A laudable, if cautious, attempt to reclaim the literary status of an important American author from successive waves of neglect and politically charged reinterpretation. Placing Jewett firmly within the pantheon of late 19th century intellectual society, Blanchard (Margaret Fuller, 1978) blends biography and textual analysis to reveal a life of apparently astonishing balance. Born in 1849 in the comfortable and bucolic town of South Berwick, Maine, the daughter of a broad-minded physician, Jewett managed the difficult feat, notes Blanchard, of gaining fame and fortune ``simply by going her own way and doing what she liked to do.'' Although she was past 40 when her most enduring work, The Country of the Pointed Firs, appeared, Jewett, despite crippling bouts of rheumatoid arthritis, began publishing in her teens. At 32 she established her extraordinarily successful liaison with Annie Fields, widow of publisher and Atlantic Monthly founder James T. Fields, and thereafter shuttled happily between her beloved Maine and the highbrow salons of Boston. While giving ample play to Jewett's singular achievement of creating a life and art that constantly sustained and reflected her intellectual and spiritual interests, Blanchard, in her meticulous portrayal of the world of educated 19th-century women, skillfully demonstrates how unexceptional her subject's life appeared within its heady environs. Similarly, her probably asexual relationship with Fields, seen by many as ``perhaps the classic `Boston marriage,' '' was unremarkable in an era of flowery ``romantic friendships'' between accomplished, independent women who rarely had the option of combining work and family. By the same token, Jewett's literary themes—notably the importance of community, a Transcendentalist reverence for nature, and a realism leavened by optimism—were addressed to and embraced by readers of both sexes. Persuasively argued, this spirited work falters only in its failure to measure Jewett's achievements against the best, rather than the whole, literature of her time.
Pub Date: Sept. 1, 1994
ISBN: 0-201-51810-4
Page Count: 416
Publisher: Addison-Wesley
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: July 15, 1994
A sparkling, imaginative rendition of a literary classic.
Whimsical illustrations meet quirky prose in this tag-team reinvention of the iconic 1933 book.
An award-winning New Yorker illustrator, designer, and author, Kalman (Swami on Rye: Max in India, 2018, etc.) takes on the challenge of illustrating Stein’s iconic “auto” biography of her longtime companion Toklas. Even though it’s not as ambitious as Zak Smith’s Pictures Showing What Happens on Each Page of Thomas Pynchon's Novel Gravity's Rainbow (2006) or Matt Kish’s Moby-Dick in Pictures (2011), Kalman’s 70-plus color illustrations, rendered in her distinctive playful and Fauve-esque style, perfectly reflect the artistic and intellectual world of Paris in the 1920s and ’30s. In a short afterword, written in Kalman’s distinctive script, she describes the book as a “love story” about how “two people, joined together, become themselves. They cannot breathe right without each other.” An accompanying illustration shows them sitting together at a table, Stein reading a book (aloud?), Toklas looking on (listening?). On the final page of the book, Stein notes that Toklas probably will not write her autobiography, so “I am going to write it for you….And she did and this is it.” On first meeting Stein, Toklas said there are a “great many things to tell of what was happening then….I must describe what I saw when I came.” With the current volume, we see what Kalman saw. Here’s Stein sitting in a bright yellow chair at her popular Paris home at 27 rue de Fleurus, Picasso’s famous portrait of Stein on the wall behind her. Luminaries came and went, all beautifully captured with Kalman’s bright brush strokes: Toulouse-Lautrec; Seurat, who “caught his fatal cold”; the “extraordinarily brilliant” Guillaume Apollinaire; William James, Stein’s former teacher; Marcel Duchamp (“everybody loved him)”; Isadora Duncan and Nijinsky; James Joyce and Sylvia Beach; Hemingway; the “beautiful” Edith Sitwell; and of course, Toklas, wearing one of her hats with “lovely artificial flowers” on top.
A sparkling, imaginative rendition of a literary classic.Pub Date: March 3, 2020
ISBN: 978-1-59420-460-9
Page Count: 320
Publisher: Penguin Press
Review Posted Online: Nov. 4, 2019
Kirkus Reviews Issue: Dec. 1, 2019
PERSPECTIVES
PERSPECTIVES
A dazzling visual homage to a music icon gone too soon.
A Los Angeles–based photographer pays tribute to a legendary musician with anecdotes and previously unseen images collected from their 25-year collaboration.
St. Nicholas (co-author: Whitney: Tribute to an Icon, 2012, etc.) first met Prince in 1991 at a prearranged photo shoot. “The dance between photographer and subject carried us away into hours of inspired photographs…and the beginning of a friendship that would last a lifetime.” In this book, the author fondly remembers their many professional encounters in the 25 years that followed. Many would be portrait sessions but done on impulse, like those in a burned-out Los Angeles building in 1994 and on the Charles Bridge in Prague in 2007. Both times, the author and Prince came together through serendipity to create playfully expressive images that came to represent the singer’s “unorthodox ability to truly live life in the moment.” Other encounters took place while Prince was performing at Paisley Park, his Minneapolis studio, or at venues in LA, New York, Tokyo, and London. One in particular came about after the 1991 release of Prince’s Diamonds and Pearls album and led to the start of St. Nicholas’ career as a video director. Prince, who nurtured young artists throughout his career, pushed the author to “trust my instincts…expand myself creatively.” What is most striking about even the most intimate of these photographs—even those shot with Mayte Garcia, the fan-turned–backup dancer who became Prince’s wife in 1996—is the brilliantly theatrical quality of the images. As the author observes, the singer was never not the self-conscious artist: “Prince was Prince 24/7.” Nostalgic and reverential, this book—the second St. Nicholas produced with/for Prince—is a celebration of friendship and artistry. Prince fans are sure to appreciate the book, and those interested in art photography will also find the collection highly appealing.
A dazzling visual homage to a music icon gone too soon.Pub Date: Nov. 19, 2019
ISBN: 978-0-06-293923-4
Page Count: 384
Publisher: Amistad/HarperCollins
Review Posted Online: July 27, 2019
Kirkus Reviews Issue: Aug. 15, 2019
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