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THE EVERYMAN CHESTERTON

A welcome taste of Chesterton, who remains most readable today. Now for a second volume to fill in the gaps.

An edifying but still incomplete sampling from the work of the great British novelist, moralist and philosopher.

Though he died 75 years ago, Gilbert Keith Chesterton’s (1874–1936) influence is still strong, particularly among Catholic intellectuals of a moderately conservative bent—the same audience, say, that reads Garry Wills and Cardinal Newman for fun. Ker, whose biography of Chesterton will appear later this year, does a good job of selecting material that readily illustrates why this influence should continue. It also shows what a fluent, often entertaining writer Chesterton was. The selections from the fiction, apart from the beloved Father Brown stories, are lighter than some might wish; particularly noticeable is the absence of what many hold to be Chesterton’s best novel, The Man Who Was Thursday. Ker explains that the absence owes to the fact that it and The Napoleon of Notting Hill are readily available—but so are the Father Brown yarns. The editor does help reestablish Chesterton as a literary critic with a particularly extensive knowledge of the Victorian era in which he came of age; the selections from Chesterton’s studies of Victorian literature, from the novels of Dickens to the poetry of Browning and the essays of Ruskin, are extensive and satisfying. Welcome, if also too brief, are selections from Chesterton’s autobiography, in which he confesses, “I look back to that landscape of my first days with a pleasure that should doubtless be reserved for the Utopias of the Futurist.” Was he a happy writer? Yes, and even when Chesterton was locking horns with Marxists and reactionaries on either side, he tended to be gently civil—even if he dismissed his contemporary Friedrich Nietzsche for harboring “a nonsensical idea that men had once sought as good what we now call evil.” Of particular interest are Chesterton’s thoughtful notes on Christianity (“In a word, St Thomas was making Christendom more Christian in making it more Aristotelian”), which are of a piece and lineage with the better-known writings of C.S. Lewis.

A welcome taste of Chesterton, who remains most readable today. Now for a second volume to fill in the gaps.

Pub Date: April 5, 2011

ISBN: 978-0-307-59497-6

Page Count: 900

Publisher: Everyman’s Library

Review Posted Online: Feb. 1, 2011

Kirkus Reviews Issue: Feb. 1, 2011

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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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