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HOW TO BE IDLE

Name: HOW TO BE IDLE
Author: Tom Hodgkinson
ISBN: 0-06-077968-3

by Tom Hodgkinson ‧ RELEASE DATE: May 15, 2005

Charming, as all idlers should be.

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An intelligent slugabed, bemoaning the modern world’s love affair with productivity, presents 24 meditations on the art of being idle, one for each hour of the day.

Hodgkinson, co-publisher of the British magazine The Idler, begins at 8 a.m. with a discussion of the alarm clock and the horrors of waking up in general. (Here, he makes the first of many references to Victorian idler and humorist Jerome K. Jerome, whose essay “On Being Idle” appeared in 1889.) Other topics the author contemplates as the day goes by are “Sleeping In” (John Lennon and Yoko Ono’s week in bed), “The Ramble,” “The First Drink of the Day” and so on. “The Death of Lunch” is bemoaned. “Smoking” is celebrated. “The Pub” is praised. “Time for Tea” cites a lovely 16th-century Chinese poem that lists occasions on which to drink England’s favorite beverage: “Before a bright window and a clean desk. / With charming friends and slender concubines.” Each piece addresses the delights of a particular aspect of doing nothing, its literary and social precedents, and the regrettable reasons for its fall from favor. Capitalism and the Industrial Revolution both come in for censure as chief villains; Barbara Ehrenreich’s Nickel and Dimed and E.P. Thompson’s The Making of the English Working Class are cited, among countless others. So many others, in fact, that it is nearly impossible to believe the author is a true adherent of his creed. A great amount of (gasp) work must have gone in to researching this paean to the pleasures of doing little; the bibliography alone comprises nearly 150 items. Indeed, with all of these literary citations and closely argued points, How to be Idle becomes rather heavy going after three or four sections. No matter: no idler worth his salt will read it in a single sitting—there’s too much fishing, tea drinking and napping to be done.

Charming, as all idlers should be.

Pub Date: May 15, 2005

ISBN: 0-06-077968-3

Page Count: 304

Publisher: HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 2005

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.