From Pulitzer Prize–winning critic Kakutani, an examination of how disruptive politics, technology, and art are capsizing old assumptions in a great wave of change breaking over today’s world, creating both opportunity and peril.
...like the storming waters in the Hokusai print on the cover of 'Great Wave,' the topic of chaotic change is so powerful it comes close to overwhelming the book ... Many hinge moments involve culture and the arts. Kakutani may no longer be the New York Times' most-feared book critic, but a critic she remains. She brings effortless erudition to one perceptive segment about how, in changing times like fin-de-siecle Europe and late Cold War America, artists from painter Gustav Klimt to novelist Philip Roth pivoted inward 'as a way to grapple with an intractable and overwhelming reality' ... There are numerous moments in Great Wave where Kakutani's thesis is hard to discern ... Kakutani's concern about the history-proven potential for the disarray of hinge moments to be harnessed by fascists is well-founded; she convincingly deploys Hannah Arendt for that argument. But her narrowly progressive lens limits the range of outcomes, positive and negative, that she sees for our current era of strange. In some ways, The Great Wave is as chaotic as its subject. In that sense, Kakutani's all-of-the-above approach could feel appropriate. Because she is such a confident and compelling writer, she always carries the reader along — even if it's sometimes in the wrong direction.
The chaos of those eras, Kakutani suggests, is suggestive of the chaos through which we’re all living now. But in attempting to limn that chaos, Kakutani reveals the shortcomings of synthesis. It simply is beyond her abilities to evoke the modern era with any kind of individual, creative language. All she has are references, and all her references are basic as hell ... It’s all a gloss, that is to say, names cherry-picked to support trend-piece-level arguments about the evolution of culture ... The buzzwords, jargon, and tired cultural references reach their apogee in Kakutani’s chapter headings, which read like baroque PowerPoint slides for an undergraduate survey course about all the shit we’re already thinking about every minute of every day. I simply cannot decide which of these induced in me the deepest, most soul-weary shudder ... it’s so impersonal, so disheartening, barely a book at all, really. Michiko Kakutani, expert reviewer, has reviewed the past 10 years. She’s read everything there is to read on the internet, and taken extensive notes, and now she’s delivering her take. Well, was it good? No—it was bad.
A sneering, snobbish little exercise in ideological and cultural partisanship ... The biggest weakness of Ms. Kakutani’s book isn’t its bias. Partisanship, conveyed with panache, can be riveting. Ms. Kakutani’s sin is that she is a crashing bore.
