it haunting.
An ingenious, outsize myth-meets-facts "life and works" of the charismatic global citizen and compulsive tale-teller.
Prizewinning political novelist Shakespeare (The Dancer Upstairs, 1997, etc.) carefully situates Chatwin (1940–88) in each milieu where he sought, then outgrew, mentors: boarding school, Sotheby's, archaeological digs, the London Sunday Times, world capitals' gay subworlds. An active if conflicted bisexual, he mesmerized relatives, friends, colleagues, lovers, and critics, who turn up here to voice every shade of judgment concerning his marathon monologues ("Bruce on form could be the song the sirens sang"—unless "he murdered people with talk"), his "ascetic de luxe" style of writing and living, his overdrive curiosity. (He could have claimed as his credo "I need desperately to know certain things.") The incremental portrait of Elizabeth Chanler proves that finding this resilient, independent, dedicated American was Chatwin's "greatest luck": Whatever his wildest forays, their 23-year marriage remained his ultimate refuge. Shakespeare tracks the restless wanderer as he scavenges the world for experience he encapsulated in dazzling verbal edifices that defy classification. In Patagonia (1978), the most legendary travel book of its time, revived that region of Argentina; The Songlines (1987) appropriated and enlarged upon aboriginal cosmology. A thirst for the marvelous pursued Chatwin to the last. Records confirm he died riddled by a rare South Asian fungus fostered by the AIDS he never admitted to, which elevated him to baroque hallucinations and hypomania before his death at 48. Though impressed by the man's unfettered brilliance, Shakespeare evenhandedly displays every persona constituting "The Chatwin Effect," from solipsistic na‹f to literary wonder-worker, mountebank sponger to golden-haired Prometheus. This spirited tell-all will make newcomers yearn to try his books. An unflinching reconstruction of a singular writer's scorching trajectory through life: Speed makes it concise; fate makes
it haunting. (Family tree, photos, not seen) (Author tour)Pub Date: Feb. 15, 2000
ISBN: 0-385-49829-2
Page Count: 704
Publisher: Nan A. Talese
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2000
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
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
BOOK REVIEW
BOOK REVIEW
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