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, by Benjamin Blatt
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Product details
File Size: 17825 KB
Print Length: 289 pages
Page Numbers Source ISBN: 1501105396
Publisher: Simon & Schuster; Reprint edition (March 14, 2017)
Publication Date: March 14, 2017
Sold by: Simon and Schuster Digital Sales Inc
Language: English
ASIN: B01HMXUTI0
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I absolutely loved this book! Data meets literature and the results will surprise you. This book had me laughing out loud—both in hysterics and delight. There is so much fun information presented and the idea to examine literature this way is innovate and exciting. I loved the inspiration behind the book—the famous Federalist papers/author dispute—and how it guided the concept. This book would make a great read for a book club or a classroom setting—it brings up countless discussions and new angles of looking at the books we know and love (or think we know!). For the solo reader, this book is full of exciting bits of data that has the potential to blow your mind.Perhaps I am biased because lit analysis was my major in college. I devour books on the subject though I'm frustrated with the lack of selection, diversity, and the overall lack of excitement on the subject matter. This book was one of the most thrilling books I have read in the genre. I can say that people with an interest in comparative literature or analysis should really get a kick out of this book. But with that being said, I think just about any book or statistics enthusiast can enjoy this read. The material is not wordy, dull, or complicated. The author does a great job of presenting the data without reaching for absurd conclusions. The information is interesting, fascinating, and even humorous, but is laid out in a very reader-friendly way. I read it in one sitting on a Saturday afternoon and was left wanting more.I had very little to say about this book in a negative way. I wish it were longer. And my least favorite chapter was the one about author names vs. title names vs. co-authors.Though statistics were involved, it didn't really seem to match the rest of the concepts. Overall it was a nearly faultless read. I may have caught a typo on page 70 when Richard Bachman was referenced (wrong author).I would love to see a sequel to this book. Please do Shakespeare (did he write them all? Did he really change writing styles so drastically between James I and Elizabeth I to the point that scholars believe he was actually several writers?)! The Bible! It would be neat to see which parts of the Bible had one author behind it and if it followed a certain time line. I would love to know what the most common noun was in the Bible (or Shakespeare). And Beowulf—I wish there was something to compare that piece to. Are any of the stories in One Thousand and One Nights written by the same authors? Did Thomas Paine write Common Sense? Any way we can compare The String of Pearls to writers of the same time period (I would love to know who invented Sweeney Todd)? Did Beatrice Sparks write Go Ask Alice? What about the O: A Presidential Novel? Goodness I could really go on.Read this book! Highly recommended!
A marvelous book, from the most unpromising of premises - an entire volume dedicated to statistics in literature. If you've read the Roald Dahl book that titles this review, you might already have a vague glimmering of what to expect; a book that reduces writing down to simple science and mathematics. But fear not. It's a lot more fun that.Take an author's favorite word, for example; that is, the word he uses more than any other. We know from the title what Nabokov's was, and you might think "so what?" But read on. Discover Ray Bradbury's, as well. Jean M Auel's. JK Rowling and Agatha Christie. Lists, charts, graphs and diagrams accompany Blatt's so-engaging writing and researches, and although his main interest is fiction, he delves also into the various "how to write" guides that certain novelists have written - and then checks to see if they followed their own advice.To be completely truthful, my interest started to fade at the end, as Blatt got into analyzing page counts, opening sentences, and the size of an author's name on the cover. But the 176 pages before that had raced by, more than compensating for the (comparative) dullness of the last forty. And now I find myself thinking about all the follow-ups he could deliver: spiraling out of their brief entries in this book, similar studies could be devoted exclusively to 19th century novelists (what was William Thackeray's "cinnamon" word?); to modern erotica (what is Chrissie Bentley's "nod" word?); to children's books (did WE Johns use "the" more than Carolyn Keene?).And unanswered here, but worth pondering, regardless - would this same methodology even begin to work in non-fiction?
The first key to the success of this book is its modesty: unlike some other Digital Humanities work, it never tries to make grand literary conclusions or to "objectively" rank books. For all of the subjectivity and specificity of literature, there's plenty of prescriptivism and plenty of patterns. Blatt focuses on both of these. It's a non-judgmental evaluation of who follows the rules of writing -- rules of grammar, punctuation, and diction. There's convincing evidence here that great writers follow the advice of Creative Writing 101, and ample evidence that they sometimes break it too.The other key is its systematic attention to interesting detail -- Blatt's Bayesian methodology is all about finding what is most unusual about a particular book, author, or genre. This method consistently uncovers amusing and quirky facts. One of my favorites was how relatively unlikely it was for male authors to describe their male characters as scared.Overall: clear, accessible, incisive, and fun. In my experience, kids are a lot more tolerant of combining words and numbers than adults are. I think they'll find this book whimsical and inspiring, as will adults who haven't succumbed to the evils of specialization. I'd also recommend this book to technical writers or quantitative journalists who struggle with writing clear, engaging quantitative material.
It initially appeared to be an interesting form of analysis. The opening section on the negative correlation between the frequency of -ly adverbs and literary quality, certainly got me thinking, although I have some doubts about the quantification of literary quality. However, I lost interest in the gender discussion, not least because the author seems scared to enter the minefield of discussing why, for example, 'enemy' is a word principally used by men, whilst 'shopping' is a word principally used by women.
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