Learned, wise and educative, though a bit weighty for the average nightstand.
Hitchings, who wrote earlier about Samuel Johnson’s dictionary (Defining the World, 2005), again displays his astonishing knowledge of the English language’s myriad roots.
English has been and no doubt always will be a salmagundi, the author declares, blending words from many other tongues into one splendid, ever-changing linguistic dish. It’s vocabulary that interests him here—grammar is far more resistant to change, he notes—and after some factual table-setting (approximately 350 languages have contributed to English) he serves his main courses one century at a time. Hitchings effortlessly blends world history with linguistic history, helping us see that we appropriate words for numerous reasons: trade, conquest, fashion, food, art and so on. The Anglo-Saxons, we learn, had more than 30 words for warrior. From Arabic we gained words for alchemy that then migrated into math and science, such as zero and cipher. Chaucer, the author writes, was “a literary magpie” who liberated the language. The rise of the printing press ignited another vocabulary explosion. In the 16th century, English conflicts with Spain brought an influx of Spanish words, among them armada, hammock and mosquito. Shakespeare is the first known user of some 1,700 words. From the New World came potato and tobacco; Capt. John Smith was the first to use adrift and roomy. Greek, avers Hitchings, has remained a source of high-culture (even highfalutin) words like deipnosophist and pathos. Many French words deal with culture, leisure and food (no surprise there); soirée first appeared in the fiction of Fanny Burney. The British occupation of India brought the words teapot, curry and pajamas. In later days, advertising, mass media, the Internet and the “global village” have all accelerated the growth and spread of English. Hitchings notes in several places the impossibility and undesirability of attempting to close and bar the doors of this eternally flexible and omnivorous tongue.
Learned, wise and educative, though a bit weighty for the average nightstand.Pub Date: Sept. 23, 2008
ISBN: 978-0-374-25410-0
Page Count: 528
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2008
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
BOOK REVIEW
BOOK REVIEW
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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