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THE BIG NEW YORKER BOOK OF DOGS

Name: THE BIG NEW YORKER BOOK OF DOGS
Author: The New Yorker
ISBN: 978-0-679-64475-0

by The New Yorker ‧ RELEASE DATE: Oct. 30, 2012

A real treat for New Yorker fans and dog lovers alike.

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A New Yorker anthology provides a classy tribute to man's best friend.

With a foreword by Malcolm Gladwell (What the Dog Saw: And Other Adventures, 2009, etc.), who also authored a piece on Cesar Millan's methods of training out-of-control dogs, and new packaging for older pieces on dogs by great masters of the literary pen (James Thurber, Arthur Miller, Roald Dahl, John Updike and others), this beautiful volume is a winner. There are 18 reproduction covers on the subject of dogs spanning the period from 1933 to the present, a number of them standouts, ranging from the sentimental to the outright satirical. The essays are organized into sections on “Good Dogs,” “Bad Dogs,” “Top Dogs and “Underdogs,” and include a piece about Long Island's Buckram Beagles in the 1930s, a salute to Rin Tin Tin, an essay about dog racing in the U.K. in the 1950s, a profile of Leona Helmsley and her bequests, which have helped establish legal rights for dogs, and an article on the New Tabernacle Baptist Church Urban Hunting Club. These contributions are interleaved with poems about dogs (five of which contain different versions of their authors' drafts), editorial cartoons and nine full-page pictures of doggy subjects. The list is long and impressive, but other notable contributors include E.B. White, Ogden Nash, Donald Barthelme, A.J. Liebling, George W.S. Trow, Donald Hall, Roddy Doyle, Jerome Groopman, Ian Frazier, Jim Shepard, Adam Gopnik, Susan Orlean, Roger Angell, T.C. Boyle, Joan Acocella and Jonathan Lethem.

A real treat for New Yorker fans and dog lovers alike.

Pub Date: Oct. 30, 2012

ISBN: 978-0-679-64475-0

Page Count: 304

Publisher: Random House

Review Posted Online: Aug. 28, 2012

Kirkus Reviews Issue: Sept. 15, 2012

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE 60S
by The New Yorker edited by Henry Finder

- BOOK REVIEW
THE 50s
by The New Yorker

- BOOK REVIEW
THE 40s
edited by The New Yorker

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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.