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A MOST HOSTILE MOUNTAIN

Name: A MOST HOSTILE MOUNTAIN
Author: Jonathan Waterman
ISBN: 0-8050-4453-1

RE-CREATING THE DUKE OF ABRUZZI'S HISTORIC EXPEDITION ON ALASKA'S MOUNT ST. ELIAS

by Jonathan Waterman ‧ RELEASE DATE: Oct. 1, 1997

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Alaska's Mount St. Elias was a mystical site to Waterman (In the Shadow of Denali, 1994, etc.), to be revered, and to be visited by fair means, without all the techno-wizardry climbers use today. To show its appreciation, the mountain beat him mercilessly. Mount St. Elias is not a trophy peak. It may be the fourth highest mountain in North America, it may stymie 70 percent of its climbers (and kill another 5 percent), but the trophy climbers want Denali. That was fine with Waterman; he preferred his mountains pure, free of the commercialization of climbing. Waterman was fascinated by the duke of Abruzzi, the aloof, melancholy, scholar-explorer who was the first to ascend St. Elias a hundred years ago, and he wanted to tackle the mountain as the duke did, though with fewer companions (just one partner) and a drastically reduced payload (no porters, for instance to carry an iron bedstead). No radios, thank you, and no flight in and out; he wanted the sanctity of the wild, to discover remnant instincts, deploy map-reading and route-finding talents, be self-sufficient. He would sail up from Seattle, climb, and return. Using diaries and letters from Abruzzi and his team, Waterman entwines his climb with the duke's, although the pleasure here is in Waterman's tale. The climbing almost immediately goes badly and then gets much worse. Crevasses lurk, nonstop avalanches thunder by, it rains watermelon-size rocks. The climbers run out of food. His companion isn't amused; then again, they survive, barely, returning without having gained the summit. Waterman's soul-searching can get trying, but he followed his dreams. In sharing them, he gives readers back some of their own. (24 b&w photos, 2 maps, not seen)

Pub Date: Oct. 1, 1997

ISBN: 0-8050-4453-1

Page Count: 288

Publisher: Henry Holt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 1997

Categories:

GENERAL NONFICTION

- BOOK REVIEW
ARCTIC CROSSING
by Jonathan Waterman

- BOOK REVIEW
KAYAKING THE VERMILION SEA
by Jonathan Waterman

- BOOK REVIEW
IN THE SHADOW OF DENALI
by Jonathan Waterman

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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.