| Subcategories |
 |
Literature & Fiction |
|
|
|
|
|
|
|
 |
|
|
|
|
|
|
|
|
|
|
|
The Gift: Creativity and the Artist in the Modern World (Vintage)
written by Lewis Hyde
Studio : Vintage
by Vintage
Release Date : 2007-12-04
Publisher : Vintage
Released : 2007-12-04
Availability : Usually ships in 1-2 business days
Number of Items : 1
EAN : 9780307279507
Avg. Customer Rating: (based on 7 reviews)
List Price : $14.95
Our Price : $8.31
|
|
| |
|
Product Description |
|
By now a modern classic, The Gift is a brilliantly orchestrated defense of the value of creativity and of its importance in a culture increasingly governed by money and overrun with commodities. Widely available again after twenty-five years, this book is even more necessary today than when it first appeared. An illuminating and transformative book, and completely original in its view of the world, The Gift is cherished by artists, writers, musicians, and thinkers. It is in itself a gift to all who discover the classic wisdom found in its pages. |
| |
|
| |
|
the gift was a gift |
I perused the book but it was bought for my son who just grduted ASU in creative writing - poetry.
My only dissapointment was emailing the author to no avail
George Sudduth |
| |
|
What's Better Than A Gift? |
"The grass is a uniform hieroglyphic." - W.W.
Some books will simply not go away.
I am glad this one has endured.
Through its many sub-title revisions, The Gift has retained its place as a prime interpreter of gift and commodity societies, and their relation to a culture of creativity. The connections Hyde constructs between art, science and literature are capable of provoking limitless discussion, increasing frustration, and possess enlightenment potential.
Hyde weaves modernity and tradition, and succinctly sums economy and philosophy at the close of chapter five where he states, "both anarchism and gift exchange share the assumption that it is not when a part of the self is inhibited and restrained, but when a part of the self is given away, that community appears."
I was initially drawn to the author by his second non-fiction prose work Trickster Makes The World: Mischief, Myth and Art. A year later, this earlier work captured my attention because of an ongoing search for contemporary sources that contain chapters on Whitman. The Gift's ninth chapter is where Hyde's genius became vivid for this reader, and as a bonus, in concert with another reviewer, my whole view of Pound shifted, especially in view of the Ginsberg story.
It is striking to see a book categorized as Literary Criticism/Sociology on the back cover of the original Vintage edition, and then noted on the copyright page as 3. Economic Anthropology, and 4. Art and Society, with three major poets' testimonies cited to Hyde's credit on the back cover. Why, because this is not the sort of crossover, or fusion (to use the music industry term) you expect to find. Reading any of the ten chapters, conclusion, new introduction, or afterword to the 25th Anniversary Edition individually is worthwhile. Especially the afterword for artists and arts communities. Reading the book in toto is deeply satisfying in a disturbing sort of way.
What led me to write this brief review was not an earnest desire to spread my Whitmananian obsession. What I discovered after finishing the ninth chapter and returning to the first in order to read the entire text, is an ethnologist's collection of tales, history, and economics, with an omniscient POV for the present. As the reader follows Hyde's stories and reasoning to the end, there will be sufficient exposure to a mind-altering view of the arts and the world. What is most gratifying is how The Gift has retained its currency, in spite of a few dated references from an earlier generation.
There are five things in particular that make Hyde's work worth reading.
1. His eloquence as he combines seemingly tangential sources. Nevertheless, as with poetry, reader patience and stamina are required.
2. The author possesses an ever-aware connection with the now, no matter how much history or philosophy he challenges readers to absorb.
3. It is apparent that Hyde maintains a capacity for change and growth within the scope of 385 pages. Note the beginning of his conclusion: ". . . Such, at any rate, were my assumptions when I began to write." I like experts who admit to being human. One expects this quality of judgment suspension in good scientific writing; to find it in a book purported to be literary criticism is heartening.
4. Hyde demonstrates a finely tuned understanding of Whitman in chapter nine, which efficiently explains the mystery of the greatest American Poet's creative awakening.
5. The Gift offers (albeit some 20 years in advance) a balance for Richard Florida's Rise of the Creative Class. Although, some may see it as a corollary work, or even a substantiation of Florida.
In order to conduct my own experiment, and add a witness to those of Bly, Zweig and Sarton found on the back cover of the original Vintage edition, I have introduced Hyde's book to the members of the Village Book Club in the form of a gift.
