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BY THE EL

Name: BY THE EL
Author: Lawrence Stelter
ISBN: 978-0-9777220-1-3

THIRD AVENUE AND ITS EL AT MID-CENTURY (2ND ED.)

by Lawrence Stelter ‧ RELEASE DATE: Sept. 1, 2007

Delightful, welcome nostalgia for a sadly bygone era.

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This vivid New York City cultural history records in photographs the story of the Third Avenue elevated train, launched in 1878 as one of the first lines in the city’s rapid-transit systems.

The author’s father, Lothar Stelter, took a myriad of photographs with his Contessa camera in the early ’50s, when he worked as a cable splicer for the New York Telephone Company. Those photos, displayed here a bit too small on each page, demonstrate how teeming and alive this route was in the lifeline of the city. The steam-powered elevated trains had to accommodate the rapid growth of New York at the turn of the century, comprising four routes from Lower Manhattan to 155th Street–though the Third Avenue line would gradually extend into the Bronx–and culminating in peak ridership by 1920, before the more efficient subways began to take over. A nickel fare (up until 1948) ensured its popularity. The Third Avenue El created a distinctive look along a busy thoroughfare, casting a trellis-like pattern onto the street from the overhead webbed ironwork, wooden catwalks and Victorian glasswork in the windows of the stations. The photographer captured the construction details beautifully, and in all kinds of weather, as passengers frozen in period suits and hats gaze down at the street crammed with DeSoto taxis, Studebakers and sidewalk vendors. Chapters follow the journey up Third Avenue, lined by pawn shops, antiques stores and Irish pubs, from Chinatown to Murray Hill to Yorkville to East Harlem. Former residents, shopkeepers and commuters fondly recall here the noisy train that brought them to the Automat at 42nd Street, Wankels Hardware at 88th Street or the Ruppert Brewery at 93rd Street. Next to these arresting images of the city’s history, views of today’s sleekly transformed Third Avenue–the El was demolished in the mid-’50s–seem soulless and monolithic.

Delightful, welcome nostalgia for a sadly bygone era.

Pub Date: Sept. 1, 2007

ISBN: 978-0-9777220-1-3

Page Count: 132

Publisher: N/A

Review Posted Online: May 23, 2010

Review Program: Kirkus Indie

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.