A massively erudite, groundbreaking revision of the novel's historical development. Traditionally, Anglo-American criticism located the rise of the novel in 18th-century England and the troika of Defoe, Richardson, and Fielding. The realism that characterized their books—Robinson Crusoe, Pamela, etc.—was declared to be the hallmark of a new and wonderful genre: the novel. The thousands of prose fictions that had come before were dismissed as mere romances or that bland entity, ``extended prose works.'' Doody's (Comparative Literature/Vanderbilt Univ.; Frances Burney, 1988, etc.) goal is nothing less than to restore these slighted works, particularly those from the classical world, to the novel's fold, to their proper and primary place in the Western canon. Starting in 100 b.c. with the oldest surviving novel, the Greek Chaireas and Kallirroe by Chariton, Doody convincingly demonstrates the underlying realism of these neglected novels as, point by point, from questions of character and voice to literary self- consciousness, she demolishes the previous quibbling barriers. She also demonstrates how the classical novels, particularly Apuleius's The Golden Ass, continued to influence more modern novels (her ability to cross-reference is truly breathtaking). Taking a few too many pages from Jung, Doody then goes on to elaborate the deep mythic structures—from dreams to death to goddess worship—that all novels share; apart from further proving her continuity thesis, most of this feels overlong and out of place. We will probably never know what really was the first novel, but Doody, building on the work of others, argues cogently for the form's religious beginnings—a ritual diary of an initiate's path to spiritual gnosis. In her view, the modern novel is not that different: ``We make a not unimportant spiritual and political as well as personal move when we open a novel and become initiates, entering upon the marshy margins of becoming.'' Despite some minor imperfections, a major, even seminal work. (8 color, 39 b&w illustrations, not seen)
Pub Date: March 1, 1996
ISBN: 0-8135-2168-8
Page Count: 675
Publisher: Rutgers Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 1996
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
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
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
