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YES, I COULD CARE LESS

Name: YES, I COULD CARE LESS
Author: Bill Walsh
ISBN: 978-1-250-00663-9

HOW TO BE A LANGUAGE SNOB WITHOUT BEING A JERK

by Bill Walsh ‧ RELEASE DATE: June 18, 2013

A frisky reminder that usage issues are part convention, part passion.

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A copy editor at the Washington Post returns with his third rant-cum–English usage manual (Lapsing into a Comma, 2000, etc.).

The volume sometimes has the appearance of a cut-and-paste job: Recto pages feature headers selected from the author’s tweets; occasional text boxes offer information about compound words, hyphenation, famous movie lines that people commonly misquote (Bogart said only, “Play it, Sam”) and the meanings of abbreviations (GAO is now the Government Accountability Office). Some chapters are principally argument and/or exposition (Walsh goes after Strunk and White); others are lists of usage issues and the author’s views about them. The author’s tone and diction vary from serious to silly. “The en [dash],” he writes in the latter way, “is a prissy punctuation mark that I have little use for.” Walsh does have some serious points to make. Writers should know the conventions of written English and know their audiences. Other folks still do judge our commas, our capital letters, our use of lie and lay. A little grammar helps, too. Knowing the difference between an essential and a nonessential clause, knowing when something is in apposition, when it is not—it’s hard to use commas correctly when you don’t know the grammatical structures you’re employing. He deals with many common issues, and he takes on the double possessive, the use of hopefully (lost cause, he believes), comma splices, disinterested and uninterested, who and whom (he is softening on this one), subject-verb agreement with collective nouns, and the expressions graduated high school and going to prom.

A frisky reminder that usage issues are part convention, part passion.

Pub Date: June 18, 2013

ISBN: 978-1-250-00663-9

Page Count: 256

Publisher: St. Martin's Griffin

Review Posted Online: April 15, 2013

Kirkus Reviews Issue: May 1, 2013

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.