One-Minute Book Reviews

April 23, 2015

Do Authors Benefit From Having Unusual Names? Quote of the Day / Willa Cather

Filed under: Quotes of the Day — 1minutebookreviewswordpresscom @ 10:47 pm
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Do authors benefit from having unusual names? If so, T. Coraghessan Boyle would outsell Stephen King. But the myth persists. And Willa Cather — whose name rhymes with “rather” but regularly heard bookstore clerks pronounce it “Kay-thur” — lamented its tenacity. Cather wrote in a letter collected in The Selected Letters of Willa Cather (Knopf, 2013):

“It is all nonsense that an unusual name is an advantage in authorship. One had much better be named Jones. Salesmen in New York and Chicago always correct me when I pronounce my own name.”

April 11, 2015

‘To Kill a Mockingbird’ As a Gospel Allegory – Quote of the Day

Filed under: Fiction,Novels,Quotes of the Day — 1minutebookreviewswordpresscom @ 3:33 pm
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What is To Kill a Mockingbird “about”? Harper Lee responded indirectly in a letter to the Richmond (Va.) News-Leader after a school board had banned her novel as “immoral”: “Surely it is plain to the simplest intelligence that To Kill a Mockingbird spells out in words of seldom more than two syllables a code of honor and conduct, Christian in its ethic, that is the heritage of all Southerners.”

Lee’s friend Wayne Flynt, a retired Auburn University historian, elaborated on the idea in an interview about Lee’s forthcoming Go Set a Watchman. “She wouldn’t consider herself a conventional Christian,” Flynt told the Mobile (Ala.) Press-Register. But in a sense, he said, she wrote a Christian book in To Kill a Mockingbird. “It’s about a fundamental set of Christian beliefs,” Flynt said. “It’s an allegorical tale of the gospel.”

February 4, 2014

‘Oh, Time, Strength, Cash, and Patience!’ / Quote of the Day, Herman Melville

Filed under: Quotes of the Day — 1minutebookreviewswordpresscom @ 11:55 am
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Is any book ever “finished”? Here’s Herman Melville’s view of the subject, as described by William Pritchard:

“At the end of the ‘Cetology’ chapter in Moby-Dick, after Ishmael, or Melville, has presented us with a seemingly exhaustive classification of the various kind of whales, we are told that this ‘Cetological System’ must remain, like ‘ the great Cathedral of Cologne,’ unfinished:

‘For small erections may be finished by their first architects; grand ones, true ones, leave the copestone to posterity. God keep me from ever completing anything. This whole book is but a draught – nay, but the draught of a draught. Oh, Time, Strength, Cash, and Patience!’

“The fear is of ‘succeeding’ by writing a sentence – a book – that isn’t sufficiently a ‘mighty book’ because it’s too finished. ‘To produce a mighty book, you must choose a mighty theme,’ he says elsewhere in the novel. This means that there can be no end to expression since the whale – the world out there – is inexpressible.”

From William H. Pritchard’s essay “Herman Melville” in Literary Genius: 25 Classic Writers Who Define English and American Literature (Paul Dry Books, 2007), selected and edited by Joseph Epstein with wood engravings by Barry Moser.

November 2, 2013

Why Does the Horseman Have No Head in ‘The Legend of Sleepy Hollow’? — Quote of the Day / Amanda Foreman

Filed under: Classics,Quotes of the Day,Short Stories — 1minutebookreviewswordpresscom @ 7:23 pm
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Is a classic American story about the danger that any man might lose his head over a woman?

A lot of us have enjoyed “The Legend of Sleepy Hollow” as simply a rousing tale of a schoolmaster undone by his vision of a headless horseman. But is there more to it? Washington Irving’s schoolmaster is the superstitious Ichabod Crane, a gold digger who hopes to marry Katrina Van Tassel, a rich farmer’s daughter. Katrina has also caught the eye of the prankster Abraham “Brom Bones” Van Brunt. One autumn night, Crane goes to a party at the Van Tassel’s at which Brom Bones and others tell ghost stories, and on his way home, he sees a headless horseman who flings his missing head at him — an act that so terrifies him that he flees town for good.

