by Rowan Jacobsen photographed by David Malosh ‧ RELEASE DATE: Oct. 4, 2016
Jacobsen may leave noncoastal readers drooling with jealousy, but vicarious oyster slurping is better than none.
This verbally and visually succulent book covers 99 types of oysters, most from the shores of North America.
Ten years after A Geography of Oysters, James Beard Award–winning author Jacobsen (Apples of Uncommon Character, 2014, etc.) chronicles his travels from British Columbia down to Seattle, across the Gulf Coast, and from North Carolina up to Nova Scotia, with detours to Ireland, France, and New Zealand. There may be, as he notes, only five widely distributed species of edible oysters, but the look and taste of these species vary widely based on the “merroir” (the marine equivalent of “terroir”) in which they grow up and the way that they are treated as they grow. The author’s appreciation of even the least prepossessing of these bivalves is infectious. Jacobsen makes the case that “every oyster is a tide pool in miniature, a poem built of salt water and phytoplankton that nods to whatever motes of meaning shaped it.” The lavishly illustrated volume consists of mini-essays on the geography and people of the regions in which oysters grow wild or are farmed—Jacobsen favors the carefully farmed varieties—and two-page spreads on each of the types he features, as well as a few carefully culled recipes, a list of oyster bars at which he has enjoyed his subjects, and a glossary of terms like “flupsy” and “pluff mud.” Each of the entries covers species, cultivation, obtainability, flavor, and “presence.” The latter two are where the author lets his imagination soar: East Beach Blondes, farmed in Rhode Island, taste like “brine and ozone; a boardwalk in the rain”; Maine’s wild-harvested Belons remind him of “hazelnuts and anchovies fried in seal fat, with a squishy crunch like jellyfish salad.” In terms of presence, New Brunswick’s Beausoleils are “as clean and inoffensive as a Jehovah’s Witness,” and wild James River specimens have “oversized muscles and a pale potbelly, like an aging professional wrestler.”
Jacobsen may leave noncoastal readers drooling with jealousy, but vicarious oyster slurping is better than none.Pub Date: Oct. 4, 2016
ISBN: 978-1-63286-256-3
Page Count: 304
Publisher: Bloomsbury
Review Posted Online: July 25, 2016
Kirkus Reviews Issue: Aug. 15, 2016
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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
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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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by E.T.A. Hoffmann & illustrated by Julie Paschkis
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