Whether conscious of our quest along the fabled lines of The Gift, or not, we will continue to act out the drama of Hyde's most provocative and enduring dilemma: "How, if art is essentially a gift, is the artist to survive in a society dominated by the market?" One other reviewer answered it by saying "art will outlast the market." How will you answer the question?
Again, caveat lector: this book of Hyde's is not beach reading.
The gift is to the giver . . . it cannot fail. - W. W.
There are nothing but gifts on this poor, poor Earth. - Czeslaw Milosz |
| |
|
Lost in the words |
|
I had quite a few problems with this book. Let me start by saying that he obviously knows how to put words together. However the first part of the book about the anthropological aspects of the gift culture is not anything new, as he takes excerpts from various works in the field and strings them together. His contemporary example of the scientific community is innacurate. I know from 1st hand experience that the scientific community is highly competitive, and often requests for material from fellow scientists is ignored, or refused. I also could not tie it all together to understand his message. I got lost in the words. The second half is more satisfying but I am puzzled by his choice of Ezra Pound. Pound was obviously mentally ill, and the forgiveness bestowed on him by Ginsberg for his part in encouraging the Holocaust is a pathetic joke. First of Ginsberg was about as Jewish as the pope, and secondly who is he to forgive him? He cannot speak for 6 million dead souls. |
| |
|
As close to the truth as any prose about art can be |
|
This book is the antidote to university education or years in the workforce. It is the same truth that broke my heart rearranged to buck it up again. Mr. Hyde, I only hope someday I can give it back again. |
| |
|
Bad-boy critic deploys magic charm against vampire economy |
This book has been published under various subtitles since it first appeared in 1983: "Imagination and the Erotic Life of Property", "How the Creative Spirit Transforms the World" and "Creativity and the Artist in the Modern World". None of these quite captures what it really is, and that's probably because the book doesn't know what it really is, either. Lewis Hyde takes obvious delight in his work's ability to defy categorization or the pithy summary. Unique books have that quality. So do many that are poorly written. It took me a while to figure out which kind this is.
Hyde's central theorem - that true art does, and must of its nature, stand outside the market economy, and this therefore presents a serious problem for the artist forced to live in a world increasingly subsumed by the market economy - could have achieved its full elaboration in the space of a single chapter. In the first half of the book we get that, but we also get quite a lot of wide-ranging argument about economics and the traditional tribal life of gift exchange. Not all of this is relevant, but it's all admittedly fascinating. Less fascinating are Hyde's attempts to locate contemporary examples. For example, he argues rather unconvincingly that the scientific community is "a gift community to the extent that its ideas move as gifts". Fair enough, but the extent to which they do in fact move as gifts is negligible. Scientists are among the most egotistical, petty and jealously self-serving academics ever born. Science isn't about sharing ideas, or not only that. It's about promoting "my ideas" and having "my name" forever associated with them. It's about personal prestige and glory. Ask any scientist how he or she would feel about all work being published in journals anonymously, and used thereafter without attribution.
The second half of the book is given over to two long essays on poets, and here Hyde - a poet himself - is clearly on stronger ground. One is a very engaging treatment of Walt Whitman which traces elements of "the gift" idea through his poetry and sad personal life, though for some inexplicable reason Hyde doesn't quite want to state clearly what he constantly implies: that Whitman's charitable works had a good deal more sublimated homosexuality in them than they did Christian love for his fellow man. The other is an interesting analysis of Ezra Pound which traces the arc of his genius and generosity, and yet doesn't hold back from depicting him as a frustrated bigot and fascist lunatic who only recanted his vile "suburban prejudice" (anti-Semitism) at the very end.
The conclusion and afterword link elements of the gift argument to the support for the arts in postwar America and its relationship to the Cold War.
Margaret Atwood overstated the case when she apparently called this book "a masterpiece". It's very good, but it isn't that. It's overlong, weirdly structured, and in places poorly argued. Hyde often makes huge leaps in order to connect the "evidence" with his argument, or asks us to assume an assertion is true and then builds a case on the assertion without ever coming back to prove it. Disappointingly, there is very little synthesis here, nothing that binds all of these ideas into a consistent argument - and very little in the way of recommendations about how art might flourish in a market economy. Nevertheless, I enjoyed it. I came away from this book uplifted and refreshed, with a whole new way of looking at Whitman and Pound, and a new way of looking at art's place in the world. There really is no place for art in the market economy, and that's probably why art will outlive it. There is something primal and fundamentally human in art and "the gift" economy on which it relies. Both are necessary functions of human life. |
| |
|
|
|
