by Allan Metcalf ‧ RELEASE DATE: Oct. 21, 2002
Farewell soccer moms, hello women of cover.
Language authority Metcalf (The World in So Many Words, 1999, etc.) entices readers into the quirky, sometimes mysterious process by which brand-new words and phrases emerge to define the times in which we live.
Technology’s march crushes as many words as it anoints, observes Metcalf (English/MacMurray Coll.). “Chad,” for instance, even though it has recently spawned “hanging” and “pregnant” variants, will not outlive the punch card. The author’s main premise is that he has developed a formula that, applied to existing neologisms, will let us make an educated guess as to whether they will stick around or not. The FUDGE scale (Frequency of use, Unobtrusiveness, Diversity of users, Generation of other forms, Endurance) is mildly persuasive, but Metcalf’s text is not mission-critical stuff; it’s just plain fun. For example, the origin of the now universally accepted “okay” is traced to a wacky but thankfully short-lived fad among 19th-century writers and editors to use garbled acronyms as a kind of satiric commentary: hence, “all correct” becomes O.K. in the same vein that N.S.M.G. stands for “‘nuff said ’mong gentlemen.” Even more amusing are fraudulent scholarly attempts to pass “okay” off as derivative of foreignisms ranging from French to Finnish and even Scots dialect (“Och aye,” or, “oh, yes”). More serious is the way event-driven phrases latch on as historical shorthand: “9/11,” for instance, recasts “Ground Zero,” a nearly forgotten technical reference to the point of a nuclear detonation, into a site of unspeakable horror. Also notable is the growing impact of computer analysis on word origins. Shakespeare, for example, is credited by the Oxford English Dictionary with inventing more than 1,000 English words since legitimized by common usage; recent scanning of earlier texts reveals, however, that the Bard may often have taken preexisting but little-used words and put them solidly on the map within the memorable contexts of his works.
Farewell soccer moms, hello women of cover.Pub Date: Oct. 21, 2002
ISBN: 0-618-13006-3
Page Count: 224
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2002
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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
by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955
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.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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developed by Ludwig Bemelmans ; illustrated by Steven Salerno
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by Ludwig Bemelmans ; illustrated by Steven Salerno
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