A pretty and personal tribute to one of the great partnerships in ballet history. Artist Money (Anna Pavlova, 1982) stumbled into dance photography in the early 1960s after seeing the first televised performance of Margot Fonteyn and Rudolf Nureyev. For the next several years he accompanied the dancers on tour and, against the constant objections of the two photo-phobes, managed to record them together in rehearsal and onstage. Many of the black-and-white images included here have never been published before, and they afford both a charmingly informal glimpse of the two artists and a record of the emotional power and style that made them sellouts at the box office. Most of the photos are maddeningly uncaptioned, but one picture of Fonteyn doing her tendus in a stone archway in Athens seems innocuous enough until one reads in the accompanying text that a workman had just missed bashing her head in with a beam. In the same series, we see Fonteyn stitching a toe shoe while Nureyev looks on; the young dancer had just announced that he would not dance that night. ``Perhaps we'd better just give the money back?'' Fonteyn replied calmly, stitching away. Unfortunately, we get few such intimate anecdotes and no real understanding of their working relationship. Fonteyn was an aging star, whom the Royal Ballet management was ready to shunt aside, Money tells us. Nureyev was a fiery young dancer, a recent defector from the Soviet Union. He renewed Fonteyn's career, even dared her, according to the author, to surpass herself. The magic of that interaction is missing from Money's text. But it is very present in his photos: Fonteyn's remarkably youthful Aurora exults in the arms of Nureyev, her Prince; as Romeo and Juliet they evince innocent love tragically betrayed. Both Fonteyn and Nureyev outdanced the usual span of a dancer's career; both died too young. Money's photos and sketches remind us of the way they were.

Pub Date: Dec. 15, 1994

ISBN: 0-00-271375-6

Page Count: 256

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Oct. 15, 1994

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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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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.


New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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