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MAPPING TIME

Name: MAPPING TIME
Author: E.G. Richards
ISBN: 0-19-850413-6

THE CALENDAR AND ITS HISTORY

by E.G. Richards ‧ RELEASE DATE: Dec. 1, 1998

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The approach of the millennium has generated a spate of books on the history of our calendar. Here’s an especially good one. According to Richards, the calendar originated in humanity’s desire to track the natural phenomena on which life in primitive society depended. Seasonal cycles of crop growth and animal migrations relate to the sun; tides relate to phases of the moon; and the cycle of dark and light caused by Earth’s rotation makes itself manifest every day. But the relationships among these three astronomical phenomena cannot be expressed simply. Much of the history of calendars has to do with compromises made in trying to juxtapose these three cycles. At the same time, in almost every culture, the religious impulse has imposed its overlay on the calendar. Days of the week (an arbitrary but convenient division of time) were given names related to ancient gods or to planets associated with them spiritually; each of the major religions boasts its own calendar, with its own succession of seasons and holy days. After outlining the science of calendar-making, Richards describes many calendars used over the ages, including the Mayan and Aztec, and the French Revolution’s attempt to divorce timekeeping from religion. The mathematics of calendars is given due attention, especially the calculation of the day of the week for past dates, and conversions between calendars—e.g., from our Gregorian calendar to the Jewish or Mayan counterparts. A final section discusses problems caused in Western calendars by the shifting date of Easter, estimated by a complex formula, and a major bone of contention among the various denominations. Appendices provide useful astronomical constants, the names of the days of the week in sundry languages, the French Revolutionary calendar, and a glossary of technical terms. Clearly written and filled with detail, this will be a strong contender in the calendar-book sweepstakes. (76 illustrations)

Pub Date: Dec. 1, 1998

ISBN: 0-19-850413-6

Page Count: 450

Publisher: Oxford Univ.

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 15, 1998

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.