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ABOUT FACE

Name: ABOUT FACE
Author: Jonathan Cole
ISBN: 0-262-03246-5

by Jonathan Cole ‧ RELEASE DATE: Nov. 3, 1997

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A physician's curiosity leads him to a subject oddly underexplored in its own right: the face. British neurophysiologist Cole pursues the link between our faces and our inner selves in a science-minded inquiry that is very much a natural history rather than a cultural one. But it's not strictly scientific, either: Cole's topic lies among questions just out of the confident grasp of science—the nature and relationship of mind and body, of thoughts and feelings, the definition of consciousness itself. Given that, Cole assembles persuasive speculations from his journalistic research among people who either can't perceive facial expressions or can't make them as a result of blindness, autism, disfigurement, or face-impairing Mîbius syndrome, Bell's palsy, and Parkinson's disease. Despite the variety of conditions described in these uniformly heartfelt interviews, his conclusions from them are largely similar: that facial expression exists somewhere pivotal between the mental and the physical, that the face, beyond simply expressing interior states, actually affects the emotional life through its importance in relating to others. The chapters on autistic subjects—for whom the disctinctions between self and others, body and mind and emotion, are strangely ruptured—are powerfully suggestive of the complexity of the face's meaning; but relying heavily, in brief encounters, on the ad hoc personal vocabulary used by subjects to try to explain their experiences, this study remains little more than suggestive. But that's only to say that Cole has initiated an ambitious synthesis, putting the face at the center of various disciplines that touch on it—neurological, psychiatric, evolutionary (he surmises that faces function emotionally in primates' individual relationships as well as humans') that may be taken up by such specialists in response to his impressions. A genial peek—in the mirror, as it were—at the mystery of the self. (13 illustrations, not seen)

Pub Date: Nov. 3, 1997

ISBN: 0-262-03246-5

Page Count: 244

Publisher: MIT Press

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Sept. 15, 1997

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.