by Willie Morris ‧ RELEASE DATE: Feb. 1, 1998
A certain modesty of scope, a specificity of observation, and an adherence to the ingrained understanding of a native are what make this ``the-making-of'' story a surprisingly successful book about the legacy of the civil rights movement. Morris (New York Days, 1993, etc.) gives a good-natured chronicle of the making of Ghosts of Mississippi, Rob Reiner's movie about the 1994 conviction of Byron De La Beckwith for the murder of Medgar Evers three decades before. It's a curious mixture of a serious civil rights history and a whimsical peek into the Hollywood fiction factory. But these elements are held together because the movie was based on such fresh facts that it became a small part of the history itself. The Hollywood and the history are also held together because they're both rooted in Morris's personal experience growing up near the movie's setting and as an originator of the project. Ghosts of Mississippi attracted criticism for its focus on the white hero-prosecutor, Bobby DeLaughter. But Morris's sympathetic account leaves little doubt of the enormous, and probably rare, amount of good faith behind the project while documenting the complex route, the combination of creative talents and real-life characters, that brought the story from a memo by Morris all the way to the screen. But while Morris notes that he ``had grown up with this diabolic hatred,'' he reveals almost nothing about his own experience in the Jim Crow South, sticking mainly to the landscape in his reveries. Still, he waxes eloquent on Mississippi's deep, distinctive past and uses his childhood recollections to otherwise great effect in observing the movie's dramatization of that past. If, in the words of film critic Jami Bernard, the movie made ``a convincing case for why history weighs so heavily'' on its hero, Morris equally convincingly shows history weighing heavily, for once, on Hollywood. (16 pages b&w photos, not seen) (Author tour)
Pub Date: Feb. 1, 1998
ISBN: 0-679-45956-1
Page Count: 288
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1997
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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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More by E.T.A. Hoffmann
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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by E.T.A. Hoffmann & illustrated by Julie Paschkis
by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
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
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