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Driven by Faith

Name: Driven by Faith
Author: Earnestine Rodgers Robinson
ISBN: 978-0988655201

A MEMOIR OF FAITH, FAMILY AND FINDING PURPOSE

by Earnestine Rodgers Robinson Todd V. Robinson ‧ RELEASE DATE: Jan. 28, 2013

Offers spiritual sustenance and tells the engaging life story of a barrier-breaking African- American composer.

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Robinson’s account of becoming a successful classical composer, co-written with her son, Todd Robinson.

Debut author Robinson chronicles her life as a black woman born in the Deep South at the end of the Great Depression. With no formal training in music, she persevered and overcame countless obstacles to become a classical music composer. Eventually, she stood on stage as her music was performed at Carnegie Hall, and she had a world premiere in Prague. Rather than simply recount dry events, Robinson gives intimate, moving descriptions of her struggles and triumphs. The story begins, when after a screening of a documentary on her life, a random audience member asked Robinson, “How do you pray?” Robinson was taken aback, but then she reflected on God’s role in her achievements. The story doesn’t gloss the real-life elements—such as racism and poverty—but the integral theme is that every life has a purpose; everything happens for a reason, and in the end, we will reach our destination. The author overcame one hurdle after another before she became a notable classical music composer. Although long, the narrative sustains interest since the account is both sympathetic and unpredictable. Robinson believed that God would aid her in her musical and spiritual goals, and she feels that he has. Even though some describe the book as a faith journey, people of all beliefs, backgrounds, and religions may relate to the real life trials and tribulations.

Offers spiritual sustenance and tells the engaging life story of a barrier-breaking African- American composer.

Pub Date: Jan. 28, 2013

ISBN: 978-0988655201

Page Count: 310

Publisher: WordText Publisher

Review Posted Online: March 29, 2013

Review Program: Kirkus Indie

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.