by John Pfordresher ‧ RELEASE DATE: June 27, 2017
On the whole, a helpful guide to the book as a Rorschach blot of a singular Romantic temperament.
Everyone knows Jane Eyre is an autobiographical novel, but where does roman end and à clef begin?
Few books feed reality hunger more than Charlotte Brontë’s 19th-century masterpiece, whose deeply observant narrator speaks in such a direct voice that she seems to bear witness to lived events. As Pfordresher (English/Georgetown Univ.; Jesus and the Emergence of a Catholic Imagination: An Illustrated Journey, 2008, etc.) argues, that’s because it is the work of an author who only wrote what she knew. Accepting Brontë’s assertion that she never described any “feeling, on any subject, public or private,” that wasn’t genuine, he adroitly follows the paper trail of her letters to demonstrate that the novel draws from both actual events and deeply repressed emotions. He finds a lot of Brontë both in Jane and in Rochester’s mad wife; both author and character “lived on the borderline of madness, and there are moments of anguish when its darkness takes over.” As previous biographers have long noted, the horrible experience of the Brontë sisters at the Clergy Daughter’s School at Cowan Bridge was closely duplicated in Lowood Institution in the novel; the parallels were so close and obvious it even caused a minor scandal. Pfordresher is more interesting when the relation between fact and fiction is less obvious, such as in the creation of Jane’s classic love interest, Rochester. While the clearest real-life source appears to be a married professor whom Brontë could never have, Pfordresher sees evidence also in her doomed brother Branwell, as well as literary models such as Lord Byron’s Giaour and John Milton’s Satan from Paradise Lost. There's a certain literal-mindedness to Pfordresher's approach, however, and his insistence that everything in the book has traceable real-life coordinates isn’t always convincing. Does Jane flee Rochester because Brontë was in some overwrought emotional state or because the story simply demanded this change of pace?
On the whole, a helpful guide to the book as a Rorschach blot of a singular Romantic temperament.Pub Date: June 27, 2017
ISBN: 978-0-393-24887-6
Page Count: 288
Publisher: Norton
Review Posted Online: March 20, 2017
Kirkus Reviews Issue: April 1, 2017
Share your opinion of this book
by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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
Share your opinion of this book
More by E.T.A. Hoffmann
BOOK REVIEW
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
BOOK REVIEW
by E.T.A. Hoffmann & illustrated by Julie Paschkis
by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955
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
Share your opinion of this book
More by Ludwig Bemelmans
BOOK REVIEW
developed by Ludwig Bemelmans ; illustrated by Steven Salerno
BOOK REVIEW
by Ludwig Bemelmans ; illustrated by Steven Salerno
BOOK REVIEW
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
Hey there, book lover.
We’re glad you found a book that interests you!
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Trouble signing in? Retrieve credentials.
Welcome Back!
OR
Trouble signing in? Retrieve credentials.
Don’t fret. We’ll find you.