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DRAWING THE LINE

TALES OF MAPS AND CARTOCONTROVERSY

An intriguing dissection of how maps, with their pictorial clarity and aura of scientific objectivity, have exerted the power to persuade—and often mislead. Maps have a deceptively simple appearance, partly because the need for readablitiy requires cartographers to limit content, partly because mapmakers may be reflecting their own biases, according to Monmonier (Geography/Syracuse Univ.; How to Lie With Maps, not reviewed, etc.). He begins by recounting how the West German Arno Peters won worldwide media attention in the 1980s by criticizing the commonly used Mercator projection as Eurocentric- -and then proposed a revision that distorted lands to reflect his own leftist views. The story of the 1965 ``Vinland'' map, which purported to prove that Leif Ericson had discovered America several centuries before Columbus, becomes a tale of ethnic sensitivities (Italian-Americans were pressing then to have Columbus Day made a national holiday) and the hoodwinking of a highbrow institution (Yale accepted the map and was embarrassed by the 1974 revelation that it was a fraud). Monmonier equally displays an eye for the pungent detail (e.g., some US maps still feature ethnically insensitive place names such as Chinks Peak and Squaw Tits) and the ability to paint a broad historical context, as in detailing how one British geographer's warning about the importance of controlling ``the Heartland'' of Eastern Europe was ignored by his countrymen, until the Nazi-Soviet Pact proved him right. He also examines how maps have been used to settle boundary disputes between nations and neighbors; to redraw electoral districts to save incumbents' seats or gain power for minorities; to help bureaucrats convince a town to accept an incinerator, landfill, or nuclear waste dump; and, conversely, to protect against environmental catastrophes. A revealing analysis that shows how maps sometimes deserve a place in the unholy triumvirate of lies, damned lies, and statistics. (30 b&w drawings and 15 half-tones)

Pub Date: Dec. 20, 1994

ISBN: 0-8050-2581-2

Page Count: 352

Publisher: Henry Holt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 15, 1994

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NUTCRACKER

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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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

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.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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