"Intelligence," guest editor Sontag notes in her introduction, "is a literary virtue, not just an energy or aptitude given literary clothing." And she goes on to insist that "it is hard to imagine an important essay that is not, first of all, a display of intelligence. And sheer intelligence of the highest order can in and of itself make a great essay." The choices here leave that assertion open to doubt, though. If smarts were all, then John Guillory's essay on the fallacy of canon formation and Philip Fisher's essay about Shakespeare's radical reinterpretation of the contingency of the passions in Hamlet would be classics. They're not, each written badly in its own way and each without the edge of argumentative flexibility that all great essays, even screeds and fragmenta, manage to lead with. Other things here, in contrast, are all voice, no content—essays by William Gass, Stanley Elkin, Patricia Storace, Elizabeth Hardwick, Leonard Michaels, Anne Carson—esoterica by virtue of their contrarian textures rather than their indwelling mental processes. The exceptions, then, stand out as all the more sterling. Best of all, in its exoteric generosity and clarity, is Joan Didion's devastating essay about New York and its "sentimental narratives"—politically muzzy but coming close to the last word about the city's self-destructive wane. Adam Gopnik's "Audubon's Passions" is a revelation, an invitation to see what we thought we'd seen and known. Sontag is a masterful enough essayist herself to know the real thing—which is why she reprints not one but two John Updike pieces, one on domestic objects in childhood, one on Mickey Mouse: Essays that in their adventurousness both of voice and interim conclusion fit the essentially plastic paradoxicalness of the essay form better than anything else here.
Pub Date: Nov. 12, 1992
ISBN: 0-395-59935-0
Page Count: 352
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1992
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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