- Hardcover: 448 pages
- Publisher: Yale University Press (23 April 2004)
- Language English
- ISBN-10: 0300098944
- ISBN-13: 978-0300098945
- Product Dimensions: 2.1 x 1.5 x 0.3 cm
- Amazon Bestsellers Rank: 2,084,187 in Books (See Top 100 in Books)
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"Teachout is one of the finest critics on the scene today: tireless, gutsy, trenchant, never stale. His writings indicate a superb, highly developed and (in the best sense) discriminating taste." Martha Bayles, author of Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music"
Product Description
Terry Teachout, one of our most acute cultural commentators, here turns his sharp eye to every corner of the arts world - music, dance, literature, theatre, film, TV, and the visual arts. This collection gathers the best of Teachout's writings from the past fifteen years. In each essay he offers lucid and balanced judgments that invariably illuminate, sometimes infuriate, and always spark a response - the mark of a critic whose thoughts, however controversial, cannot be ignored. In a thoughtful introduction to the book, Teachout considers how American culture of the twenty-first century differs from that of the last century and how the information age has altered popular culture. His selected essays chronicle America's cultural journey over the past decade and a half, and they show us what has been lost - and gained - along the way. With highly informed opinions, an inimitable wit and style, and a genuine devotion to all things cultural, Teachout offers his readers much to delight in and much to ponder.
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3 reviews
31 of 34 people found the following review helpful
The End of Post-Modernism; and the Return of Mid-Cult?
15 May 2004
Format:Hardcover
If you are not already familiar with the work of the critic Terry Teachout, this fat, satisfying collection of his writing will turn you into a fan who keeps a lookout for his reviews (like me.) He started out as a musician but soon revealed a startling range of mastery of writing about theater, dance, literature and the movies. He is known as a conservative, although he strikes me as much more moderate in temperament than many of the more well-known red-hot leftists who write about the arts. And he's cosmopolitan enough for his writing to appear in the "New York Times" and "Washington Post" as well as "National Review" and "The New Criterion." In the introduction he declares what he has deciphered about the culture in the last 15 years: that strange time of "post-modernism" where no one believed that anything was real except the self, was ending in the 1990's even before the cataclysmic shock of 9/11. And that expired, unlamented "middle-brow" culture that existed before the 1960's may in fact point a way out of the morass.
Teachout has an informal conversational style that nevertheless displays his great learning (very lightly.) Unlike a lot of critics, particularly self-conscious post-modernists, he is a lot of fun to read. It appears Teachout owes much of his allegiance to the great Modernist tradition that produced jazz, Aaron Copland, Leonard Bernstein, and Willa Cather; and the popular culture of Ed Sullivan, Chuck Jones, Dawn Powell, Frank Sinatra and Tom Wolfe. (Wolfe could be considered Teachout's Godfather or grey eminence.)
Some of my favorite essays in this volume are: "Norman Mailer: Forgotten But Not Gone", a stinging take-down of Mailer's tattered reputation. "Stephen Sondheim's Unsettled Scores" in which Teachout proclaims "Sweeney Todd" the greatest American opera. "That Wascally Professor", his joyous analysis of the great old Warner Brother Looney Toons. "The New New Music", about the death of serialism, atonality, and the recovery of melody (and sanity) in classical music. "My Friend Nancy", his touching memoir of the too-soon deceased cabaret singer Nancy LaMott. "Tolstoy's Contraption", about how possibly the best writers today are not writing novels but making independent films (Whit Stillman, Darren Aronofsky, Kevin Smith, etc.) "Scoundrel Time", the definitive internment of the disgusting Lillian Hellman. "Seven Hundred Pretty Good Books", a nostalgic tribute to the fast-fading memory of the Book of the Month Club. Well, I could go on and on. Ther's also witty, insightful considerations of Camille Paglia, Tom Wolfe, John Steinbeck, Elvis, David Helfgott, John Sayles, Whittaker Chambers, 'The Sopranos"... This book is a feast, and if you are a fan of popular culture you can't afford to miss it.
21 of 24 people found the following review helpful
Passionately Argued, Highly Reasoned Criticism
12 April 2004
Format:Hardcover
This is criticism at its best, passionate, reasoned, engaged and engaging, grounded in strong values and beliefs. In the introduction to this volume, Terry Teachout notes that his only formal artistic training is in music. When he discusses other art forms, he says it as a "more or less will-informed amateur, not a practitioner." Still, the breadth and depth of his criticism is impressive: Teachout's interests include music, dance, literature, theatre. film, television and the visual arts. Teachout's insights help the reader to gain new dimensions of understanding and appreciation for familiar works; and he communicates his enthusiasm for the unfamiliar in a manner that makes the reader want to seek out the works he's celebrating.
It's also a pleasure to read someone who leaves no doubt where their opinions lie. In his piece on mentally ill pianist David Helfgott, he doesn't shrink from describing what he sees as Helfgott's exploitation by his wife and others as a "sin." His look at Norman Mailer ("Forgotten But Not Gone") is as devastating an assessment of the celebrity author as was H.L. Mencken's famous obituary for William Jennings Bryan after the three-time presidential candidate dropped dead immediately following the Scopes trial. Teachout, by the way, is author of an excellent biography of Mencken. It's clear that he's learned from, and is following in the footsteps of, the best.--William C. Hall
1 of 2 people found the following review helpful
A mind of his own
11 Sep 2006
Format:Hardcover
I know Teachout's work primarily from the musical criticism articles he frequently writes in 'Commentary'. A recent one was on the first American classical composer of distinction, Louis Gottschalk.
The sense is that a great deal of research goes into each of his articles, and that research is in turn translated into a clear and comprehensible narrative which the reader can greatly enjoy.
Teachout is the kind of writer who while having a clear and well- defined taste does not harangue the reader, or work at his conversion.
It is a pleasure to read his pieces, and to learn from them.
The sense is that a great deal of research goes into each of his articles, and that research is in turn translated into a clear and comprehensible narrative which the reader can greatly enjoy.
Teachout is the kind of writer who while having a clear and well- defined taste does not harangue the reader, or work at his conversion.
It is a pleasure to read his pieces, and to learn from them.
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