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LONDON

An elegantly idiosyncratic, leisurely and—at its most successful—revealing stroll through London's highways and byways that transcends the coffee-table genre. A long-time art critic for the the New York Times, British- born Russell is an erudite guide to the city he made his home for over 50 years (if one at times rather too fond of the sound of his own voice). He takes the reader on a wholly personal, unsystematic, yet surprisingly thorough ramble through London's long history and its labyrinthine social topographies as well as its protean physical aspect. Though he occasionally lapses into travelogue bromides (``there is no better school of life than the streets of a great city''), more often Russell succeeds in finding neglected perspectives that help us reimagine a city made overfamiliar by mass tourism and media: a history of London's 19th-century salon culture, an explanation of what goes on behind the closed doors of the city through a history of its architecture, and, throughout, a refreshing emphasis on London as the living and working home of millions of ordinary folk rather than a picturesque museum. Having come to know the city in its imperial twilight, Russell does sometimes fall prey to nostalgic Edwardianisms (for instance, in his rose-tinted and pompous descriptions of Parliament); but at his best he combines the historian's long view, the aesthete's appreciative gaze, and the social critic's inquiring eye to paint a bracingly complex picture of a city whose heritage continues to evolve—such as his account of the Docklands transformation from commercial and imperial hub to the sometimes combustible social laboratory of the new London. At its unstuffy best, Russell's ``tour'' is brought to vivid life by his unfailingly apposite selection of paintings, engravings, architects' drawings and photographs, in general excellently reproduced (though on occasion large-scale images have been reduced beyond comfortable scrutiny). Russell for the most part offers the armchair traveler and the inquiring mind alike five-star service. (183 illustrations, 86 in color) (Book-of-the-Month Club dividend selection)

Pub Date: Nov. 1, 1994

ISBN: 0-8109-3570-8

Page Count: 256

Publisher: Abrams

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Sept. 15, 1994

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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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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