Waiting for the Barbarians: Essays from the Classics to Pop Culture (New York Review Collections (Hardcover))

Over the past decade and a half, Daniel Mendelsohn’s reviews for __The New York Review of Books__, __The New Yorker__, and __The New York Times Book Review__ have earned him a reputation as “one of the greatest critics of our time” (__Poet s& Writers__). In __Waiting for the Barbarians__, he brings together twenty-four of his recent essays—each one glinting with “verve and sparkle,” “acumen and passion”—on a wide range of subjects, from __Avatar__ to the poems of Arthur Rimbaud, from our inexhaustible fascination with the __Titanic__ to Susan Sontag’s __Journals__. Trained as a classicist, author of two internationally best-selling memoirs, Mendelsohn moves easily from penetrating considerations of the ways in which the classics continue to make themselves felt in contemporary life and letters (Greek myth in the __Spider-Man__ musical, Anne Carson’s translations of Sappho) to trenchant takes on pop spectacles—none more explosively controversial than his dissection of __Mad Men__.Also gathered here are essays devoted to the art of fiction, from Jonathan Littell’s Holocaust blockbuster __The Kindly Ones__ to forgotten gems like the novels of Theodor Fontane. In a final section, “Private Lives,” prefaced by Mendelsohn’s __New Yorker__ essay on fake memoirs, he considers the lives and work of writers as disparate as Leo Lerman, Noël Coward, and Jonathan Franzen. __Waiting for the Barbarians__ once again demonstrates that Mendelsohn’s “sweep as a cultural critic is as impressive as his depth.” Over The Past Decade And A Half, Daniel Mendelsohn's Reviews For The New York Review Of Books, The New Yorker, And The New York Times Book Review Have Earned Him A Reputation As One Of The Greatest Critics Of Our Time (poets & Writers). In Waiting For The Barbarians, He Brings Together Twenty-four Of His Recent Essays--each One Glinting With Verve And Sparkle, Acumen And Passion--a Wide Range Of Subjects, From Avatar To The Poems Of Arthur Rimbaud, From Our Inexhaustible Fascination With The Titanic To Susan Sontag's Journals. Trained As A Classicist, Author Of Two Internationally Best-selling Memoirs, Mendelsohn Moves Easily From Penetrating Considerations Of The Ways In Which The Classics Continue To Make Themselves Felt In Contemporary Life And Letters (greek Myth In The Spider-man Musical, Anne Carson's Translations Of Sappho) To Trenchant Takes On Pop Spectacles--none More Explosively Controversial Than His Dissection Of Mad Men. Also Gathered Here Are Essays Devoted To The Art Of Fiction, From Jonathan Littell's Holocaust Blockbuster The Kindly Ones To Forgotten Gems Like The Novels Of Theodor Fontane. In A Final Section, Private Lives, Prefaced By Mendelsohn'snew Yorker Essay On Fake Memoirs, He Considers The Lives And Work Of Writers As Disparate As Leo Lerman, Noel Coward, And Jonathan Franzen. Waiting For The Barbarians Once Again Demonstrates That Mendelsohn's Sweep As A Cultural Critic Is As Impressive As His Depth. Spectacles. The Wizard (james Cameron's Avatar) ; Truth Force At The Met (philip Glass's Satyagraha) ; Why She Fell (julie Taymor's Spider-man) ; The Dream Director (aleksandr Sokurov's The Sun) ; The Mad Men Account (man Men) ; Unsinkable (why We Can't Let Go Of The Titanic) -- Classica. Battle Lines (stephen Mitchell's Iliad) ; In Search Of Sappho (anne Carson's If Not, Winter) ; Arms And The Man (the Landmark Herodotus) ; The Strange Music Of Horace (j.d. Mcclatchy's Horace, The Odes) ; Oscar Wilde, Classics Scholar ; Epic Endeavors (three Novels On The Classics) -- Creative Writing. After Waterloo (stendhal's Charterhouse Of Parma) ; Heroine Addict (the Novels Of Theodor Fontane) ; Rebel Rebel (the Poems Of Arthur Rimbaud) ; The Spanish Tragedy (antonio Muñoz Molina's Sepharad) ; In Gay And Crumbling England (alan Hollinghurst's The Stranger's Child) ; Transgression (jonathan Littell's The Kindly Ones) -- Private Lives. But Enough About Me (the Memoir Craze) ; His Design For Living (noël Coward's Letters) ; On The Town (leo Lerman's Diaries) ; Zoned Out (jonathan Franzen's The Discomfort Zone) ; Boys Will Be Boys (edmund White's City Boy) ; The Collector (susan Sontag's Reborn). Daniel Mendelsohn. FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD AND THE PEN ART OF THE ESSAY AWARD Over the past decade and a half, Daniel Mendelsohn’s reviews for The New York Review of Books , The New Yorker , and The New York Times Book Review have earned him a reputation as “one of the greatest critics of our time” ( Poets & Writers ). In Waiting for the Barbarians , he brings together twenty-four of his recent