bookshelf

THE LAST TSAR

Name: THE LAST TSAR
Author: Edvard Radzinsky
ISBN: 0-385-42371-3

THE LIFE AND DEATH OF NICHOLAS II

by Edvard Radzinsky ‧ RELEASE DATE: July 17, 1992

bookshelf

On July 17, 1918, Nicholas II—the last tsar in the 300-year- old Romanov dynasty—and his wife, five children, family doctor, and three servants were executed in the storage room of a squalid house in a small Siberian city, their bodies burned, then buried in a mine shaft. From previously hidden royal diaries and letters, the testimony of the executioners, and the reminiscences of friends and descendants, Radzinsky, a popular Russian playwright, dramatizes the Romanovs' final, poignant days—the confusion, mystery, and waste. Radzinsky begins by re-creating the personalities and events of happier times: Nicholas, doting, charming, ineffectual; ``Little Wifey,'' as he called his empress, the half-mad, superstitious, demanding granddaughter of Queen Victoria; the four daughters, dressed in white; the hemophiliac son, beloved but bored; the demonic Rasputin; and the clutch of cousins and generals who secluded the royal family from the popular unrest, terrorism, and war that marked Nicholas's reign. Radzinsky's dramatic technique of weaving together scraps from the family's diaries and letters is particularly effective in the book's second half. There, he follows the Romanovs through their final year after Nicholas's abdication, a year during which the family—waiting to be rescued by the tsar's English cousin, King George, or to seek refuge in a monastery—was dragged around the countryside by unlettered Bolshevik guards until Lenin himself, deciding on the ``simple'' and ``ingenious'' solution to the Romanovs' fate, gave the order for their execution, recounted here in brutal detail. Like James Blair Lovell in Anastasia (1991), Radzinsky incorporates into his story his own pursuit of historical truth, sharing his frustrations and fascinations; and he confirms what Lovell demonstrated—that the Romanovs tend to inspire exceptional writing, lyrical, precise, and intense. (Fifty b&w photographs—not seen.)

Pub Date: July 17, 1992

ISBN: 0-385-42371-3

Page Count: 416

Publisher: Doubleday

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 1992

Categories:

HISTORY | WORLD | GENERAL NONFICTION

- BOOK REVIEW
ALEXANDER II
by Edvard Radzinsky & translated by Antonina W. Bouis

- BOOK REVIEW
THE RASPUTIN FILE
by Edvard Radzinsky & translated by Judson Rosengrant

- BOOK REVIEW
STALIN
by Edvard Radzinsky

bookshelf

NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

bookshelf

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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

bookshelf

TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

bookshelf

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.