Not an essential critical resource, but one offering many pleasures.
A wide-ranging scholar ponders the manifestations of ancient gods in modern literature.
Calasso (Ka, 1998, etc.) does not attempt to cover his topic comprehensively. He focuses instead on what he terms “absolute literature,” those “most audacious and demanding” works “that leave the ancient pattern of genres and prescribed patterns far behind . . . forever abandoned in a flight toward a knowledge grounded only in itself and expanding everywhere like a cloud, cloaking every shape, overstepping every boundary.” These literary epiphanies are to be found in works as various as Nabokov’s Lolita, the lyrics of the German poet Hölderlein, Nietzsche’s notebooks, and the essays of Mallarmé. The seven essays were originally delivered as a lecture series at Oxford University, and the effect is rather like eavesdropping on a seminar in progress: the aphorisms, connections, and fleeting allusions come thick and fast. A critic in the belles-lettres tradition, Calasso makes large statements with great authority but little substantiation, rather than engaging in sustained close reading or reconstructing literary history. Like Harold Bloom, he apparently regards individualism and innovation as the only criteria of literary value, so that every text is praised for its originality, with “suddenly,” “for the first time,” “an abrupt turning point,” and the like peppering every chapter. Within the limitations of the approach, however, he comes up with charming observations and remarkable flashes of insight, including a fascinating discussion of Isadore Ducasse’s bizarre 1869 collection of poems, Les Chants de Maldoror, “the first book written on the principle that anything and everything must be the object of sarcasm,” uncannily anticipating both postmodern fiction and slasher movies. In the two most powerful essays, “Mallarmé in Oxford” and “Meters Are the Cattle of the Gods,” magnificently detailed analyses of poetic form offer ample compensation for the sweeping pronouncements, and Calasso’s delight in the textures of language and imagery pervades the text.
Not an essential critical resource, but one offering many pleasures.Pub Date: March 21, 2001
ISBN: 0-375-41138-0
Page Count: 192
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2001
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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