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THE DECADE MATRIX

Name: THE DECADE MATRIX
Author: James O. Gollub
ISBN: 0-201-15788-8

by James O. Gollub ‧ RELEASE DATE: May 23, 1991

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``America is a culture whose identity is best found in time,'' asserts Gollub, a gerontologist, and that is precisely where he searches for it here, examining seven ``generations'' from the ``Children of the Century,'' born between 1900 and 1909, to the ``Techno-Kids'' born in the 1960's. Gollub's reason for using decades to divide age groups is not clear but appears to be based partly on convenience. It's certainly tidy, but societies don't necessarily shift gears with such regularity. His approach, dubbed the Life Span Framework, considers so-called Time Signatures, the key historical events that have affected each decade's cohorts; their Birthmarks, or representative personality types; Rites of Passage, significant stages in their personal development; and their Weather Report, that is, the economic, cultural, social, political, and technological conditions that shape their values. Gollub tracks the life story of each generation in a sort of vest-pocket cultural history of 20th-century America, and he includes profiles of representative personality types for each group. Finally, he takes a stab at forecasting what the future holds for each group and its specific personality types. His writing smacks of the lingo of market research reports. Catchy names abound; e.g., the four personality types of the Techno-Kids are labeled the 'Billy Budds,' the 'Cosmopolitans,' the 'Missing Ingredients,' and the 'Keepers of the Flame.' Entertaining but repetitious: market research demographics and pop history, dressed up with some basic sociology and psychology.

Pub Date: May 23, 1991

ISBN: 0-201-15788-8

Page Count: 368

Publisher: Addison-Wesley

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 15, 1991

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.