All bark and no bite. (line drawings)
Coren (Why We Love the Dogs We Do, 1998, etc.) argues, with no discernible irony, that events and people as disparate as Waterloo and Richard Wagner would have been very different without the influence of dogs. When Napoleon was escaping from Elba, he fell into the water, a dog jumped in and began the rescue effort, and the diminutive Corsican survived to meet his Waterloo. Just think . . . if he had only drowned that day! That is the level of analysis in this truly dreadful example of what-if? history. If the author had adopted a lighter tone and confined himself to amusing stories, odd coincidences, and the little-known obsessions for dogs held by some of history’s more engaging figures from Cromwell to Custer, this volume might have been mildly entertaining. Instead, we get solemn pronouncements such as: “Dogs do have a way of weaving their influence through human events and subtly altering the course of history.” This is not to say there are no chewy biscuits in the bowl: Florence Nightingale may indeed have been inspired to become a nurse by the sight of an injured dog, and it is interesting to learn that Alexander Graham Bell taught a dog to say “How are you, grandmamma?” But it’s quite a stretch from there to speculate that dogs played a significant role in the development of Freud’s psychoanalytic theories.
All bark and no bite. (line drawings)Pub Date: April 1, 2001
ISBN: 0-7432-2228-8
Page Count: 256
Publisher: Free Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2002
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
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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