitica, Paradise Regained, Samson Agonistes, and other works to explicate the remarkable philosophy that animates and informs them. Instead of staging critical conflicts between good and evil, Fish holds that Milton’s work is continually mapping out a moral universe in which good is immune to both crisis and conflict because it is a state of perfect attunement to God’s will. One of several surprising things that follow from this monolithic morality is that moral value is, by definition, intrinsic, and therefore cannot be ascribed to any object or action. Instead, the meaning of any action proceeds from the inherent moral condition of the individual who effects it: books are only as dangerous (or beneficial) as their readers, and deeds, whatever value they might appear to have in themselves, are really only as good or evil as the doers. So while they are rigidly defined, moral distinctions are not discernible outside the self. Moral conviction is thus placed on an epistemological precipice, requiring constant monitoring and self-questioning to maintain its position. Although Fish acknowledges the pressures this vision brings to bear on Milton’s own legendary ambition and egoism, he is more interested in the principles of Milton’s cosmos than in the personality that informs it. The same applies to poetics, Fish’s literary sophistication notwithstanding. What is at stake here is not artistic but moral truth and, implicitly, what Milton’s radical vision might have to tell our own age.

With forcefulness, fluency, and persistence, Fish succeeds in making his case and honoring his subject: a definitive work.

Pub Date: June 1, 2001

ISBN: 0-674-00465-5

Page Count: 544

Publisher: Belknap/Harvard Univ.

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 15, 2001

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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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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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