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THE CORRESPONDENCE OF SHELBY FOOTE AND WALKER PERCY

Despite shortcomings in the editorial packaging, the letters provide a fascinating window into a lifelong friendship and the...

Tolson marshals a more comprehensive selection of the 1948-90 correspondence excerpted in his Percy biography, Pilgrim in the Ruins (1992).

Percy's reputation rests on his novels, especially the National Book Award-winning The Moviegoer and Love in the Ruins, Foote's on his titanic nonfiction narrative The Civil War. Because literary orthodoxy beholds Percy as the brighter star, it's surprising how much more brilliantly Foote shines here. Though younger by six months, Foote, who published four novels by age 35, is initially a kind of artistic big brother to Percy, who in 1948 began the first of two unpublished novels that preceded The Moviegoer. Since Foote didn't save Percy's letters until 1970, the first 22 years are one-sided: Foote's expansive, 19th-century epistolary style (he recaps Percy's philosophical and artistic arguments as he refutes them) is nearly detailed enough to carry the monologue, and his passion—for writing, reading, music, food—is more than up to the task. However, better annotation from Tolson (as well as a fuller introduction that would put their works in a sequential context) would have shed some welcome light. Even as Percy's star rises, his letters—shorter, less composed, and less frequent—reveal a more tentative, self-doubting muse compared with the brimming confidence that propels Foote fearlessly into his 1.5-million-word magnum opus. Beneath the deeply abiding fraternal affection of boyhood friends (they met at 14 in Greenville, Miss.) lie diametrical approaches to art. Foote, driven to tell stories because "how a thing happens is more interesting than what happens'' or why, advises the "christian existentialist'' (as Percy ruefully considered himself pigeonholed) to "leave psychology to the psychologists, theology to the theologians.'' Percy saves his didacticism for fiction, while Foote continuously assails his friend with literary advice and books to read—most prominently Proust, whom Percy resists to the end.

Despite shortcomings in the editorial packaging, the letters provide a fascinating window into a lifelong friendship and the writing life.

Pub Date: Nov. 1, 1996

ISBN: 0-393-04031-3

Page Count: 272

Publisher: Norton

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 1, 1996

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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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