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ALBION

THE ORIGINS OF THE ENGLISH IMAGINATION

A learned, eye-opening survey of the “mixed style” that shaped a nation’s culture and self-image. (70 pp. color and b&w...

A vast and rich panorama encompassing English literature, philosophy, science, art, and music.

Holding together a narrative of such ambition is a Herculean task, and British biographer/novelist Ackroyd (London, 2001, etc.) occasionally falters. For instance, he never fails to signal that A Big Theme is coming, e.g.: “In the course of this narrative it will be demonstrated that English literature, in particular, borrowed elements and themes from continental texts only to redefine them in the native style.” Nor is he averse to sending readers to the closest dictionary with words such as “hypnagogic” or “oneiric.” Ultimately, though, he’s saved by his erudition and panache, as he details how, starting with the Anglo-Saxon epic Beowulf, the predominant strains of the English sensibility have been assimilation and adaptation. From Chaucer to Dickens, the polyglot culture of London encouraged creators to mix high and low, comedy and tragedy, sacred and profane, he writes. In a particularly fascinating section on how literature borrowed and blended elements from different sources, Ackroyd underscores the crucial impact of translation on the nation’s letters, not only through the King James Version of the Bible, but through Thomas Wyatt, Christopher Marlowe, John Dryden, Alexander Pope, and William Wordsworth, whose poems were influenced by those they translated. Loss also figures in the English imagination, from the death of Arthur through the often melancholy strains of Ralph Vaughn Williams. Though most comfortable with literature, Ackroyd also verges afield with brio to analyze the national vogue for miniatures, gardening, and landscape painting. He can masterfully weave a creator’s life and work together, then summarize it with a pithy one-liner, as when he describes John Donne as “a disciple of death and a voluptuary of decay.”

A learned, eye-opening survey of the “mixed style” that shaped a nation’s culture and self-image. (70 pp. color and b&w illustrations)

Pub Date: Oct. 21, 2003

ISBN: 0-385-49772-5

Page Count: 560

Publisher: Nan A. Talese

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 2003

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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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