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TCHAIKOVSKY'S LAST DAYS

A DOCUMENTARY STUDY

Do we really need a whole book that documents Tchaikovsky's final illness and rails against the theory that he committed suicide? Poznansky, author of an unsatisfying 1991 Tchaikovsky biography, assembles much of the relevant evidence here but fails to shape it into either a commanding argument or an involving narrative. Scornful of speculation that the composer took his own life to avoid a homosexual scandal, Poznansky contends that Tchaikovsky was comfortable with his homosexuality in later years; that a gay lifestyle was no great problem in upper-class, artistic Russian circles; and that the powers-that-be would have protected the great composer from any serious repercussions. The bulk of the book is a week-by-week chronicle of Tchaikovsky's last month (October 1893), chiefly presented through underedited excerpts from letters, diaries, memoirs, and newspaper reports. Poznansky points out that the composer was busy and cheerful, making future plans, prior to falling ill with cholera. He scoffs at ``idle and naive'' debate about the `` `secret' programme'' behind the Sixth Symphony (the ``PathÇtique''), which premiered two weeks before the composer's death. And he finds nothing improbable in the sketchy, inconsistent record of Tchaikovsky's illness, noting that he was hardly the only aristocrat to succumb during that period. Finally, the rumors of self-annihilation and coverup—including the familiar ``Russian roulette'' tale of Tchaikovsky insisting on drinking a glass of unboiled water—are elaborately, if not conclusively discounted. (He attributes such rumors to a bohemian milieu ``fraught with a peculiar mixture of philistinism and libertinage and singularly prone to the perpetuation of all manner of gossip and real or imagined psychodramas.'') Future biographers will appreciate the gathering of materials here, some of which Poznansky discovered in Russian archives. Non- scholars—aside from those with special interest in cholera—will find this an unengaging patchwork, without enough texture, drama, or ingenuity to hold the documentary pieces together. (20 illustrations, not seen)

Pub Date: Sept. 1, 1996

ISBN: 0-19-816596-X

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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NUTCRACKER

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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