Classics, Nonfiction, and Children's Literature
Quiet: The Power of Introverts in a World that Can’t Stop Talking by Susan Cain is a popular science look at the differences in personality type. She argues that introverts are just as necessary in leadership as the more outspoken extroverted power types. First, I should make clear that Ms. Cain does acknowledge the fact
It has been more than a month since I finished reading Raising an Emotionally Intelligent Child by John Gottman (published 1998). By waiting to write my thoughts, I may not have as many specific examples and quotes to share with my readers. However, by letting the book percolate in my mind as I went about
At my classics book club last night, one of the women had not had a chance to read The Heart is a Lonely Hunter by Carson McCullers (published 1940), but she came to hear the discussion about it nonetheless. She was not familiar with the book, and as we discussed it, she commented on how
When my son and this blog were newborns, I purchased a copy of Seth Lerer’s Children’s Literature: A Reader’s History and began reading some of the classic children’s books that I loved as a child and/or that have been influential in creating children’s literature as we know it. My project through the classics in that
“The Horla” is the term for the invisible ghost-like creature that haunts the unnamed narrator in Guy de Maupassant’s short story of the same name (written 1887). Maupassant’s story is a journal of this man’s decent into madness. Maupassant captures panic in a real way, and the ending is simply wonderful. When I first read
As a mother raising a child in a world of video games and television, electronic gadgets and noise makers, I have often wondered how to encourage my son’s imagination. This seems to be a challenge even now when he’s a toddler, and it may be even more so as he grows. Society’s emphasis on after-school
Knut Hamsun’s Hunger is about pride in being human, the ridiculousness of everyday life, and the hopelessness of the two of those combined. As the title may suggest, the unnamed narrator is a hungry starving artist, struggling to write to earn money to pay for a meal. His life physically depends on his ability to
“Crime and Punishment,” says Richard Pevear in his introduction, “is a highly unusual mystery novel: the most mystified character in it is the murderer himself.” At first glance, there is no mystery. The answers to “who, what, when, and where” seem self-evident, especially since the murder occurs center stage in the first 80 pages of
I could not put down the 140-page novella The Stranger by Albert Camus after I picked it up, despite the fact that it is odd and rather disturbing. Camus’ Nobel Prize-winning writing style was absolutely beautiful: it reminded me of both John Steinbeck’s in The East of Eden (which I thought was a perfect combination
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