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THE STORIES OF ENGLISH

A dense, significant history. Had it been shorter and otherwise more reader-friendly, it could have made waves. Regrettably,...

A celebrated linguist argues that all versions of English are created equal and that the reign of Emily Post–prescriptivists who insist that Standard English is “right” and all the rest “wrong” is nearing its end.

Crystal (Language Death, not reviewed) has an interesting point: If Standard English is really so standard (and invariable), why are there so many different usage manuals out there? Why do so many English words have variant spellings? The author insists that one of the functions of Standard English is to marginalize those who don’t (or can’t) employ it, and he realizes, too, the ugly class and racial implications. He does not urge schools to eschew the teaching of Standard English, but he does suggest that teachers lighten up, that they not make students feel their particular version of English is inferior. Crystal says that the best users of English are those who have a capacious closet full of linguistic clothing to wear. Throughout this massive and learned and often provocative tome, the author demonstrates repeatedly that common conceptions about language are often historically inaccurate—split infinitives bothered no one until recently (likewise sentence-ending prepositions). Crystal educates in a variety of ways. He expands his fairly traditional discursive text by following each chapter with an “interlude” that focuses on some particular issue (e.g., the history of “y’all”), and each chapter contains boxed inserts that expand the context of the subject (e.g., details about John Caxton and Noah Webster). And there are numerous maps and charts of various sorts, including a dandy that illustrates why, in our legal system, we often use double constructions (“fit and proper,” “will and testament”). It’s principally ignorance that fluffs Crystal’s feathers: Ahistorical language purists annoy him as do those who make spurious and excessive claims for, say, the contributions of Shakespeare to the lexicon.

A dense, significant history. Had it been shorter and otherwise more reader-friendly, it could have made waves. Regrettably, only ripples will likely ensue. (9 b&w illustrations; 12 maps)

Pub Date: Oct. 5, 2004

ISBN: 1-58567-601-2

Page Count: 608

Publisher: Overlook

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 2004

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NUTCRACKER

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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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

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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