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GROWING UP DIGITAL

Name: GROWING UP DIGITAL
Author: Don Tapscott
ISBN: 0-07-063361-4

THE RISE OF THE NET GENERATION

by Don Tapscott ‧ RELEASE DATE: Oct. 21, 1997

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Add this to the swelling pile of books on new media that pose many questions and leave all but a few unanswered. Tapscott's (The Digital Economy, not reviewed) problems begin with his formulation of the ``net generation'' of his subtitle—or ``N-Geners'' as he conveniently packages them—on so broad a canvas that the term is devalued: N-Gen may be as young as 2 or as old as 29. As a result, the theories that Tapscott draws from his study of the N-Gen's tastes and inclinations are as shaky and weak as a house built on sand. There may be, Tapscott suggests, as many as seven million young North Americans under the age of 18 spending time on the Internet. While that figure is impressive, and the impact on the country sure to be considerable, Tapscott seems to ignore the fact that many children and adults have no access to the Internet. In this brave new electronic world, the poor and disadvantaged seem to be largely invisible. Tapscott is well over two-thirds of his way into the book before directly addressing the question of how expensive technology is to be made available to the disadvantaged. And when he does, he has little to offer. He suggests, for instance, that the homeless may find shelter information at wired libraries, but he does not address how local libraries will afford the technology to connect to the Internet (let alone the unlikelihood of a homeless person entering or being welcome in the library). Crucial matters are slighted in favor of voluminous anecdotal evidence meant to chart the tastes of a generation growing up unafraid of technology. Too vaporous and unreflectingly enthusiastic to be of much use to anyone deeply interested in the questions of new tehcnology and American society. (illustrations, graphs, not seen) (First printing of 100,000; $100,000 ad/promo; TV satellite tour)

Pub Date: Oct. 21, 1997

ISBN: 0-07-063361-4

Page Count: 308

Publisher: McGraw-Hill

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 1, 1997

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.