bookshelf

WHY READ THE CLASSICS?

Name: WHY READ THE CLASSICS?
Author: Italo Calvino
ISBN: 0-679-41524-6

by Italo Calvino & translated by Martin McLaughlin ‧ RELEASE DATE: Sept. 22, 1999

bookshelf

An irrepressibly lively collection of the late Italian novelist’s literary criticism. Between the 1950s and his death in 1985, Calvino (Fantastic Tales: Visionary and Everyday, 1997, etc.) published many occasional pieces on classic works and authors. Most of these, which appeared in newspapers or as prefaces and speeches, are only a few pages long. In 1991 his wife assembled a collection of these writings that is fuller than those included in the two compilations published during his lifetime. Consequently, 11 of the 36 essays here have already been published in English. The duplication matters little: Calvino is such a congenial guide to his personal canon of great works that one is grateful to have all the essays together. The opening piece, from which the title of the book is drawn, democratically meditates on the importance of classics, which are books that “imprint themselves on our imagination as unforgettable.” So Robert Louis Stevenson has as much claim to the category as Voltaire or Henry James. Eclectic in taste and interest, Calvino ranges widely from the ancient world (Homer, Xenophon, Ovid, Pliny) to early modern (Galileo, Cardano, Ariosto) to modern (Voltaire, Diderot, and on to Queneau and Borges). What interests him most, though, is narrative fiction from Robinson Crusoe to the present. The continental heavyweights are represented in force (Stendhal, Tolstoy, Flaubert, Balzac), but Anglo-American fiction seems to hold a special appeal for him. He offers essays on Defoe, Twain, James, Stevenson, Dickens, Conrad, and Hemingway. Of course not every important writer can be included in such a work, and certain writers are strikingly absent: Kafka, Shakespeare, Joyce, and Proust, to name just a few. Calvino never set about to write an inclusive work. Still, given his importance in contemporary letters and given the posthumous character of the book, this collection would have benefited from a good afterword on the writer as critic and his tastes. It would have been interesting to know what he didn’t like and why. Brisk and unpretentiously sophisticated, Calvino’s literary essays are invigorating, thought-provoking, and pleasurable reading.

Pub Date: Sept. 22, 1999

ISBN: 0-679-41524-6

Page Count: 288

Publisher: Pantheon

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 15, 1999

Categories:

GENERAL NONFICTION

- BOOK REVIEW
FANTASTIC TALES
edited by Italo Calvino

- BOOK REVIEW
NUMBERS IN THE DARK
by Italo Calvino

- BOOK REVIEW
THE ROAD TO SAN GIOVANNI
by Italo Calvino

bookshelf

NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

bookshelf

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

bookshelf

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

bookshelf

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.