From Publishers Weekly
Previously published in the American Scholar, the Believer and the Virginia Quarterly Review, among others, these critical responses address a group of novels-including The Catcher in the Rye, The Good Soldier and The Moviegoer-that chart the "topographical reference points" on the rough "map of Birkerts's inwardness." Though he has read many of the books several times, Birkerts, who teaches at Harvard and edits the journal Agni, is still often "surprised, going back, to find the work had grown fresh again, full of unexpected turns and nuances." Most of the essays are structured to reflect this unanticipated and gratifying energy by beginning at the moment of first encounter with the books under discussion-"the frisson of first connection": Madame Bovary in a Montana bunkhouse or the discovery of Humboldt's Gift after the breakup of an important romantic relationship. Looking back on the lonely, estranged and marginal selves that found (and still find) solace in the "disputatious inner swing" of the "secret Masonic life of reading," Birkerts uncovers a stabilizing realization. Through "shifts" and "twists of vantage," this collection recounts the essential transformational value of a lifetime spent discovering the self that "comes fully awake only in the dream of a book."
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Rereading favorite novels is the theme underpinning the latest book by an eminent American critic, who here presents a series of erudite but certainly not passionless discussions about the novels he is most prone to return to. His wide-ranging list includes J. D. Salinger's Catcher in the Rye
, Knut Hamsun's Pan
, Gustave Flaubert's Madame Bovary
, and Alice Munro's Beggar Maid
. These 11 essays, some of which were previously published in various periodicals, form sort of a memory bank for Birkerts as he recalls his initial reactions to these books and shares further takes on them upon subsequent readings. In looking back, he is able to specify the "special charged encounter" between himself and the work that he first experienced and explain his later understanding of why that first encounter so impressed him. This is not watered-down literary criticism for the masses; serious fiction readers will obtain valuable guidance in articulating their own private literary passions. Brad HooperCopyright © American Library Association. All rights reserved