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ONLY WORDS

Name: ONLY WORDS
Author: Catharine A. MacKinnon
ISBN: 0-674-63933-2

by Catharine A. MacKinnon ‧ RELEASE DATE: Sept. 1, 1993

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Three passionate, intellectually fascinating essays, each arguing an aspect of the case that sexual words and pictures may by their nature be bannable, even though they may also be Constitutionally protected speech—by University of Michigan law professor and noted feminist legal scholar MacKinnon (Feminism Unmodified, 1987, etc). In ``Defamation and Discrimination,'' MacKinnon argues that ``pornography is sex'' and that American law irrationally treats it as a possible cause of individual injury—that is, purely as a matter of true or false content—rather than as a sui generis act of ``sex discrimination based on conditions of sexual inequality''; and she holds that, like other kinds of action speech (saying ``You're fired,'' advertising ``for whites only''), pornography should be banned. In ``Racial and Sexual Harassment,'' MacKinnon declares that ``if ever words have been understood as acts, it has been when they are sexual harassment'' in the workplace, but she regrets that, recently, courts have weakened this confluence by overturning universities' restraints of racial and sexual speech on campus and by dismissing a sexual-harassment complaint made by a female shipyard worker because the harassment consisted in having been shown pornography, which is a form of speech protected by the First Amendment. In ``Equality and Speech,'' MacKinnon makes explicit many of the contradictions she's been suggesting in the earlier essays; she argues that ``the law of equality and the law of freedom of speech are on a collision course in this country'' and must be meshed—for example, by considering ``group defamation'' as ``the verbal form inequality [or group discrimination] takes.'' Although MacKinnon's passionate conviction sometimes causes her ideas to elide and her logic to blur, the ideas are original and gripping, her references are wide-ranging, her legal logic is provocative—and her latest is must reading for anyone interested in either fairness or free speech.

Pub Date: Sept. 1, 1993

ISBN: 0-674-63933-2

Page Count: 112

Publisher: Harvard Univ.

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 15, 1993

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.