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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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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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