A TEMPLE OF TEXTS

ESSAYS

Don’t skim any of these ebullient pages, which offer a seductive mixture of analytical precision and colloquial chutzpah.

A learned potpourri of fulminations and enthusiasms from the indefatigably stylish novelist, teacher and critic.

If Gass’s first three essays don’t hook you, you probably aren’t an inveterate work freak and won’t declare this lively book a worthy companion to its author’s several prize-winning essay collections (such as The World Within the Word and Tests of Time). In an utterly perfect introductory essay, Gass sings the praises of multiplicity, contradiction and polyphony in literature, urging readers to become, above all else, omnivorous (“The healthy mind goes everywhere”). “Influence” rambles engagingly about the title phenomenon’s central relationship to artistic creation, meanwhile tossing off witty aphorisms with imperturbable ease. “Fifty Literary Pillars” then offers concise tributes to literary and philosophical works that have influenced Gass, acknowledging consensus classics and drawing attention to comparative arcana (Beckett’s How It Is, Colette’s Break of Day, Gaston Bachelard’s phenomenological treatise The Poetics of Space). A well-fed yet ceaselessly hungry mind is hunting and gathering, here and in subsequent celebrations—of Renaissance masters Erasmus and Rabelais, unparalleled antiquarian Robert Burton (whose Anatomy of Melancholy is a vast treasure-trove of beguiling eccentricities), Latin America’s magical realists, Gertrude Stein’s annoyingly innovative prose experiments and Robert Coover’s abrasive political novel The Public Burning. Gass loves Dickens’s verbal energy, Henry James’s stentorian complexity, postmodernist intellectuals and philosophical clowns—almost as much as he scorns hypertext (“The information highway has no destination, and the sense of travel it provides is pure illusion”). Three very different masters receive special attention: manic rhetorician Stanley Elkin, underrated satirist William Gaddis (Gass writes amusingly about being persistently mistaken for him) and the great German poet Rilke (evidently Gass’s favorite writer).

Don’t skim any of these ebullient pages, which offer a seductive mixture of analytical precision and colloquial chutzpah.

Pub Date: Feb. 20, 2006

ISBN: 0-307-26286-3

Page Count: 416

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 1, 2005

Categories:

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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