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HOW TO READ ANY WHY

A molehill of old lectures—some of them brilliant, all of them at least worth skimming through—that will probably get made...

The prolific critic Bloom (Shakespeare, 1998, etc.) has courted controversy in the last few years with his denunciations of the politically correct “School of Resentment” that now dominates most universities—and he has not been discreet in his attacks on many of the writers (such as Toni Morrison) that this school holds in highest esteem. Here, he carries his arguments to an even more fundamental level, demanding that we consider what the point and purpose of literature can be in an age where information has gone far beyond the verbal forms in which literature subsides. “Information is endlessly available to us,” he points out, “where shall wisdom be found?” Naturally, Bloom finds it in the great writers of the Western tradition, and he proceeds to tell us just how great they (i.e., Hemingway, Shakespeare, Faulkner, Austen, Dickens, Chekhov, Cervantes, etc.) are—and why. As with most of Bloom’s more recent works, the great controversy here is not what he says, but whom he chooses to say it about, and the many debates that he will set off are likely not to get past his table of contents. Which will be a pity, frankly, because Bloom’s insights into just about anything can be worth all of his postures.

A molehill of old lectures—some of them brilliant, all of them at least worth skimming through—that will probably get made into a mountain of academic politics.

Pub Date: June 5, 2000

ISBN: 0-684-85906-8

Page Count: 235

Publisher: Scribner

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: June 1, 2000

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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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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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