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THE ART OF INTIMACY

Name: THE ART OF INTIMACY
Author: Stacey D’Erasmo
ISBN: 978-1-55597-647-7

THE SPACE BETWEEN

by Stacey D’Erasmo ‧ RELEASE DATE: July 9, 2013

Suggestive rather than definitive, which is only to be expected with such an expansive topic.

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The latest in the publisher's The Art Of... series, compact books exploring the writer's craft, this one addresses the variety, power and challenges of intimacy.

Highly regarded novelist D’Erasmo (Creative Writing/Columbia Univ.; The Sky Below, 2009, etc.) focuses mainly, though not exclusively, on literary fiction. “Like looking directly at the sun, looking directly at the creation of intimacy in fiction seems like a dangerous business,” she writes. It certainly can be risky in the work of D.H. Lawrence, for example, yet D'Erasmo notes that for Lawrence, “intimacy—usually, though not always, sexual intimacy between men and women—is actually not so much a way in as a way out of the prison house of self, of place, of circumstance and into a larger, even a much larger, consciousness.” She is every bit as interested in nonsexual intimacy: as expressed in the “tentative, subjunctive, speculative” narratives of William Maxwell or in the “complicity” between writer and reader in novels by Italo Calvino and Percival Everett. Those are among the better-known names mentioned here (along with Virginia Woolf and Joan Didion); most readers will not be familiar with a good deal of the fiction D'Erasmo so intimately dissects. Broad-based appeal is not her primary goal; indeed, she is dismissive of “the ubiquitousness, the cheapness even, of intimacy as a modern ideal....A particularly modern, faux-sincere, kitsch intimacy sells everything from afternoon talk shows to pictures on Instagram to Facebook’s endlessly mined personal information, so glittering to retailers.” This instant intimacy scants the complexities investigated in serious fiction, where “[i]ntimacy...can be rendered as a space between that is as close as a breath or as great as a century.”

Suggestive rather than definitive, which is only to be expected with such an expansive topic.

Pub Date: July 9, 2013

ISBN: 978-1-55597-647-7

Page Count: 144

Publisher: Graywolf

Review Posted Online: June 9, 2013

Kirkus Reviews Issue: June 15, 2013

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE LONG RUN
by Stacey D’Erasmo

- BOOK REVIEW
THE COMPLICITIES
by Stacey D’Erasmo

- BOOK REVIEW
WONDERLAND
by Stacey D’Erasmo

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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.