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AMERICAN AUDACITY

IN DEFENSE OF LITERARY DARING

A host of detailed, thoughtful, often rancorous reviews haunted by a love/hate relationship with American letters and...

A midcareer retrospective of essay-length literary reviews.

Giraldi (The Hero’s Body, 2017, etc.) identifies the thrust of his critical work to date, of which this volume offers an extensive sample, as preoccupied with articulating the boldness and originality he finds peculiar to the American literary tradition, his own contributions included. Like many emerging writers with literary aspirations, the author seems compelled to join the fray over the Great American Novel and to scrutinize his writerly inheritance from the pedigreed lineage of the white, male, quasi-religious American canon. An unapologetic literary snob who lionizes critics as cultural arbiters, Giraldi enlists in a crusade against bad writing and celebrates the role of criticism as policing the borders of literary legitimacy. He sallies forth against the “commercial fiction” of bestsellers like Tom Clancy’s “lobotomized” “poli-sci porn” and the “eighth-grade gurglings” of Fifty Shades of Grey. The secret to such blockbuster success, Giraldi reckons, is to “never ask your reader to delve with you into the wombs of language, to rappel into the inky caves of connotation.” The author alternates reviews of giants like Melville and Poe with the handful of lesser-known 20th-century novelists—Barry Hannah, Allan Gurganus, Padgett Powell—he most esteems. Though the dense verbiage of his book reviews often recalls an academic’s tone, and he is fiction editor for a campus literary journal (AGNI at Boston University), Giraldi writes for an educated generalist audience and claims to detest academia. He rails in particular against the “unreadable prose” of academics written for other academics, counting himself lucky to have escaped the drudgery of the “tweeds” whose writing on writing he declares “incapable of giving pleasure.” Still, he assumes the academic mantle of metareviewer, critiquing critics like Stanley Fish, Lionel Trilling, Northrop Frye, and Harold Bloom with grad-student gusto.

A host of detailed, thoughtful, often rancorous reviews haunted by a love/hate relationship with American letters and replete with choice tidbits from the author's commonplace book but offering few original or illuminating insights.

Pub Date: Aug. 7, 2018

ISBN: 978-1-63149-390-4

Page Count: 448

Publisher: Liveright/Norton

Review Posted Online: May 8, 2018

Kirkus Reviews Issue: June 1, 2018

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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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