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.

Product Details

• Amazon Sales Rank: #14283 in Books
• Published on: 2007-12-04
• Released on: 2007-12-04
• Original language: English
• Number of items: 1
• Binding: Paperback
• 464 pages

Review
“The best book I know of for talented but unacknowledged creators. . . . A masterpiece.” —Margaret Atwood

“No one who is invested in any kind of art . . . can read The Gift and remain unchanged.” —David Foster Wallace


“Few books are such life-changers as The Gift: epiphany, in sculpted prose.” —Jonathan Lethem

“A manifesto of sorts for anyone who makes art [and] cares for it.” —Zadie Smith

“This long-awaited new edition of Lewis Hyde's groundbreaking and influential study of creativity is a cause for across-the-board celebration.” —Geoff Dyer


From the Trade Paperback edition.

Review
“The best book I know of for talented but unacknowledged creators. . . . A masterpiece.” —Margaret Atwood

“No one who is invested in any kind of art . . . can read The Gift and remain unchanged.” —David Foster Wallace


“Few books are such life-changers as The Gift: epiphany, in sculpted prose.” —Jonathan Lethem

“A manifesto of sorts for anyone who makes art [and] cares for it.” —Zadie Smith

“This long-awaited new edition of Lewis Hyde's groundbreaking and influential study of creativity is a cause for across-the-board celebration.” —Geoff Dyer

About the Author
Lewis Hyde was born in Boston in 1945 and studied at both Minnesota and Iowa universities. His hugely acclaimed essay, "Alcohol and Poetry: John Berryman and the Booze Talking," in part sprang out of his experiences as an alcoholism counselor, but he is also a highly regarded poet in his own right whose poetry and essays have been widely published. He is a MacArthur Fellow, a former director of creative writing at Harvard and, alongside The Gift, he is the author of the equally acclaimed Trickster Makes This World. He lives in Ohio, where he is completing a third book.

Customer Reviews

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.

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

Information about this edition
I may do an actual review later after some more reading, but some people may want to know, as I did, what relationship this book has to some other slightly differently named books by Lewis Hyde that were published under starting name "The Gift".

On the copyright page it states: Originally published in hardcover as "The Gift: Imagination and the Erotic Life of Property" in a slightly different form in the United States by Random House, Inc., New York, and published in paperback in a slightly different form in the United states by Vintage Books, a division of Random House, Inc., New York in 1983.

Update #1: This edition has a three page preface from 2007. It also has a 16 page chapter from 2007 entitled "On Being Good Ancestors: Afterword to the Twenty-fifth Anniversary Edition".