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AMERICAN BLOOMSBURY

LOUISA MAY ALCOTT, RALPH WALDO EMERSON, MARGARET FULLER, NATHANIEL HAWTHORNE, AND HENRY DAVID THOREAU: THEIR LIVES, THEIR LOVES, THEIR WORK

Despite the best intentions, this literary portrait does a disservice to the intellects it seeks to honor.

An oddly hyperventilating chronicle of “America’s first literary community” in mid-19th-century Concord, which novelist/biographer Cheever (My Name Is Bill, 2004, etc.) sees as a forerunner of 1960s radicalism.

The de facto adult and banker of the Massachusetts literary colony was Emerson, who not only edited (with Fuller) the Transcendental movement’s flagship publication, The Dial, but also lured the others to Concord by offering them money or the use of a home. The achievements of the group that gathered around him, as outlined by Cheever, represent the foundations of American literature: a classic memoir (Thoreau’s Walden), a novel of domesticity (Alcott’s Little Women) and fiction detailing the dark side of Puritanism (anything by Hawthorne). Cheever’s lush descriptions of the New England locale will make readers want to drive up there immediately. Shrewd about the group’s penchant for self-reinvention (Alcott’s father was originally surnamed Alcox, for example), the author is also quick to note the hilarity of their contradictions (Thoreau once accidentally set fire to 300 acres of woodland and pastures). She likens the Transcendentalists to hippies: interested in nature, questioning about religion, unorthodox in child-raising habits and vegetarian. Above all, in her view, the group flouted marital mores. That’s where the narrative goes awry. To be sure, Hawthorne dumped fiancée Elizabeth Peabody for her younger sister, Sophia. But despite Cheever’s assertions, surviving documentation shows that Hawthorne’s relationship with Fuller was less ardent than ambivalent, and there’s no indication that Emerson consummated his relationship with Fuller either. It’s also hard to take seriously the arguments of someone who writes so sloppily: Cheever labels John Brown a “violent murderer,” and favors us with such overripe passages as a bodice-ripping evocation of “the madness that envelops lovers on hot summer nights.”

Despite the best intentions, this literary portrait does a disservice to the intellects it seeks to honor.

Pub Date: Jan. 1, 2007

ISBN: 0-7432-6461-4

Page Count: 240

Publisher: Simon & Schuster

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 1, 2006

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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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TO THE ONE I LOVE THE BEST

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

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.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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