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RED, WHITE, AND DRUNK ALL OVER

Name: RED, WHITE, AND DRUNK ALL OVER
Author: Natalie MacLean
ISBN: 1-58234-648-8

A WINE-SOAKED JOURNEY FROM GRAPE TO GLASS

by Natalie MacLean ‧ RELEASE DATE: Oct. 1, 2006

Refreshingly accessible and good-humored entrée into the world of fine wine.

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At last, a wine writer who admits flat out she likes the alcohol part about as much as the “nose” and all the other esoteric nuances.

Award-winning journalist MacLean aims to welcome fellow enthusiasts, present and future, by sharing formative lessons and experiences in her own development. Often flirting with what amounts to iconoclasm in what is—often for marketing purposes—an over-ritualized, elitist milieu, the author suggests that expert tasters can lose a potentially broader audience with abstract imagery and flavor allusions. (One example: “Think of Naomi Campbell in latex . . .”) Why not instead, she suggests, talk more about the total experience of imbibing a fine wine in sensuous, personal terms, which she does without hesitation, more than once mentioning her thighs. MacLean also discusses the market-shaping power of wine scribes like Robert Parker and Jancis Robinson, a British woman often at odds with Parker’s opinions and particularly his point system for scoring wines. Robinson publicly tastes wines “blind” (labels masked); Parker has them sent to his home, MacLean notes, but doesn’t push it and goes on to regularly reference Parker’s endorsements of wines she also likes. On some controversial points, she takes a clear stand: The kind of glass you drink from does make a significant difference, for instance, and she always decants her reds before serving. She soldiers through her apprenticeship in some of the world’s most heralded wine cellars, also doing duty as a retail clerk in a wine emporium of repute; the resulting knowledge is artfully imparted, if not particularly organized.

Refreshingly accessible and good-humored entrée into the world of fine wine.

Pub Date: Oct. 1, 2006

ISBN: 1-58234-648-8

Page Count: 288

Publisher: Bloomsbury

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 2006

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.