essays—each one glinting with “verve and sparkle,” “acumen and passion”—on a wide range of subjects, from Avatar to the poems of Arthur Rimbaud, from our inexhaustible fascination with the Titanic to Susan Sontag’s Journals . Trained as a classicist, author of two internationally best-selling memoirs, Mendelsohn moves easily from penetrating considerations of the ways in which the classics continue to make themselves felt in contemporary life and letters (Greek myth in the Spider-Man musical, Anne Carson’s translations of Sappho) to trenchant takes on pop spectacles—none more explosively controversial than his dissection of Mad Men . Also gathered here are essays devoted to the art of fiction, from Jonathan Littell’s Holocaust blockbuster The Kindly Ones to forgotten gems like the novels of Theodor Fontane. In a final section, “Private Lives,” prefaced by Mendelsohn’s New Yorker essay on fake memoirs, he considers the lives and work of writers as disparate as Leo Lerman, Noël Coward, and Jonathan Franzen. Waiting for the Barbarians once again demonstrates that Mendelsohn’s “sweep as a cultural critic is as impressive as his depth.” Over the past decade and a half, Daniel Mendelsohn’s reviews for The New York Review of Books , The New Yorker , and The New York Times Book Review have earned him a reputation as “one of the greatest critics of our time” ( Poet s& Writers ). In Waiting for the Barbarians , he brings together twenty-four of his recent essays—each one glinting with “verve and sparkle,” “acumen and passion”—on a wide range of subjects, from Avatar to the poems of Arthur Rimbaud, from our inexhaustible fascination with the Titanic to Susan Sontag’s Journals . Trained as a classicist, author of two internationally best-selling memoirs, Mendelsohn moves easily from penetrating considerations of the ways in which the classics continue to make themselves felt in contemporary life and letters (Greek myth in the Spider-Man musical, Anne Carson’s translations of Sappho) to trenchant takes on pop spectacles—none more explosively controversial than his dissection of Mad Men . Also gathered here are essays devoted to the art of fiction, from Jonathan Littell’s Holocaust blockbuster The Kindly Ones to forgotten gems like the novels of Theodor Fontane. In a final section, “Private Lives,” prefaced by Mendelsohn’s New Yorker essay on fake memoirs, he considers the lives and work of writers as disparate as Leo Lerman, Noël Coward, and Jonathan Franzen. Waiting for the Barbarians once again demonstrates that Mendelsohn’s “sweep as a cultural critic is as impressive as his depth.” Over the past decade and a half, Daniel Mendelsohn's reviews for The New York Review of Books, The New Yorker, and The New York Times Book Review have earned him a reputation as "one of the greatest critics of our time" (Poets & Writers). In Waiting for the Barbarians, he brings together twenty-four of his recent essays'each one glinting with "verve and sparkle," "acumen and passion"'on a wide range of subjects, from Avatar to the poems of Arthur Rimbaud, from our inexhaustible fascination with the Titanic to Susan Sontag's Journals. Trained as a classicist, author of two internationally best-selling memoirs, Mendelsohn moves easily from penetrating considerations of the ways in which the classics continue to make themselves felt in contemporary life and letters (Greek myth in the Spider-Man musical, Anne Carson's translations of Sappho) to trenchant takes on pop spectacles'none more explosively controversial than his dissection of Mad Men. Also gathered here are essays devoted to the art of fiction, from Jonathan Littell's Holocaust blockbuster The Kindly Ones to forgotten gems like the novels of Theodor Fontane. In a final section, "Private Lives," prefaced by Mendelsohn'sNew Yorker essay on fake memoirs, he considers the lives and work of writers as disparate as Leo Lerman, Noel Coward, and Jonathan Franzen. Waiting for the Barbarians once again demonstrates that Mendelsohn's "sweep as a cultural critic is as impressive as his depth." In "Waiting for the Barbarians," Daniel Mendelsohn brings together twenty-four of his recent essays on a wide range of subjects, from "Avatar" to the poems of Arthur Rimbaud, from our inexhaustible fascination with the "Titanic" to Susan Sontag's "Journals." Also gathered here are essays devoted to the art of fiction, from Jonathan Littell's Holocaust blockbuster "The Kindly Ones" to forgotten gems like the novels of Theodor Fontane. In a final section, "Private Lives," prefaced by Mendelsohn's"New Yorker" essay on fake memoirs, he considers the lives and work of writers as disparate as Leo Lerman, Noel Coward, and Jonathan Franzen