Next book

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:
Next book

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

Categories:
Next book

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

Categories:
Close Quickview