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SAINT AUGUSTINE’S MEMORY

CONFESSIONES, BOOK TWO

Essential for students of the Church, and a vigorous and readable version of one of Western literature’s canonical works.

The second installment in prolific classicist and political theorist Wills’s ongoing, thoroughly brilliant translation of St. Augustine’s Confessions (St. Augustine’s Childhood: Confessiones, 2001).

“The scope of memory is vast, my God, in some way scary, with its depths, its endless adaptabilities—yet what are they but my own mind, my self?” Thus Augustine of Hippo, on the road to sainthood, contemplating himself contemplating the divine. Two-thirds of Augustine’s 13-volume Confessions (which Wills also renders as Testimony), written in the fourth century, concerns his life before his conversion to Christianity. Book Ten, which takes up most of the present volume, is, as Wills (Why I Am a Catholic, p. 870, etc.) notes, a hinge, “making the turn between an account of God’s graces shown to Augustine before his baptism . . . and a meditation on his life as baptized into the Trinity.” Concerning memory and the innermost workings of the human mind, Book Ten is notoriously difficult: it seeks to establish the memory not just as a vast warehouse wherein unordered experiences are stored and retrieved, but as one of the many dwellings of God. Augustine writes with crystalline clarity of the contents of his own memory: “I can, while smelling nothing, identify the wafture from a lily, contrast it with that of a violet.” But, turning from his own experience to the universal, he sometimes wanders into snarls of prose: “So if I remember not forgetting itself, but forgetting’s representation, then forgetting must have been present when the representation was formed from it.” Wills helpfully guides his readers through such knots in his endnotes, remarking, “Chesterton said that we tend to call this an odd world, though it is the only one we know. This is akin to Augustine’s discussion of the experience of remembering that we forgot, which is almost like sensation in a lost limb.”

Essential for students of the Church, and a vigorous and readable version of one of Western literature’s canonical works.

Pub Date: Nov. 11, 2002

ISBN: 0-670-03127-5

Page Count: 240

Publisher: Viking

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 1, 2002

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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

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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

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