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DAPHNE DU MAURIER AND HER SISTERS

In this sensitive group portrait, Dunn (Elizabeth and Mary: Cousins, Rivals, Queens, 2004, etc.) depicts three women...

Love and rivalry among three talented sisters.

Angela, Daphne and Jeanne du Maurier grew up in a world of make-believe. Their father, Gerald, an actor famous due to his performance in Peter Pan, resisted adulthood and wanted his daughters to remain little girls forever. Their mother, an actress, was distant and often hostile. The three girls were yanked from school when their parents feared they might learn about sex from their classmates and lose their innocence. Isolated, privileged and protected, they knew nothing of the world, even when Britain was roiled by war. Taken to see plays in which Gerald starred, the girls were “treated by the cast and the theatre staff as special mascots.” At home, their lives were directed by a father whose “charming gay exterior” often gave way to “the uncertain, dark and flawed human being within.” In one of her novels, Daphne created a father who mirrored her own: “He was cruel, he was relentless, he was like some oppressive, suffocating power that stifled her and could not be warded off....” Daphne realized later that her “fugitive sense of self only gained substance in her imagination.” She invented a world in which she was a boy “with a boy’s mind and a boy’s heart, and a boy’s love of adventure.” As an adult, reluctantly, she “turned into a girl…and the boy was locked in a box and put away forever.” Daphne, whose fame as a writer (most notably of the novel Rebecca) eclipsed that of her sisters, was the only one who married and had children. Angela, who wrote novels, short stories and two autobiographies, had lasting relationships with women, as did Jeanne, an artist. The two kept their sexuality hidden from their homophobic parents.

In this sensitive group portrait, Dunn (Elizabeth and Mary: Cousins, Rivals, Queens, 2004, etc.) depicts three women struggling to escape Neverland, define for themselves both success and happiness, and hone their own identities.

Pub Date: Sept. 23, 2014

ISBN: 979-0-00-734709-3

Page Count: 448

Publisher: Harper360

Review Posted Online: May 28, 2014

Kirkus Reviews Issue: June 15, 2014

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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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