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THE BEST AMERICAN ESSAYS 2002

Compares favorably, piece by piece, to its cousins in poetry and short story.

Eighteenth edition of the annual known for its high standards lives up to its predecessors.

Editor Gould, who died in May, was himself an accomplished essayist whose columns in Natural History have earned him a place just below Thomas Huxley's in the ranks of scientific prose masters. Oddly, he did not select many scientifically oriented pieces for this collection, though there are three particularly strong essays on medical topics. Atul Gawande's “Final Cut,” which reports on the modern disregard of autopsies as well as describing in grim detail how autopsies are carried out, will provoke thought—and perhaps some reader's stomachs as well. Jonathan Franzen’s “My Father's Brain,” a beautifully written memoir of Ed Franzen's lapse into Alzheimer's, presages the author's fictional The Corrections (2001). Finally, Barbara Ehrenreich smashes through the pieties of “survivorhood and sisterhood” that surround breast cancer in “Welcome to Cancerland” (also in The Best American Science and Nature Writing 2002, edited by Natalie Angier, above). Reporting on the oddly infantalizing and upbeat culture enforced on breast cancer sufferers, Ehrenreich views the pink ribbons and teddy bears handed out in cancer support groups as “amulets and talismans, comforting the survivor”; she prefers anger and investigation of the environmental causes of breast cancer, an area of research not encouraged by the corporate-funded American Cancer Society. Gould’s introduction remarks with some understated dismay on the confessional tone prevalent among essayists today, which may lead readers to wonder what prompted him to include Bernard Cooper’s whiny memoir, “Winner Take Nothing.” The editor remarks more happily on the high quality of the 9/11 essays, of which the best is “Turning Point,” by Rudolph Chelminski. Taking an oblique angle to the attack, Chelminski profiles French tightrope walker Philippe Petit, who walked across a cable between the Twin Towers in 1974.

Compares favorably, piece by piece, to its cousins in poetry and short story.

Pub Date: Oct. 15, 2002

ISBN: 0-618-21388-0

Page Count: 380

Publisher: Houghton Mifflin

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 2002

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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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