From Publishers Weekly
D'Agata (Halls of Fame) avows love of the diversity of the essay form, and it is palpable on every page of this unique, esoteric, beautiful book. He tells the reader that he first became enamored of essays when his mother read him the news of the day while he was still in her womb. It is this kind of fantastic, myth-making perspective that runs through each entry of this anthology, whose contributors include such master essayists as John McPhee, Susan Sontag, Joan Didion and Annie Dillard. Hopping from one genre to another-biography, poetry, philosophy, travel writing, memoir-D'Agata makes the point that the essay is not just one form of writing but can be every form of writing. Although it may occasionally seem that D'Agata has chosen a selection to illustrate how erudite he is-such as Theresa Hak Kyung Cha's "Erato Love Poetry," a set of bewildering fragments and (literally) blank white space-many other choices convey the wondrously infinite possibilities of the essay form. Standouts include "Unguided Tour," Sontag's cranky philosophical dialogue with her inner self; "Life Story," David Shields's string of aphorisms composed entirely of bumper sticker slogans; "Ticket to the Fair," David Foster Wallace's colorful, compassionate tour of the Illinois State Fair; and "The Body," Jenny Boully's postmodern pastiche of autobiographical (or not) footnotes. D'Agata's idea of an essay-or lyric essay, as he comes to call these writings- conflates both art and fact, blurring the line between objectivity and subjectivity. The lyric essay, he says, has a "kind of logic that wants to sing." Readers, listen up, then: here is a book that makes some beautiful music.
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As he demonstrated in Halls of Fame
(2001), D'Agata is an impressively poetic essayist, and now he pays tribute to his chosen form in a unique and astutely selected chronological collection of seminal lyric essays. Choosing one essay to represent each year up to the present, D'Agata begins in 1975 not only because it's the year of his birth but also because that's when John McPhee, grand master of what became known as creative nonfiction, published "The Search for Marvin Gardens," a shimmering hybrid of personal observations and lovingly recited facts about the board game Monopoly. A similarly complex mix of the objective and the subjective by Barry Lopez follows, as does a wily rumination by Susan Sontag, and an indelible piece by Joan Didion, empress of the plexus of the intimate and the political. Splendid, form-transcending performances by the likes of Anne Carson, Paul Metcalf, Sherman Alexie, Susan Griffin, and Carole Maso alternate with D'Agata's own sparkling musings on each year and each phase in the essay's evolution. This is a genuinely exhilarating work of literary history. Donna SeamanCopyright © American Library Association. All rights reserved