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In three provocative pieces ("The Rights of History and the Rights of the Imagination," "The Posthumous Sublime," and "Who Owns Anne Frank?"), Ozick suggests that the Holocaust is almost--but not quite--impervious to literature. She's particularly angered by the morphing of Frank's diary into a mother lode of Broadway-style uplift, a transformation that "tampers with history, with reality, with deadly truth." Elsewhere, though, Ozick is less polemical, more willing to be dazzled by Roethke's radiance or Henry James's epistemological high beams. And it's not only specific artists but entire genres that win her awed and eloquent approval:

Miscellaneous Essays: Cynthia Ozick's Short Story the Shawl

According to Ozick, the words to an essay do that very thing-they portray power....

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Paris Review - The Art of Fiction No. 95, Cynthia Ozick Essays Cynthia OzickI had feared that the rigorous intellect evidenced in Cynthia Ozick’s essays and stories would be matched in Cynthia Ozick Essays person by a severe manner.

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Palette / Book The Shawl by Cy :: COLOURlovers Cynthia Ozick :: The Shawl Essays the shawl by cynthia ozick movie the shawl by cynthia ozick text Cynthia Ozick at the Complete Review Name: Cynthia OZICK: Nationality: USA: Born: 17 April

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"Her best collection to date."
--"I urge all lovers of American prose to read it... Cynthia Ozick is, for my money, the most accomplished and graceful literary stylist of our time... Her pieces have genuine durability. They are great essays."
--John Sutherland, "Full of arresting turns of phraseÉ. Even when you disagree with her, she electrifies your mind."
--

"I urge all lovers of American prose to read it... Cynthia Ozick is, for my money, the most accomplished and graceful literary stylist of our time... Her pieces have genuine durability. They are great essays."
--John Sutherland, Full of arresting turns of phrase... Even when you disagree with her, she electrifies your mind."
--

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"True essayists," declares Cynthia Ozick, "rarely write novels." This pronouncement would seem to overlook a horde of ambidextrous types, from John Updike to Gore Vidal to Charles Baxter to Joyce Carol Oates--and, of course, Ozick herself. The author of three novels, she is also among our finest essayists, combining a Jamesian nose for moral nuance with some of the most playful and pugnacious prose in contemporary letters. And her fourth collection, , contains some of her very best work. There are ardent considerations of particular authors, including W.G. Sebald, Franz Kafka, and Swedish modern Goran Tunstrom. But this time around, the author is even more intent on exploring the rhetorical minefield where art and politics overlap. Her introduction, in fact, is one long riff on the importance of being earnestly , at the end of which Ozick manages to have her cake and eat it too: "Two cheers, then--when there is no choice--for being ; but three cheers and more for that other bravery, the literary essay, and for memory's mooning and maundering, and for losing one's way in the bliss of American prose...." In three provocative pieces ("The Rights of History and the Rights of the Imagination," "The Posthumous Sublime," and "Who Owns Anne Frank?"), Ozick suggests that the Holocaust is almost--but not quite--impervious to literature. She's particularly angered by the morphing of Frank's diary into a mother lode of Broadway-style uplift, a transformation that "tampers with history, with reality, with deadly truth." Elsewhere, though, Ozick is less polemical, more willing to be dazzled by Roethke's radiance or Henry James's epistemological high beams. And it's not only specific artists but entire genres that win her awed and eloquent approval:

When we say that poetry is strange, we mean not that it is less than intelligible, but exactly the opposite: poetry is intelligibility heightened, strengthened, distilled to the point of astounding us; and also made manifold. Metaphor is intelligibility's great imperative, its engine of radical amazement.
At its best, Ozick's prose is equally, radically amazing. She may not always compel our agreement--the scolding she administers to W.G. Sebald, whom she clearly admires, is something of a puzzler--but her voice never ceases to register distinction and detail, emitting what she calls "the hum of perpetual noticing." Five cheers, then, for . And by the way, might be a candidate for the author's next alliterative title?

Feb 11, 2018 · Cynthia ozick portrait of the essay as ..

Art & Ardor: Essays by Cynthia Ozick - Hardcover - Second Pr

Ozick does differentiate between the reader (one hesitates to say: simple reader) and the critic/biographer/scholar, allowing that the latter's rooting around in biography has some validity - - but it stands in contrast to her repeated insistence that one of the values of the novel is the sheer essentially escapist pleasure to be found in it. She's a grand supporter of the novel, and thinks it's far from dead, and one of the pleasures of this collection is her continuing enthusiasm for the form.). Many of these pieces are the sort of essays that look at whole lives and entire careers (and about non- and thwarted novelists at that); it's almost a shame she couldn't indulge her novel- support more freely. In her Foreword Ozick notes that she can't say the essays in the book "are unified by a single theme", but several currents run through it. One is obsolescence, the once famous whose reputations haven't outlived them.

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The Din in the Head. The Din in the Headby. Cynthia Ozick general information review summaries our review links about the author. These pieces were previously published in various magazines. Return to top of the page - Our Assessment: A- : a mixed bag, but always lively, sharp writing.