by Louisa Thomas Hargrave ‧ RELEASE DATE: June 1, 2003
The story catches the pioneer feel of the venture: plain, fraught, moments when Hargrave thinks she’s the luckiest person in...
The folksy but original story of bringing into existence Long Island’s first fine winery.
In the heady days of the early 1970s, Hargrave and her husband Alex—after some serious research, though still with a sense of the utopian in the air—bought a potato farm in Cutchogue, on the North Fork, and planted pinot noir, cabernet sauvignon, and sauvignon blanc. What follows is the pleasingly unvarnished tale of the operation, from its fixer-upper days to its wines’ successes at international fairs. While there’s no shortage of strange happenings—an employee turns out to be victim of a slave racket; others are nearly hit by a train that intermittently runs through the farm—what gives this tale its passion is precisely its quotidian character, along with Hargrave’s attentiveness to the unfolding of the vineyard, explaining how she became very much a part of the place: “I would stand in the vineyard after work, closely examining the vines’ leaves . . . stroking the vines’ tendrils. They would curl around my finger, responding to my touch.” For every absurd encounter with the BATF, the DEC, or kindred bureaucratic institutions, there’s a night under the harvest moon when she and her husband climb naked into a tank of must to stomp the grapes; for every piece of lousy professional advice—a Cornell professor tries to subvert the entire operation to fulfill his prophecy that it would be a failure—there’s a neighbor willing to offer a hand. The tone is subdued throughout, prideful yet without glee, for as the vineyard gelled, Hargrave and her husband drifted apart. The sting of that, after all the work, is clear.
The story catches the pioneer feel of the venture: plain, fraught, moments when Hargrave thinks she’s the luckiest person in the world, and then the opposing winds—personal, meteorological, economic—that buffet all settlers to new country.Pub Date: June 1, 2003
ISBN: 0-670-03221-2
Page Count: 256
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2003
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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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More by E.T.A. Hoffmann
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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by E.T.A. Hoffmann & illustrated by Julie Paschkis
by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
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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