Rating: 
Summary: The Artistic Humorist
Review: THE THURBER CARNIVAL is an excellent collection if only because it contains the complete MY LIFE AND HARD TIMES. In the early seventies, when my grandmother gave me a respectful and wonderfully brief biography called THE CLOCKS OF COLUMBUS, I became a THURBER fan. I was in Junior High and Thurber, dead more than ten years already, was enjoying something of a vogue. Most of his books were back in print. Today, we're down to about a third or less of what he wrote. The Library of America's collection looks fairly complete, but THE THURBER CARNIVAL was his own selection of greatest hits, if you will. In both cases I miss the separate volumes from which these stories and cartoons are culled. If there are concept albums, Thurber had concept collections. You don't get the sense of a Beatles album listening to bits from different albums. This is true with Thurber. You need all of LET YOUR MIND ALONE, which you can only get used now. You need all of THE MIDDLE-AGED MAN ON THE FLYING TRAPEZE; his most representative collection.
He tried writing a novel once or twice, but found he could only write short stories. This bothered him. The chief thing to remember as you read him is that he was deeply ashamed of being a humorist. His literary hero was Henry James. During Thurber's time at the New Yorker (and he arrived there about a year after its founding, staying until his death more than three decades later) the magazine was a showcase for humorists. Think of the original cast of Saturday Night Live and you'll have something of an idea of the atmosphere at the magazine in its first ten years or so. Competitive humorists travelled from all over the United States to work for THE NEW YORKER. The Algonquin Roundtable was largely a haven for NEW YORKER staffers. James Thurber learned from E. B. White and a few others and then outstripped them. If you read E. B. White's forays into humor, you'll see his clean prose shining, but you won't feel you know him. Thurber, on the other hand, leaves you with the impression that he wishes to God he never left Ohio. There is a sense of loss in Thurber's rhythms.
He is as dated as a Studebaker. If you're not willing to put yourself back in time, Thurber's not for you. But, if you notice his pain, you might notice how mightily he strove against it. Thomas Wolfe once met him at a party. Someone said, "This is James Thurber, the New Yorker writer."
Wolfe shook his hand and said, "You call those little, tiny things writing?"
All Thurber had was his writing. He was a mess otherwise. Even when his writing practically barks its bitter sentiment, Thurber turns a phrase as if he owns it. The actual content of the stories is immaterial. He should be read outloud, because he was essentially a poet.
Rating: 
Summary: THURBER!!!!
Review: The works and cartoons of James Thurber have had quite an influence on me over the years. At a very young age I was drawn to his cartoons (pardon the pun), and as I grew older developed a great appreciation of his writings. Decades after their inception, his works ring true.
Rating:
Summary: THURBER!!!!
Review: The works and cartoons of James Thurber have had quite an influence on me over the years. At a very young age I was drawn to his cartoons (pardon the pun), and as I grew older developed a great appreciation of his writings. Decades after their inception, his works ring true.
Rating:
Summary: Thurber's humour belongs in a category of its own
Review: This compendium will give a thoroughly entertaining taste of one of the twentieth century's greatest humourists. Thurber's imagination and wit have an appeal all their own.This anthology brings together a number of his short stories as well as selections from amongst his modern fables and cartoons. 'What Do You Mean, It Was Brillig?' and 'The Night the Bed Fell' are two excellent and hilarious tales that serve well as an introduction to Thurber's surreal world. Don't read these in public unless you are prepared to draw attention to yourself - they will have you laughing out loud. In his fables, modelled after Aesop, but with a twentieth-century bent, Thurber delights in catching the reader unaware with his own particular brand of irony. The cartoons are ingenious. Sometimes you will read a cartoon in a newspaper and it will make you laugh. Go back to it again and it no longer has the same effect. Thurber's cartoons, on the other hand, are so utterly inspired (I do not exaggerate), that they will improve upon a second and third look. You will discover subtle nuances you didn't perceive before. His funniest offerings draw on the theme of marriage, and frequently involve the chasm between a husband and wife trapped in a marriage out of which the love and romance has long since disappeared. You will be left baffled as to where exactly Thurber came across such a natural talent for finding (and exploiting) the absurd in everything.
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