Choice Review
Sutherland (emer., University College, London, UK) demonstrates his understanding of 50 major areas of learning criticism and clearly illustrates their usefulness as they pertain to determining nuances of various literary texts. Without unnecessary explications, he clearly and concisely paints the broader picture within the confines of accepted literary critical circles to demonstrate his points. He states his point and goal: "No criticism or ¿theory' can explain a literary work--that is one of the perennial fascinations of great literature." In the following statement alone, Sutherland defines the importance of literary criticism for most readers. "[At] some point every mature reader will decide on the approaches that best work for them.... But knowing the different techniques gives the reader a wider set of options--more wrenches in the toolkit, so to speak." This is exactly what Sutherland's excellent book provides: a strong beginning place for mature readers interested in interpreting texts through various lenses of analysis. This is an excellent book for beginning literary criticism classes or for readers who simply wish to have a better understanding of literary analysis. Summing Up: Highly recommended. All readers. C. R. Bloss Auburn University
Library Journal Review
Interested readers-whether recreational or academic-will be hard-pressed to find another book that so elegantly, precisely, accessibly, and masterfully explains the West's approach to literature across the ages as Sutherland (Emeritus Lord Northcliffe Professor of Modern English Literature, Univ. Coll. London; Curiosities of Literature: A Feast for Book Lovers) does here. Indeed, only if Sutherland ghost-wrote (Concept #47) this review could it reflect the charm and erudition, devoid of pomposity, found in his book. He presents his 50 key concepts within six sections, from "Some Basics" (e.g., Ambiguity, Epic, Gothic) through "Machinery: How It Works," "Literature's Devices," "New Ideas," "Word Crimes," and "Literary Futures." Each concept is covered in four consistently formatted pages. In each presentation, he employs rhetorical questions that keep readers engaged and text boxes with enticing particulars of lit-crit history. Customized time lines across the bottom of each initial spread indicate useful reference points (e.g., his Gothic time line extends from the Goths sacking Rome in 410 to 1974's publication of Stephen King's gothic Carrie). The second spread always includes "the condensed idea" (e.g., "Terrify us, please!"). VERDICT Superb! You'll never again feel paralyzed over paradigm shifts-in fact, you'll read everything with new enlightenment. Who knew that your beach novel was metafiction!-Margaret Heilbrun, Library Journal (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
