Yale University Press
The Music Libel Against the JewsBy Ruth HaCohen (Yale University Press, 507 pp., $55) IN NOVEMBER 1934, Privy Councilor Wilhelm Furtwängler, vice president of the Third Reich’s Music Chamber and conductor of the Berlin Philharmonic Orchestra, imprudently took to the pages of the Deutsche Allgemeine Zeitung to defend the composer Paul Hindemith against the charge of “Jewishness” with which Joseph Goebbels, the Nazi minister for propaganda and enlightenment of the people, had justified a prohibition on the performance of his work.
The Richard Burton DiariesEdited by Chris Williams (Yale University Press, 693 pp., $35) JUNE 14, 1969, and for a dawn moment he was calm, remembering Wordsworth and Dylan Thomas: “I love my wife. I love her dearly. Honest. Talk about the beauty, silent, bare.... Sitting on the Thames with the river imitating a blue-grey ghost. My God the very houses seem asleep.
ONE OF THE blessedly few statistics in Losing It, William Ian Miller’s book about his experience of aging, and a tour-de force of hypochondriacal free association, informs his readers that “more than half the people between the ages of sixty-five and seventy-four surveyed in a National Council on Aging study in 2002 thought of themselves as middle aged or young, as did a third of those over seventy-five.” But the datum rep
Unlikely Collaboration: Gertrude Stein, Bernard Faÿ, and the Vichy DilemmaBy Barbara Will (Columbia University Press, 274 pp., $35) IdaBy Gertrude Stein Edited by Logan Esdale (Yale University Press, 348 pp., $20) Stanzas in Meditation: The Corrected EditionBy Gertrude Stein Edited by Susannah Hollister and Emily Setina (Yale University Press, 379 pp., $22) ON SEPTEMBER 29, 1951, an oddly dressed young woman appeared in an alley adjacent to the municipal hospital in Angers, a town southwest of Paris.
Joseph Brodsky: A Literary Life By Lev Loseff Translated by Jane Ann Miller (Yale University Press, 333 pp., $22) Joseph Brodsky caught the attention of the outside world for the first time in 1964, when he was tried in Leningrad for the crime of writing poetry. That is not how the indictment read, of course: his “crime” was that he did not have a regular job, and was therefore a “parasite.” But a scurrilous article attacking Brodsky in the Evening Leningrad newspaper not long before his trial gave the game away.
Alfred Kazin’s Journals Selected and edited by Richard M. Cook (Yale University Press, 598 pp., $45) “As a man is, so he sees. As the eye is formed, such are its powers.” Alfred Kazin reveled in William Blake’s words in 1944, at the age of twenty-nine, as he stood in the Huntington Library turning the pages of The Marriage of Heaven and Hell. When he described this epiphany in New York Jew, the third volume of his memoirs, Kazin clearly wanted the reader to be swept up, as he was, by the sovereignty of the Blakean self: “All is within the vaulting leaping mind of man,” he continues.
The Anatomy of Influence: Literature as a Way of Life By Harold Bloom (Yale University Press, 357 pp., $32.50) With The Anatomy of Influence, Harold Bloom has promised us his “swan song” as a critic. Fat chance.
Too Much to Know: Managing Scholarly Information Before the Modern Age By Ann M. Blair (Yale University Press, 397 pp., $45) In 1945, in an article called “As We May Think,” Vannevar Bush evoked a specter for the modern age beyond the bomb: information overload.
Holy Bones, Holy Dust: How Relics Shaped the History of Medieval Europe By Charles Freeman (Yale University Press, 306 pp., $35) Christian Materiality: An Essay on Religion in Late Medieval Europe By Caroline Walker Bynum (Zone Books, 408 pp., $32.95) Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe Edited by Martina Bagnoli, Holger A. Klein, Griffith Mann, and James Robinson (Yale University Press, 259 pp., $65) Throughout much of history, at the heart of every village, town, and city in Europe, there lay a dead body.
C.S. Lewis’s Lost Aeneid: Arms and the Exile Edited by A.T. Reyes (Yale University Press, 208 pp., $27.50) In 1945, in a famous lecture called “What is a Classic?,” T.S. Eliot described Virgil as the most truly classical of all poets, on the grounds that his work supposedly exemplifies a supreme “maturity of language,” which involves a total exclusion of individual personality.