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CLAUSEWITZ’S ON WAR

Name: CLAUSEWITZ’S ON WAR
Author: Hew Strachan
ISBN: 978-0-87113-956-6

A BIOGRAPHY

by Hew Strachan ‧ RELEASE DATE: July 1, 2007

Too often obfuscates rather than illuminates its celebrated subject.

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Latest entry in the Books That Changed the World series, this one summarizing and analyzing what is arguably the most influential treatise on warfare ever written.

Strachan (History of War/Oxford; The First World War, 2004, etc.) spends as much time agonizing over the difficulty of his task as he does executing it. The textual difficulties with Clausewitz are indeed formidable. As Strachan—a persistent and imaginative scholar—ably shows, On War is a work in progress: unfinished, self-contradictory, tentative in places, dogmatic in others, grounded firmly in its author’s battle experiences during the Napoleonic wars. Strachan also notes that there are no great English translations of the multi-volume work, which first appeared in Berlin between 1832 and 1834, and that translators have disagreed on how to render some of Clausewitz’s key terms. Unfortunately, this sort of close textual analysis and attendant hand-wringing go on far too long for the general reader. Some 30 pages in, Strachan finally introduces us to Clausewitz and swiftly summarizes his career. (He’d served in the Prussian army and even appeared at the margins of Waterloo.) This is interesting, but it’s followed by more pages devoted to Clausewitz’s style, diction and dialectics; these will no doubt appeal to fellow historians of war but will send many other readers to the Land of Nod. Once Strachan finally begins to conduct his tour of On War, interest once again revives. He explores the differences between strategy and tactics, considers Clausewitz’s concept of absolute victory, examines the notions of escalation and balance of power. Although the author resists facile contemporary applications of the principles in On War, he does allude to Colin Powell’s admiration for Clausewitz, and some later sentences about insurgencies seem pregnant with present relevance.

Too often obfuscates rather than illuminates its celebrated subject.

Pub Date: July 1, 2007

ISBN: 978-0-87113-956-6

Page Count: 256

Publisher: Atlantic Monthly

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 15, 2007

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE FIRST WORLD WAR
by Hew Strachan

- BOOK REVIEW
WORLD WAR ONE
edited by Hew Strachan

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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.