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``Joyce was so little of a visual writer that he created characters one can hardly see,'' writes Anthony Burgess in his introduction to this array of images of James Joyce. But photographers loved him. And why not? With his arsenal of eye patches and dark glasses, his occasional goatee and cane, Joyce presented the very image of high modernism, the platonic ideal of the artist in exile. Many of the photographs here chosen by Cato, an award-winning art director and designer, and Vitiello (The Technology of Man, not reviewed) will be familiar to readers of Richard Ellman's biography (particularly the one of Joyce at 6, wearing a sailor's suit and looking at the camera as if he could read its mind); others are published here for the first time. In addition to photographs of Joyce (with his father, Nora, their children, Ezra Pound, Sylvia Beach, and others), there are drawings by various artists, including Brancusi and David Levine.

Pub Date: Sept. 1, 1994

ISBN: 0-393-03638-3

Page Count: 128

Publisher: Norton

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 1, 1994

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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

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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.

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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