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A CATCHER'S COMPANION

Name: A CATCHER'S COMPANION
Author: Sean McDaniel
ISBN: 978-0615282428

: THE WORLD OF HOLDEN CAULFIELD

by Sean McDaniel ‧ RELEASE DATE: April 21, 2009

Probing analysis and jocular wit, but with observations that may be too familiar.

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The commonplace world of Salinger’s The Catcher in the Rye is put under the looking glass in this page-by-page interpretive guide by McDaniel (Collected Essays: 1972-2008, etc.).

Fans of Salinger’s tale need look no further to find detailed meanings behind the various artifacts, catchphrases, celebrities and locales of their beloved tome. Citing page numbers and phrases straight out of the seminal work, McDaniel’s illustrated companion provides insight into late 1940s American culture, some of which may be unfamiliar to younger readers. With depictions of vintage automobiles such as the La Salle, to the meaning of the phrase â€œpain in the ass,” the book follows a well-worn path made by writers who attempted to make sense of The Catcher in the Rye for new audiences. The author’s friendly humor, however, brings familiarity to what might otherwise be just another tool for high school English teachers and Salinger scholars. Like the best teachers, McDaniel puts the subject matter into an easy-to-follow format, utilizing current slang and trends as examples. Beginning with explanations for the cover–with some mention given to Salinger’s litigious nature–the book follows Caulfield’s New York adventure and subsequent mental collapse from start to finish. Portions of the book, however, need little elucidation, and serve only as space-fillers in an otherwise enjoyable read. Far too many common definitions–for pinball machines and the typewriter–are hardly unfamiliar to literate and film-savvy teens. In another century, A Catcher’s Companion might have proved illuminating to Salinger’s readers. In this era, some descriptions are merely humorous and offer only moderate insight. A lighthearted flavor proves McDaniel’s worth, as he capably steers readers through Salinger’s New York. His obvious relish for the subject is another plus, as are the author’s comical opinions, which can be found peppered within the companion.

Probing analysis and jocular wit, but with observations that may be too familiar.

Pub Date: April 21, 2009

ISBN: 978-0615282428

Page Count: -

Publisher: N/A

Review Posted Online: May 23, 2010

Review Program: Kirkus Indie

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.