This Stepping Stone edition of 'The Wizard of Oz' is an adaptation of L. Frank Baum's classic story, tailored for first chapter book readers. The book includes art from the original 'Wizard of Oz' and follows the journey of Dorothy as she is carried by a cyclone from a Kansas farm to the magical land of Oz, where she meets the Tin Woodman, Scarecrow, and Cowardly Lion.
This book is a compilation of photographs and stories from Brandon Stanton's popular blog 'Humans of New York'. It features a wide range of people from different races, ages, genders, and social classes, each sharing their unique stories, from single-sentence comments to more lengthy tales. The book includes stories about abusive parents, exes, struggles to succeed, addiction and recovery, and lifelong happiness, providing a rich and intimate portrait of New York City's diverse population[3][5].
In 'Wicked', Gregory Maguire delves into the life of Elphaba, the green-skinned girl who becomes the infamous Wicked Witch of the West. The story begins with Elphaba's childhood, marked by her unique appearance and her father's missionary work in Quadling country. As she grows older, Elphaba attends Shiz University, where she meets Galinda, who will later become Glinda. The novel follows Elphaba's journey through her involvement in resistance against the Wizard, her personal struggles, and her eventual transformation into the Wicked Witch. Maguire's narrative explores themes of social class, political oppression, and the nature of evil, creating a rich and vivid world that challenges the traditional view of Oz[1][3][4].
Finnegans Wake is James Joyce's final and most complex work, written over a period of seventeen years. The novel is set in a dream world where the protagonist, Humphrey Chimpden Earwicker (HCE), and his family—wife Anna Livia Plurabelle (ALP) and their children Shem, Shaun, and Issy—undergo various transformations and identities. The book is known for its innovative use of language, combining elements from multiple languages and creating new words through portmanteaus and puns. It explores themes of identity, history, and the cyclical nature of life, drawing on Irish mythology, biblical narratives, and personal experiences. The novel's structure is circular, ending with the sentence that begins the book, creating a continuous loop[3][4][5].
Scarface, a crime drama, follows the rise and fall of Cuban immigrant Tony Montana as he becomes a powerful drug lord in Miami. The film is known for its graphic violence, memorable dialogue, and iconic portrayal of ambition and excess. Al Pacino's performance as Tony Montana is legendary, capturing the character's ruthless ambition and eventual downfall. The film's exploration of themes such as greed, power, and the American Dream has made it a cult classic. Its influence on popular culture is undeniable, with its quotable lines and imagery remaining instantly recognizable.
Published in 1926, Winnie-the-Pooh is a beloved children's book written by A.A. Milne and illustrated by E.H. Shepard. The book follows the adventures of Winnie-the-Pooh, a honey-loving bear, and his friends including Christopher Robin, Piglet, Eeyore, Owl, Rabbit, Kanga, and Roo in the fictional Hundred Acre Wood. The stories are simple yet full of comic moments and insights into human behavior, making it a classic that appeals to readers of all ages.
Richard Brody's review of "Norbit" is a unique and insightful piece of film criticism. While the film itself might be considered a comedic misstep, Brody's appreciation for Eddie Murphy's performance showcases his ability to find value in unexpected places. His analysis likely delves into the nuances of Murphy's comedic timing and character work, highlighting the actor's range and talent. Brody's perspective challenges conventional wisdom about the film, demonstrating the importance of critical engagement beyond simple judgments of quality. His review serves as a reminder that even flawed works can offer valuable insights into the art of filmmaking and performance.
Terrence Rafferty's review of "When Harry Met Sally..." is a notable example of film criticism that sparked debate and discussion. His assessment likely compared the film to classic screwball comedies, finding it lacking in certain aspects. He might have critiqued the chemistry between the leads or the overall comedic effectiveness. The review's impact stems from its willingness to challenge the film's popular appeal and offer a contrarian perspective. It highlights the subjective nature of film criticism and the importance of engaging with a film on its own terms, rather than simply accepting popular opinion.
In 1939, reviewing the beloved M-G-M classic “The Wizard of Oz” for The New Yorker, the critic Russell Maloney declared that the film held “no trace of imagination, good taste, or ingenuity.” The use of color was “eye-straining,” the dialogue was unbelievable, and the movie as a whole was “a stinkeroo.” This take might shock today’s audiences, but Maloney is far from the only critic to go so pointedly against the popular view. In a special live show celebrating The New Yorker’s centenary, the hosts of Critics at Large discuss this and other examples drawn from the magazine’s archives, including Dorothy Parker’s 1928 takedown of “Winnie-the-Pooh” and Pauline Kael’s assessment of Al Pacino as “a lump” at the center of “Scarface.” These pieces reveal something essential about the role of criticism and the value of thinking through a work’s artistic merits (or lack thereof) on the page. “I felt all these feelings while reading Terrence Rafferty tearing to shreds ‘When Harry Met Sally…,’ ” Alexandra Schwartz says. “But it made the movie come alive for me again, to have to dispute it with the critic.”
Read, watch, and listen with the critics:
“Lies, Lies, and More Lies,” by Terrence Rafferty (The New Yorker)
“Bitches and Witches,” by John Lahr (The New Yorker)
“Don’t Shoot the Book-Reviewer; He’s Doing the Best He Can,” by Clifton Fadiman (The New Yorker)
“The Feminine Mystique,” by Pauline Kael (The New Yorker)
“The Wizard of Hollywood,” by Russell Maloney (The New Yorker)
“The Fake Force of Tony Montana,” by Pauline Kael (The New Yorker)
“Renoir’s Problem Nudes,” by Peter Schjeldahl (The New Yorker)
“Humans of New York and the Cavalier Consumption of Others,” by Vinson Cunningham (The New Yorker)
“The Great Sadness of Ben Affleck,” by Naomi Fry (The New Yorker)
“President Killers and Princess Diana Find Musical Immortality,” by Alexandra Schwartz (The New Yorker)
“Obscure Objects of Desire: On Jeffrey Eugenides,” by Alexandra Schwartz (The Nation)
“Reading ‘The House at Pooh Corner,’ ” by Dorothy Parker (The New Yorker)
New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.
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Critics at Large | The New Yorker 
