Keeping a Rendezvous [Paperback]

John Berger (Author)

Book Description

Publication Date: October 27, 1992

When he stands before Giorgione's La Tempesta, John Berger sees not only the painting but our whole notion of time, sweeping us away from a lost Eden. A photograph of a gravely joyful crowd gathered on a Prague street in November 1989 provokes reflection on the meaning of democracy and the reunion of a people with long-banished hopes and dreams.

With the luminous essays in Keeping a Rendezvous, we are given to see the world as Berger sees it -- to explore themes suggested by the work of Jackson Pollock or J. M. W. Turner, to contemplate the wonder of Paris. Rendezvous are manifold: between critic and art, artist and subject, subject and the unknown. But most significant are the rendezvous between author and reader, as we discover our perceptions informed by John Berger's eloquence and courageous moral imagination.

Editorial Reviews

From Publishers Weekly

Masterful essays by British critic Berger on art and other topics, linking the moral to the aesthetic and the personal to the political. Photos.
Copyright 1992 Reed Business Information, Inc.

From Kirkus Reviews

Berger (The Sense of Sight, 1985, etc.) as art critic is a maddening case. Most of the time his once-fashionable leftism falls like a caul over the paintings and photographs that he uses, literally, as pretexts for these short essays (most reprinted from The Village Voice, Harper's, etc.). Ideology and preconception will force up a fatuity like ``How then does the cinema overcome this limitation to attain its special power? It does so by celebrating what we have in common, what we share. The cinema longs to go beyond individuality''; or one such as the recommendation of love's ``cyclical time'' that opposes corporate capitalism's ``unilinear'' view of it; or a celebration of peasant ``interiority.'' Berger may write of the abattoir and excrement here, but he is a Romantic at heart: Walter Benjamin with a rucksack. The best art critics make you want to see more; Berger wants you to feel more--and his wanting before images sometimes distorts or even obscures them. On the other hand, he can on occasion bring his eyes to bear on certain painters and sculptors with private intimacy and intuition. About Pollock, Henry Moore's sculptures (``Their notorious hollows and holes are sites of a sensation of enclosure, cradling, nuzzling. Before Moore's art, as before nobody else's, we are reminded that we are mammals''), and Renoir, Berger is unusually stellar. A too-mixed bag, unbalanced mostly by political deadweight. -- Copyright ©1991, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

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Product Details

• Paperback: 256 pages
• Publisher: Vintage (October 27, 1992)
• Language: English
• ISBN-10: 0679737146
• ISBN-13: 978-0679737148
• Product Dimensions: 5.2 x 0.6 x 8 inches
• Shipping Weight: 7.2 ounces (View shipping rates and policies)
• Amazon Best Sellers Rank: #2,149,478 in Books (See Top 100 in Books)

More About the Author

John Berger was born in London in 1926. He is well known for his novels and stories as well as for his works of nonfiction, including several volumes of art criticism. His first novel, A Painter of Our Time, was published in 1958, and since then his books have included the novel G., which won the Booker Prize in 1972. In 1962 he left Britain permanently, and he lives in a small village in the French Alps.