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MRS. WHALEY AND HER CHARLESTON GARDEN

Name: MRS. WHALEY AND HER CHARLESTON GARDEN
Author: Emily Whaley
ISBN: 1-56512-115-5

by Emily Whaley & William Baldwin ‧ RELEASE DATE: March 31, 1997

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A sweet but slight bouquet: a gardening memoir told in a Southern drawl. Whaley, an 85-year-old South Carolina gentlewoman, sits down, as it were, in her Charleston garden to summon up memories of camellias past. Baldwin, a South Carolina architect and novelist (The Fennel Family Papers, 1996, etc.), observes that she ``moves with the imperial bearing of a grand Southern matron. But on the inside she's a knobby-kneed 14-year-old country girl.'' The matron's account of life and gardening can come across as regrettably mild. ``It's an awful lot of fun to live into your eighties,'' she declares. ``It helps to have some money, though.'' Likewise, she remarks, ``People are the greatest—the most fun that life offers.'' But Whaley also delivers some choice comments and vignettes: ``Dad said if everything Nan planted had taken, a rabbit couldn't have run across the yard.'' And she can be folksily tart: ``You have a muscle here between your ears. When you play tennis, when you do exercises, you use muscles. The muscle up top is the same. Unless it's used it is going to be flabby.'' Whaley devotes chapters to her rural childhood, her parents, and her lawyer husband; she also offers her thoughts on her dog, on self-esteem, and on her favorite recipes. Discussions of her Charleston garden, measuring 30 by 110 feet, takes up about a third of the book, and though her description of it is charming, one doesn't walk away with a convincing sense of place. Her gardening advice is pretty basic: ``DO water your plants in the morning so that the leaves are dry by nightfall. You'll have less trouble with fungal diseases.'' And too many of the non-gardening vignettes seem slender, unrevealing. It would have been better to drench those portions with details, which count for as much in life stories as they do in gardens. (illustrations, not seen)

Pub Date: March 31, 1997

ISBN: 1-56512-115-5

Page Count: 248

Publisher: Algonquin

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 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.