bookshelf

OTHER PEOPLE'S DIRT

Name: OTHER PEOPLE'S DIRT
Author: Louise Rafkin
ISBN: 1-56512-162-7

A HOUSECLEANER'S ADVENTURES FROM CAPE COD TO KYOTO

by Louise Rafkin ‧ RELEASE DATE: May 5, 1998

bookshelf

Into this life a chance for liberating creativity fell, when Rafkin narrowly escaped a straight-on march into the literary world of academia and headed into the trenches of “other people’s dirt.” This book documents her experiences as seen from the underbelly of day-to-day life through anecdote and wry observation: dust balls and food stains, what laundry reveals and conceals, the nature of the need to clean, and the strange idiosyncrasies of those who will pay others to put order in their disorderly lives. Brief chapters cover stints in the homes of hoarders, the simply overworked, the impersonal nit-pickers, perverts, and even a suicide. In a final chapter, Rafkin travels to Japan to live with the Ittoen community, a group of homeless individuals committed to cleaning up the immediate world. Her thoughts on the need for order hint at the author’s underlying belief: She would like to share the Ittoen “nonattachment to worldly goods.” But her comments on Japan are banal, and her search for any philosophy in what a house cleaner knows remains lifeless as long as she poses questions such as, —If a forest is swept and no one sees it, was it ever really swept? . . . would I ever stop trying to achieve Home-Ec Student of the Year?” Rafkin’s breezy matter-of-factness only barely obscures a lot of cynical ranting about people, places, and things. Only at the very end does she confide her personal take on what her meanderings have meant in a final homeward gaze, the long-lost San Francisco girl at last getting real: “It was time to clean house.” More adventure than memoir, this book is odd and not all that entertaining. (Author tour)

Pub Date: May 5, 1998

ISBN: 1-56512-162-7

Page Count: 210

Publisher: Algonquin

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 15, 1998

Categories:

GENERAL NONFICTION

bookshelf

NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

bookshelf

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

bookshelf

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

bookshelf

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.