An unanswered question of the story is: Why does the horseman have no head? Literary monsters typically have fangs, claws or other menacing elements added to their bodies. The headless horseman has had something subtracted. The historian Amanda Foreman indirectly suggests an explanation for it in an her article, “Headless, and Not Just the Horseman,” in the Nov. 2–3 edition of the Wall Street Journal. Could it be, she asks, that Ichabod Crane’s Katrina symbolizes the danger that any man might lose his head over a woman? “To some,” she adds, “the mere possibility is a fate worse than death.”

— Janice Harayda

September 26, 2013

Quote of the Day / Journalist John Kroll on ‘Anticlimactic’ Titles

Filed under: Quotes of the Day — 1minutebookreviewswordpresscom @ 3:29 pm
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Headlines often fail for obvious reasons such as sensationalism or grammatical errors. But they may have more subtle problems. Journalist John Kroll says that some editors seem determined to make the titles of newspaper articles “as anticlimactic as possible”:

“One of The Plain Dealer’s early experiments in narrative was titled ‘Losing Lisa.’ There’s a reason Disney didn’t name a movie  Losing Bambi’s Mom.”

© 2013 Janice Harayda. All rights reserved.

September 2, 2013

Edith Wharton on Hard Work / Labor Day Quote of the Day

Filed under: Quotes of the Day — 1minutebookreviewswordpresscom @ 11:59 am
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Edith Wharton said that “the blessed drug of hard work” comforted her when she was living in Paris during World War I and had to give up peacetime joys such as seeing friends who couldn’t travel because of the fighting. She launched one project after rich women began making shirts for the wounded, which deprived French seamstresses of their income. Connie Nordhielm Wooldridge writes in The Brave Escape of Edith Wharton (Clarion, 2010):

“The French Red Cross had a request. Could Mrs. Wharton raise enough funds to open a workroom and pay unemployed women to make bandages, socks, and sweaters? …

“Yes, Mrs. Wharton, the writer and high-society woman, could open a workroom. She rolled up her silk sleeves. Within weeks she had talked her wealthy friends out of $2,000 (the equivalent of more than $40,000 today) and established a place where 20 seamstresses could earn a French franc a day and eat a hearty meal at noon.”

June 6, 2013

The Bagpipes of D-Day – ‘Highland Laddie’ at Sword Beach

Filed under: Nonfiction,Quotes of the Day — 1minutebookreviewswordpresscom @ 12:27 pm
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Like great novelists, great war correspondents know that people make the story. One who never forgot it was Cornelius Ryan, the Dublin-born reporter and author of the classic account of the invasion of Normandy, The Longest Day: June 6, 1944 (Simon & Schuster, 1959).

Ryan’s book is less about military tactics and strategy than about their effect on people — from the German high command to a French schoolmistress and the American paratrooper who tumbled into her garden just after midnight on June 6, 1944. One of the most remarkable characters in The Longest Day is Simon Fraser, Lord Lovat, the Scottish brigade commander who, with his bagpiper and fellow commandos, went ashore Sword Beach. This paragraph from the book describes the scene:

“As the commandos touched down on Sword, Lord Lovat’s piper, William Millin, plunged off his landing craft into water up to his armpits. He could see smoke piling up from the beach ahead and hear the crump of exploding mortar shells. As Millin floundered toward shore, Lovat shouted at him, ‘Give us “Highland Laddie,” man!’ Waist-deep in water, Millin put his mouthpiece to his lips and splashed through the surf, the pipes keening crazily. At the water’s edge, oblivious to the gunfire, he halted and, parading up and down the beach, piped the commandos ashore. The men streamed past him, and mingling with the whine of bullets and the screams of shells came the wild skirl of the pipes as Millin now played, ‘The Road to the Isles.’ ‘That’s the stuff, Jock,’ yelled a commando. Said another, ‘Get down, you mad bugger.’”

