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LOVE AND KISSES AND A HALO OF TRUFFLES

Name: LOVE AND KISSES AND A HALO OF TRUFFLES
Author: James Beard
ISBN: 1-55970-264-8

LETTERS TO HELEN EVANS BROWN

by James Beard ‧ RELEASE DATE: Oct. 1, 1994

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Thirteen years (195264) of letters from James Beard, with just enough interspersed replies from West Coast culinary colleague Helen Evans Brown to reveal that more of her voice would have improved this volume. Harcourt Brace editor Ferrone offers excerpts from 300 of approximately 450 extant letters. The documents have been edited silently, and the man who emerges is convivial but shallow and in some ways insecure. These pages are dominated by what Beard cooks and eats and with whom he is eating. (Not surprisingly, the need to diet is a recurring theme.) While readers may cull a few ideas (in addition to those in recipes at the end of the volume), ultimately they receive a picture of a limited person: Who else could lunch with Alice B. Toklas and record only what they ate? Who could dine with wine expert Alexis Lichine and name the foods only, not the wines? Occasionally, others in the culinary field come under Beard's critical eye, with Dione Lucas, a ``great technician who doesn't know about food,'' earning particular attention. In 1952, Beard writes, ``I am always poor nowadays,'' and this becomes a familiar refrain, despite a full (and lucrative) schedule of writing books and articles, giving classes and demonstrations, appearing on radio and television, and acting as a corporate consultant. Brown, for her part, resists suggestions to move east and join his schemes for a cooking school or supply store, and her rare comments add some needed spice. (It's interesting to note that Beard had actually proposed publishing their joint correspondence, then discarded Brown's letters.) It is Brown who chastises Beard for publishing individually some material they accumulated for a joint cookbook and reminds him not to insult women cooks: ``They buy most of your books.'' More a parade of menu items than a life, this one is bland reading for all but the most serious students of the Master. (8 pages b&w photos, not seen)

Pub Date: Oct. 1, 1994

ISBN: 1-55970-264-8

Page Count: 416

Publisher: Arcade

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 1994

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.