by Arthur Asa Berger ‧ RELEASE DATE: Dec. 1, 1996
An admittedly irreverent stab at leveling the distinction between elite and popular culture by transmogrifying the ho-hum (the master bedroom, the garbage disposal) into the ``mythic'' in the semiological tradition of Roland Barthes. Berger (Communications/San Francisco State Univ.) maintains a decidedly casual posture in his extended introduction (``On the Theory of Everyday Life'') and conclusion, as though to filter out the usual academic snobbery. His case for ``sociosemiotics'' is convincing enough: ``Culture is no longer . . . just frosting on the cake of life''; the activities and artifacts of, say, a representative man's morning (Bloom's, pace Joyce) are the legitimate business of postmodern anthropology and, as such, the new cultural studies. The less convincing centerpiece here—a ``microminimalist'' narrative that takes Bloom from wake-up through ablutions to receipt of his mail, followed by 35 explications de texte—reads too often like an overwrought effort to decode what first must be proved to be in code. The digital clock, which ``atomizes'' time into discrete, unrelated moments, is an emblem of alienation; the down comforter goes beyond man-made science to ``natural technology.'' ``I confess to some tricks—exaggeration, irony, absurdity, wild analogies . . . whatever it takes,'' Berger winks at the end, and while that revelation of a sense of humor about himself vitiates some unwonted solemnity, it doesn't cover all of it, like the notion that breakfast is overarchingly ``a study in transformations'' or the too-serious claim that the king- size bed is an oedipal symbol because king = father and Everyman can make it in (to) the father's bed. Berger can't be taken to account for the whole discipline of belaboring the banal—Barthes found ``signification'' in detergent, to cite just one of his respectable reference points—so to the extent that this reads like a parody of itself, he's only partly responsible. The rest (the theory) is responsible, if cavalier. (40 b&w drawings, not seen)
Pub Date: Dec. 1, 1996
ISBN: 0-8133-3230-3
Page Count: 224
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1996
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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 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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