The author digs deep into the rich artisanal soil of Sicily's wine culture, unearthing centuries-old lineage and lore while...
An Italian-American writer embeds himself in the Sicilian wine trade for a year.
Wine Spectator contributor Camuto (Corkscrewed: Adventures in the New French Wine Country, 2008) takes an intimate journey through vineyards from Marsala to Corleone and up the slopes of Mt. Etna on the island that is said to boast as many as 4,000 grape varieties. Sleeping in rustic agriturismo lodgings and enjoying foods from the nearby farms—bright green pistachios, plump olives, cassata cake filled with sheep’s-milk ricotta—the author extracts illuminating insights from both seasoned and novice winemakers, whose methodologies range from staunchly traditional to trail-blazingly controversial, revealing vivid familial lore, historical tragedies and triumphs, technical challenges in the present and innovative plans for the future of their enterprises. Whether chatting in cavernous vat rooms filled with massive clay amphorae, the back booth of a 19th-century focacceria now under anti-mafia protection or amid craggy branches on terraced vineyards, Camuto gleans illuminating nuggets of wisdom, as when third-generation winemaker Giuseppe Tasca sums up his family's ethos: “My grandfather understood that you make wine in the vineyard…not in the winery.” Though other books offer in-depth portraits of Sicilian winemakers and their product—including Kate Singleton’s Wines of Sicily (2004) and Carlo Gambi’s photographic Journey Among the Great Wines of Sicily (2008)—by coexisting with his subject through four contiguous seasons, Camuto captures an intimate family album that eloquently details the idiosyncrasies, charisma and drive of Sicilian winemakers today.
The author digs deep into the rich artisanal soil of Sicily's wine culture, unearthing centuries-old lineage and lore while closely studying villages, vintages, vintners, vats and a few intriguing vendettas.Pub Date: Sept. 1, 2010
ISBN: 978-0-8032-2813-9
Page Count: 312
Publisher: Univ. of Nebraska
Review Posted Online: July 13, 2010
Kirkus Reviews Issue: Aug. 1, 2010
As is to be expected from Lessing (The Real Thing; 1992, etc.), whose clear and always intelligent no-nonsense writing has explored subjects that transcend the commonplace, this first volume of her autobiography reflects all her remarkable strengths. The year of her birth, 1919, was auspicious neither for her parents in particular nor for the world in general. The ill-matched Taylers had married not out of love but out of a mutual need to expunge the horror of the recently ended world war, which had maimed Lessing's father both physically and mentally — he'd lost a leg in battle, but more important, be was embittered by what he considered Britain's poor treatment of her soldiers. Her mother, an able nurse, had lost a fiancÉ, and marriage now seemed to offer only the consolation of children. These disappointments, exacerbated by the harsh life in rural Zimbabwe (then Southern Rhodesia), where her family settled after a stint in Persia, would indelibly shape Lessing. She quarreled frequently with her mother, whose well-meaning strictures she resented; observed her father's despair and his failures as a settler-farmer; and resolved that she would not live like them — "I will not, I will not!" — even if it meant defying convention. Which she did, as she left her first husband and their two children for another man — Gottried Lessing; joined the local Communist Party in the midst of WW II "because of the spirit of the times, because of the Zeitgeist"; and then moved in 1949 permanently to London. Like so many bright and alienated provincials, Lessing found an escape in voracious reading. Though determined to be a writer, the consuming distractions of motherhood, wartime society, and political activities frustrated this ambition for a long time. Refreshingly, not a self-indulgent mea culpa, but a brutally frank examination of how Lessing became what she is — a distinguished writer, a woman who has lived life to the full, and a constant critic of cant.
Pub Date: Sept. 22, 1994
ISBN: 0-06-017150-2
Page Count: 416
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1994
BOOK REVIEW
BOOK REVIEW
An absorbing study of the role of style and design in early postwar American culture. Marling (Art History and American Studies/ Univ. of Minnesota; coauthor of Iwo Jima: Monuments and the American Hero, 1991) examines the period when TV first leveled its electronic gaze at American life and a dynamic new set of visual and cultural values were born. She describes leisure pursuits like amateur painting— and its ghastly derivative, the paint-by-numbers set—that rose with the country's self-conscious new prosperity; the growth of automobile fetishism; kitchen gadgets and their meaning for ever- busier women; Elvis's nouveau-riche stylistic pretensions; and national unease over the comparative worth of less frivolous Soviet accomplishments. The book begins slowly, detailing the national obsession with Mamie Eisenhower's hair and clothing, but gathers momentum in describing Disneyland's antecedents, the psychosexual lure of chrome-laden cars, and the growing hegemony of design over function in the development of American products. Marling writes with flair, and her text engages the reader even when profound insight is lacking. Readers may disagree with her on occasion (that ``the French [fashion] salon is a woman's place, ultimately governed by her preferences and skills'' seems debatable). And sometimes the breezy tone is less appropriate—memoranda showing how Betty Crocker psychologists exploited women's fears of failure in the kitchen arouse no comment from the author. Assertions that designers provided buyers a sensation of mobility and choice, and that these aren't bad aims, on the other hand, make sense. And Marling's right in noting that critics often missed what was pleasurable—and anti-elitist—about ``populuxe'' fashions of the '50s. Though Marling chooses to remain more chronicler than critic, this archaeology of our recent visual past is as important as any recent political history of the period, and far fresher in approach. (Illustrations, not seen)
Pub Date: Sept. 1, 1994
ISBN: 0-674-04882-2
Page Count: 352
Publisher: Harvard Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1994
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