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THE L WORD

Name: THE L WORD
Author: David P. Barash
ISBN: 0-688-10892-2

AN UNAPOLOGETIC, THOROUGHLY BIASED, LONG-OVERDUE EXPLICATION AND CELEBRATION OF LIBERALISM

by David P. Barash ‧ RELEASE DATE: Jan. 21, 1992

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A spirited defense of American liberalism that proves every bit as engaging and cantankerous (and wordy) as its subtitle. Appalled by the sudden emergence of the word ``liberal'' as slanderous invective during the 1988 presidential campaign, Barash (Psychology/Univ. of Washington; The Great Outdoors, 1989, etc.) contends that the ``L word'' represents not only ``the best political philosophy ever developed'' but the defining ``American political principle.'' Part history, part analysis, but overwhelmingly and proudly ``a manifesto,'' this quirky yet unfailingly energetic call-to-arms manages to be alternately adroit and heavy-handed. Particularly deft is Barash's argument that the very triumph of 18th-century liberalism, combining new democratic and capitalist ideals to counter authoritarian monarchies, led to the adherents of capitalism (whom he sees as precursors of modern conservatives) embracing an ``antagonistic'' anti-government ideal, dedicating themselves to ``a humanization of capitalism.'' Today, Barash says, conservatives, ``uncomfortable with democracy,'' mix ``complacency and cruelty'' in upholding the ``values of greed, selfishness and shortsightedness.'' As for liberals...well, they're a bit too ``nice,'' he says, prone to guilt because of their extreme sensitivity, and such dedicated relativists that they can sound a bit fuzzy. Seeking to break through this ``naively optimistic'' haze, Barash can sound annoyingly absolutist (attacking his targets as fatally muddled in such diverse areas as international affairs, economics, and civil liberties), but he can also be refreshing, bold, and winningly fervent—as in his suggestion that liberalism need not be repackaged to make its case, that liberals ``don't need neo so much as brio.'' A well-timed clarion call that ultimately mirrors its own picture of the philosophy it celebrates—messy, vital, infuriating, and invigorating.

Pub Date: Jan. 21, 1992

ISBN: 0-688-10892-2

Page Count: 256

Publisher: Morrow/HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 15, 1991

Categories:

GENERAL NONFICTION

- BOOK REVIEW
NATURAL SELECTIONS
by David P. Barash

- BOOK REVIEW
MADAME BOVARY’S OVARIES
by David P. Barash & Nanelle R. Barash

- BOOK REVIEW
THE MAMMAL IN THE MIRROR
by David P. Barash & Ilona A. Barash

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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.