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THE LETTERS OF EVELYN WAUGH

Apparently bearing in mind the dull, distasteful impression made by Waugh's Diaries (1977), editor Amory's rather defensive introduction stresses that "this version" of Waugh "shows him to his best advantage so far." Well, perhaps. But though these 840 letters do certainly have more entertainment value than the Diaries (in most of them, Waugh is eager to amuse such taste-making ladies as Nancy Mitford and Diana Cooper), admirers of the fiction will still be dismayed by the smallness of mind here, the pettiness of soul. The most flattering letters are those sent from training stations to second wife Laura during World War II: Evelyn misses her, regrets her pregnancy (for her sake), rejoices too (for his sake and the sense of new life during a death-filled war). Fairly impressive, too, are the discussions of religion with poet John Betjeman and Thomas Merton. And some of Waugh's comedy is attractively self-deprecating (while courting Laura, he writes to Lady Mary Lygon: "I was sick a good deal on the table so perhaps that romance is shattered"). Most everywhere else, however, this is the familiar, waspish, snobbish, nasty, narrow Waugh—gossiping like mad (at times the necessary footnotes overwhelm the page), delivering wildly obtuse critiques ("Death to Picasso"—Proust and Lawrence too), spewing bigotry (against the Irish, Jews, French, etc.), praising McCarthyism, railing against any signs of reform in the Catholic Church. True, some of this may be outrageousness-for-effect, especially since correspondent Mitford (who gets detailed advice on her work) was a friend of all those Waugh hated. And a mostly good-natured Waugh does come across in letters to Graham Greene ("Come here quick. I have some caviar") and others. In fact, perhaps the most telling aspect of this collection is the chameleon-like nature of Waugh's epistolary style—silly with Lady Mary and such, very witty with Mitford, viperish with Cyril Connolly. . . but never particularly eloquent or grippingly human. An indirectly revealing collection, then, with a few intriguing oddities (restrained encouragement for fledgling novelist Alex Comfort) and reference points for the novels (the comic rhythms of the prose here, as well as EW's occasional work-in-progress comments)-but, all in all, another regretfully shallow display from a writer whose best work is anything but.

Pub Date: Oct. 15, 1980

ISBN: 1857992458

Page Count: 664

Publisher: Houghton Mifflin

Review Posted Online: April 11, 2012

Kirkus Reviews Issue: Oct. 1, 1980

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NUTCRACKER

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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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

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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