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TO THE SHORES OF TRIPOLI

Name: TO THE SHORES OF TRIPOLI
Author: A.B.C. Whipple
ISBN: 0-688-08781-7

THE BIRTH OF THE U.S. NAVY AND MARINES

by A.B.C. Whipple ‧ RELEASE DATE: July 18, 1991

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America's first hostage crises date back to its formative years, when Muslim pirates operating out of city-state ports along North Africa's Barbary Coast preyed on its merchant vessels in the Mediterranean. Here, with considerable analytic flair, Whipple (The Challenge, 1987) sorts out Washington's often irresolute response to these seizures and the incarceration of US sailors. In his engrossing narrative (which neither ignores nor belabors obvious parallels to latter-day events in the Middle East), the author skillfully combines vivid accounts of derring-do with shrewd appraisals of contemporary politics and diplomacy. Among other events, the many-splendored story line encompasses the first US attempt to overthrow the head of a hostile government (the bashaw of Tripoli), plus America's initial effort to isolate another nation via blockade—and bombardment. Covered as well are our nation's earliest debates on defense budgets, foreign intervention, the President's war-making powers, and allied issues that have proved nothing if not perdurable. In addition to the satisfyingly treacherous villains, the plot features a great many authentic American heroes and more than a few shady middlemen offering to swap arms for captives. Standouts in the white-hat ranks include Edward Preble (a quarter-deck tyrant who commanded the first US Navy forces to go into battle), Stephen Decatur (then a junior officer of notable boldness), and William Eaton. As a self-styled general, Eaton led a rabble of Arabs, Christians, and eight US Marines out of Egypt across the Libyan desert to free the 307-man crew of an American warship captured by the Tripolitans. How legates with their own agendas cheated him (and the US) of a hard-won victory at the 11th hour makes a fascinating and cautionary tale. Americana at its rousing and resonant best.

Pub Date: July 18, 1991

ISBN: 0-688-08781-7

Page Count: 384

Publisher: Morrow/HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: June 15, 1991

Categories:

GENERAL NONFICTION

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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.