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THE BEST AMERICAN TRAVEL WRITING 2000

If it’s Tuesday, this must be yet another annual volume to dip into at random.

The inaugural issue of an anthology of the year’s best travel pieces.

In his introduction, Bryson (In a Sunburned Country, p. 684, etc.) declares that “travel writing . . . is the most accommodating . . . of genres.” Judging from the assemblage here, it might be more accurate to say that he has been the most accommodating of editors: while searching for the “year’s best” in travel-writing, Bryson has selected some pieces (from journals as diverse as The Washington Post and Coffee Journal) that might be more accurately described as sportswriting or foodwriting and squeezed them in, like duffels in an overhead compartment. In the two-dozen-plus pieces we get such marriages of mind and matter as Dave Eggers ferrying hitchhikers around public-transportation–deficient Cuba, David Halberstam reflecting on changes in the life of Nantucket over the decades since he first visited the island, and P.J. O’Rourke approaching a late-20th-century India with as many faces as a statue of Shiva has arms. The longest piece, Isabel Hilton’s engrossing narrative on the clandestine maneuvers of the Tibetan government-in-exile, seems more distinguished as reportage than travel-writing. You might begin to ask whether we need yet another anthology of this sort, but should you argue with a collection whose subjects range from Mark Ross’s harrowing firsthand report as a victim of machete-wielding guerrillas on the Uganda border to Steve Rushing whimsically teeing off for the first World Ice Golf Championship in Greenland? For the travel-writing purist, there are pieces from Jeffrey Tayler on his sojourn in westernmost China and—though the destination may not be the farthest-flung—Bill Buford’s simple and straightforward account of spending the night in Central Park. By perusing this anthology you can see that we are traveling more and in widely divergent “modes,” and that magazine editors are evidently giving writers less room to reflect on their journeys: all the pieces except Hilton’s end a bit too soon, some with cutting-the-trip-short abruptness.

If it’s Tuesday, this must be yet another annual volume to dip into at random.

Pub Date: Oct. 26, 2000

ISBN: 0-618-07466-X

Page Count: 336

Publisher: Houghton Mifflin

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 1, 2000

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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