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WOODEN BOATS

IN PURSUIT OF THE PERFECT CRAFT AT AN AMERICAN BOATYARD

Approached as a salvage operation, there are numerous worthy features in this book, but there are too many gaps in planking...

Ruhlman's (The Soul of a Chef, not reviewed) promising story of attending the construction of two sublime wooden boats falls short in so many areas that it feels woefully out of plumb.

Ruhlman has all the ingredients for a great tale: an ancient and honored craft perpetuated by a company of rascally artisans, a slew of absorbing satellite stories to broaden and deepen the character of both boats and boat-builders, and a construction process that has an intuitive, organic sense to it. The Martha's Vineyard boatyard of Gannon and Benjamin, for whom it is wood or the highway, is the setting for this chronicle of building a 60-foot schooner for an entrepreneur and a 32-foot powerboat for the singer Jonathan Edwards. Much of the spirit of the Gannon and Benjamin shop comes through here—the dedication, the vision. There are generously painted portraits of the boat workers, and there are terrific sections on gathering silverballi and angelique in the Suriname rainforest. But Ruhlman loves the sound of his voice too much, and his imagery charges about unreined: in one breath he tells readers that the victims of being boatstruck show “no easily discernable signs of the illness,” then “you can see it.” Or that artisinal wooden boat building is “a long study of a five-thousand-year-old practice” then an act of the “collective unconscious,” and we're not talking about the play of opposing forces. He also comes up with nonsensical metaphors: “Ross [Gannon] collects heavy antique machinery the way other people collect Faberge eggs”: Does this mean only on rare occasions? But perhaps the weakest part of the book is that Ruhlman is not particularly able in describing woodworking technique. Visualizing the boat-building process is critical to sustaining the book's atmosphere, and it simply never gathers in the mind's eye.

Approached as a salvage operation, there are numerous worthy features in this book, but there are too many gaps in planking for it to float on its own.

Pub Date: May 7, 2001

ISBN: 0-670-88812-5

Page Count: 320

Publisher: Viking

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 2001

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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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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