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ISTANBUL

MEMORIES AND THE CITY

An engrossing tale of a city—and of an author as a young man.

An eerie, subtle evocation of childhood and a melancholic, loving ode to home.

Award-winning novelist Pamuk (Snow, 2004, etc.) grew up in an elite household; his childhood was both charmed and fraught. The cast of characters included his beautiful mother, his two-timing father and his grandmother, who looked like a “relaxed matron from a Renoir painting.” They inhabited a culture in transition. The ancient Turkish regime had collapsed, but westernization had not quite rushed in to fill the void; people were mournful and confused, betwixt and between. Even Pamuk’s family was finally claimed by “the cloud of gloom and loss that the fall of the Ottoman Empire had spread over Istanbul.” His father continually flirted with bankruptcy and would sometimes vanish for days at a time. Young Orhan wanted the city to westernize, yet he wanted everything to remain the same. His memoir also delves into literature and art, discussing how outsiders like Flaubert have seen Istanbul and considering the ways in which Western configurations of the city have shaped its self-understanding. Pamuk discusses the many Western artists, like Antoine-Ignace Melling, who painted the Bosphorus. The author himself took to drawing as a child, painting the landscape and eventually graduating to portraits, among them one of a beautiful girl he would fall in love with. Later, Pamuk studied architecture, but his heart wasn’t in it. “Pah,” says his mother, “do you think you can earn a living just making pictures? Maybe in Europe, but not here.” There it is again, the long shadow of the West. In the last pages, Pamuk turns from art and architecture to writing, making this ultimately a book about vocation. The text is augmented by a remarkable collection of photographs, many by Ara Guler. Translator Freely also deserves kudos for rendering Pamuk’s perfect Turkish adjectives in spare, startling English, from the “ghost-ridden” house to the “cold-blooded candor” of Westerners.

An engrossing tale of a city—and of an author as a young man.

Pub Date: June 10, 2005

ISBN: 1-4000-4095-7

Page Count: 320

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 1, 2005

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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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