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ADVERTISEMENTS FOR MYSELF

Name: ADVERTISEMENTS FOR MYSELF
Author: Norman Mailer
ISBN: 0674005902

by Norman Mailer ‧ RELEASE DATE: Nov. 6, 1959

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Norman Mailer has evolved a theory that an author must create a public personality for himself in order to sell books, and in accordance with this theory he here publishes everything he has ever written, each piece accompanied with a long and frequently fascinating introduction concerning how the work was written, what he thought about it when he wrote it, and how he thinks about it now. The material includes five excellent early short stories, his columns for the Village Voice, his now famous essay The White Negro, a couple of other (and much better essays) on David Riesman and Western Defense, a pair of passages from his forthcoming novel, as yet untitled but than which nothing more clinical has been seen since Edmund Wilson's notorious Princess with the Golden Hair. Mr. Mailer also includes a lot of opinions of his peers in the field of literature which are back-breakingly honest and also pretty shrewd. Mr. Mailer is by far the most articulate (literarily speaking) exponent of the way of life he prefers to call Hip (rather than Beat), and it is therefore the more unfortunate that another of his theories requires him to use Anglo- Saxon monosyllables on principle, because his Advertisements is practically certain to be banned in many localities, and possibly nationally. There is a good deal of nonsense in this, much very strong meat, and a lot that stands up well in spite of the framework. This is sure to be some kind of success de scandal, but the bullheaded integrity behind the undertaking compels a certain respect.

Pub Date: Nov. 6, 1959

ISBN: 0674005902

Page Count: 540

Publisher: Putnam

Review Posted Online: Sept. 28, 2011

Kirkus Reviews Issue: Nov. 1, 1959

Categories:

GENERAL NONFICTION

- BOOK REVIEW
SELECTED LETTERS OF NORMAN MAILER
by Norman Mailer edited by J. Michael Lennon

- BOOK REVIEW
MIND OF AN OUTLAW
by Norman Mailer ; edited by Phillip Sipiora

- BOOK REVIEW
THE CASTLE IN THE FOREST
by Norman Mailer

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NUTCRACKER

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

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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

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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

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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.