© 2008 Janice Harayda. All rights reserved.
www.janiceharayda.com

May 25, 2013

James Salter’s 10 Worst Sentences — From ‘All That Is’ and ‘Dusk’

Filed under: Novels,Quotes of the Day,Short Stories — 1minutebookreviewswordpresscom @ 7:40 pm
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James Salter’s novel All That Is came out last month, and many articles about it have quoted Richard Ford’s comment that Salter “writes American sentences better than anyone writing today.” Does he deserve that praise? You be the judge.

Here are 10 sentences from All That Is and from Salter’s PEN/Faulkner Award–winning Dusk and Other Stories:

From All That Is
“It was a departure of foreboding, like the eerie silence that precedes a coming storm.”
“Eerie silence” is a cliché, and “coming” in that sentence is redundant.

“It’s too peaceful.” [A sailor just before a kamikaze strike on his ship]
Cavalrymen say this before the Apaches attack in cowboy movies.

“He had no system for gambling, he bet on instinct, some men seem to have a gift for it.” 
Meet the king of the comma splices.

“Her buttocks were glorious, it was like being in a bakery …”
No comment.

“Her husband-to-be was smiling as she came towards him, Sophie was smiling, nearly everyone was.”

Apart from the comma splices: What’s with the British spelling of “towards,” which appears 36 times in this novel about an American man? It’s “toward” in American English. The book also uses “backwards” instead of the American “backward.”

From Dusk and Other Stories
“Forty-six. … She would never be any younger.”
In other words, she’s just like the rest of us who will never be any younger.

“Of course, she was nervous. She was thirty.”
See a theme developing?

“He was wildly generous, he seemed to care nothing for money, it was crumpled in his pockets like waste paper, when he paid for things it would fall to the floor.”
More comma splices.

“She was a woman who had read books, played golf, gone to weddings, whose legs were good, who had weathered storms, a fine woman whom no one now wanted.”
When he says “no one now wanted,” he means, “no man now wanted.”

“Her most useful friend was a hysterical woman named Mirella Ricci, who had a large apartment and aristocratic longings, also the fears and illnesses of women who live alone.”
Women have their uses, even if they’re “hysterical? And what are those unspecified “fears and illnesses of women who live alone”? They can’t be worse than the “fears and illnesses” of men who live alone, who die younger and are less healthy than their female peers.

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© 2013 Janice Harayda. All rights reserved.
www.janiceharayda.com

March 23, 2013

‘Good Books Are All Too Rare’ – Quote of the Day / John Sledge

Filed under: Essays and Reviews,Quotes of the Day — 1minutebookreviewswordpresscom @ 5:20 pm
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Few book critics for U.S. newspapers write well enough to tempt publishers to issue collections of their reviews. The exceptions include John Sledge, who spent 17 years as the books editor of the Mobile Press-Register before that former daily switched to a three-day-a-week print run in 2012. The University of South Caroline Press has just published a collection of Sledge’s literary essays and reviews, Southern Bound: A Gulf Coast Journalist on Books, Writers, and Literary Pilgrimages of the Heart, in April. The book includes this quote:

“Good books are all too rare; flawed ones, common; and terrible ones, ubiquitous.”

January 22, 2013

How to Read ‘Moby-Dick’ / Quote of the Day

Filed under: Classics,Quotes of the Day — 1minutebookreviewswordpresscom @ 9:40 pm
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Moby-Dick received a chilly reception during Herman Melville’s lifetime that lasted for decades after his death. Why did Americans warm up to the novel slowly? They didn’t know how to read it, the author Clifton Fadiman argues in his introduction to the 1977 Easton Press edition shown, left.

“We must read it not as if it were a novel but as if it were a myth. A novel is a tale. A myth is a disguised method of expressing mankind’s deepest terrors and longings. The myth uses the narrative form and is often mistaken for true narrative. Tom Jones is a true narrative; Moby Dick is a false narrative, a myth disguised as a story. Once we feel the truth of this distinction, the greatness of Moby Dick becomes manifest: we have learned how to read it.”

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