Some may find the fragmentary, digressive structure of Zambreno’s book off-putting and repetitious, but it does create a...
A collage of enticing reflections on literature, movies, art, and people.
Throughout this eclectic mix of reflective, short “stories” (some very short) and a few previously published essays, Zambreno (Creative Writing/Columbia Univ. and Sarah Lawrence Coll.; Appendix Project: Talks and Essays, 2019, etc.) weaves elements of her autobiography. She writes about her friends, parents, and dog with as much honesty and courage as she inflicts upon herself, her clothes, and her likes and dislikes. These bits and pieces of paragraphs, more like snapshots or stills than screen tests, spin around like floating objects on an Alexander Calder mobile precariously tied together with ideas and images. Zambreno realizes her writing “is about conjuring up and murdering the girl I was and have allowed myself to become.” Throughout, she demonstrates that she is an intense observer. Whether examining Warhol’s Marilyn paintings or the Barbara Loden film Wanda, the author’s gaze, like photographer Anne Collier’s camera, is “obsessive, sad, sensitive, witty.” The book is highly referential. Zambreno celebrates “old Hollywood and glamour” and some of her favorite actresses—e.g., Tallulah Bankhead and Louise Brooks—and directors, including Abbas Kiarostami and Agnès Varda. The author also discusses philosophers, especially Wittgenstein and Blanchot, and many authors. Zambreno loves the “brilliance and intensity (even wrongness)” of Andrea Dworkin’s Intercourse as well as Elena Ferrante’s The Days of Abandonment: “I inhaled the book, which I heard happens when you read…Ferrante—the books are just that good.” From Gertrude Stein and Kate Chopin to Jean Rhys and Mary Gaitskill, that narrative, with its range of topics and moods, evokes a whiff of Fernando Pessoa’s The Book of Disquiet.
Some may find the fragmentary, digressive structure of Zambreno’s book off-putting and repetitious, but it does create a syncopated rhythm that is endearing and catchy when taken in small doses.Pub Date: July 23, 2019
ISBN: 978-0-06-239204-6
Page Count: 288
Publisher: Perennial/HarperCollins
Review Posted Online: April 27, 2019
Kirkus Reviews Issue: May 15, 2019
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
BOOK REVIEW
BOOK REVIEW
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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