A deep scholarly probe into self-help’s inextricable influence on the history and future of literature.
Blum (English/Harvard Univ.) argues that a literary perspective offers crucial insight into the ongoing appeal and evolution of modern advice books.
In this erudite volume, the author suggests that “self-help’s most valuable secrets are not about getting rich or winning friends but about how and why people read.” The genre has operated “as an alternative pedagogic space to the academy—one whose breezy, instrumental reading methods contrasted with the close, disinterested paradigms” of the university setting. Self-help has a long history—as Blum notes, “what is…Ovid’s Ars Amatoria but an ancient Men Are From Mars, Women Are From Venus?”—and it offers a reminder of the promises of transformation, agency, culture, and wisdom that draw readers to books. Moreover, there is the issue of self-help’s “overlooked embroilment in speculation, imagination, the fantastical, and counterfactual.” In exploring both the history of self-help books and their continued rampant popularity, Blum often wades through thickets of academese—“the self-help hermeneutic binds in unexpected ways a nonsynchronous, cross-cultural community of practical readers”—to get to a point. But the points are well taken. Self-help books have a history of being promoted as antidotes to intellectual bombast and aesthetic idealism, whereas serious literature has railed against instrumental pedantry. However, that doesn’t have to be the case. Indeed, self-help can display emancipatory potential and tap “a progressive, even radical, agenda.” Blum offers close analyses of selected works of a wide variety of authors—including Flann O’Brien, Edith Wharton, Henry James, and Virginia Woolf—to discover “the troubling affinities between charismatic literary authorship and the spiritual manipulation of popular guides.” She uncovers the influence of early self-help on the literature of James Joyce—the modernist critique of instrumentalism is a thread through the book—finds interesting parallels in the work of Samuel Beckett and Timothy Ferriss, and examines how modern fictional works use “self-help as an opportunity to modernize a potentially maudlin textual ethics.”
A deep scholarly probe into self-help’s inextricable influence on the history and future of literature.Pub Date: Jan. 28, 2020
ISBN: 978-0-231-19492-1
Page Count: 368
Publisher: Columbia Univ.
Review Posted Online: Oct. 18, 2019
Kirkus Reviews Issue: Nov. 15, 2019
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
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
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