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THE BIRD MAN AND THE LAP DANCER

Name: THE BIRD MAN AND THE LAP DANCER
Author: Eric Hansen
ISBN: 0-375-42126-2

CLOSE ENCOUNTERS WITH STRANGERS

by Eric Hansen ‧ RELEASE DATE: Oct. 12, 2004

The rare traveler who senses the reason why we travel in the first place.

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An anthology covering three decades of calculated serendipity.

For San Francisco–based travel writer Hansen (Orchid Fever, 2000, etc.), travel is an endeavor of empathy, and empathy entails a burning cross-cultural curiosity that rewards itself and the reader with memorable examples of human contact on essential, even primitive levels. These skillfully crafted pieces are void of the usual commercial travel flackery; Hansen conjures romantic adventure not by proclaiming it but letting it creep up and tingle on the back of your neck. He has a cartographer’s eye for the contours of the globe, a naturalist’s sense of impending threat in local ecosystems, and—in certain Australian bars on given evenings—a connoisseur’s eye for the lay of the land. His humor springs like a trap: On Thursday Island, off Australia’s Queensland Coast, for example, checking into a hotel room with the door torn off, floor littered with debris, walls scarred by graffiti and vandalism, Hansen dryly wonders “what the meals will be like.” The idea of becoming a smuggler of a certain dried, smoked fish that is an everyday commodity in the Maldive Islands but a prized delicacy central to the cuisine of Sri Lanka hundreds of miles away is easily justified by the Hansen maxim: “the best way to penetrate a culture and mingle with the people was by getting involved with the local economy.” His literally mind-blowing account of the effects of the core narcotic employed in the Melanesian kava-drinking ritual will probably change the minds of some armchair travelers who up to that point had been envious of somebody who didn’t just talk about adventures but kept going out and having them.

The rare traveler who senses the reason why we travel in the first place.

Pub Date: Oct. 12, 2004

ISBN: 0-375-42126-2

Page Count: 240

Publisher: Pantheon

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 2004

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.