by Elizabeth Hawes ‧ RELEASE DATE: April 20, 1993
Hawes's fine book, her first, employs architectural criticism, economic chronicle, and urban sociology to create a picture of how Manhattan turned from a series of pastures broken by single-family dwellings into a breathtaking erector set of multiple dwellings: a shift to modernity as a reliable indicator of ``the workings of the urban mind.'' Prior to 1869, anyone who didn't have to live communally in a single building certainly never would. Ensconced in their brownstones around Gramercy Park, the social elite believed in a lack of ostentation, in tempered privacies. But that would change. An architect like Richard Morris Hunt would introduce the ``French flat'' to New York as an alternative to the residential hotel—and for decades thereafter, apartment living became the choice of the bohemian, artistic, nonconforming crowd—safely removed from Society by its eccentricity. (The entire West Side—considered before the turn of the century akin to living in Montana—started off as blithely self-regulating as it essentially has remained.) But then the great mansions of Vanderbilt, Tiffany, and Villard went up in Midtown, and suddenly blue-blood New York had to cope with display and grandeur—and this in time broke down the walls: Polite people perhaps could live in something visually assuming, ornamented, lush, maybe even overlush. The family would not fall apart if domiciled above another, similar family; the subway made the far reaches of uptown livable; and the rebuilding of the city in an image of multiples began. Hawes valuably includes a list of the great apartment houses still standing—but more valuably still creates a context for how a city imagines itself in space (inextricable from the American city's special problem of staying classless while enforcing social hierarchies), employing the novels of Edith Wharton and William Dean Howells, and a wealth of forgotten socioarchitectural journalism so bracing it's a shame the craft has fallen into disuse. A wonderful book. (Sixty-six photographs, drawings, and floor plans)
Pub Date: April 20, 1993
ISBN: 0-394-55641-0
Page Count: 352
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1993
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by E.T.A. Hoffmann & illustrated by Julie Paschkis
by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955
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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developed by Ludwig Bemelmans ; illustrated by Steven Salerno
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by Ludwig Bemelmans ; illustrated by Steven Salerno
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