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THE MENACE OF ATOMIC ENERGY

Name: THE MENACE OF ATOMIC ENERGY
Author: John Abbotts
ISBN: 0393009203

by John Abbotts & Ralph Nader ‧ RELEASE DATE: June 27, 1977

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The voices, are neither frenzied nor shrill; the homework has been done with dispatch and the lessons fully recited. The result is the kind of icy, unrelenting, and generally convincing attack on the enemies of the people—here the nuclear power industry—one has come to expect from Nader and colleagues. The book covers much the same ground as the recent Friends-of-the-Earth-sponsored, The Silent Bomb (p. 463). Both books are eloquent on the subject of inadequate health and safety measures, problems of nuclear proliferation, waste disposal, sabotage; both present cogent economic arguments against nuclear power. The Nader book goes into greater detail about the economics of private power, the attractions of accounting systems that pass on higher operating costs to the consumer, and the history of centralized, monopolistic control. These made nuclear energy the obvious alternative source of energy as opposed to localized solar or wind-power. The history of the AEC and the Joint Commission on Atomic Energy, as well as the cozy relationships between private power interests, Congressional committees, and the newly formed Nuclear Regulatory Commission and the Energy Research and Development Administration become a central focus in the latter half of the Nader book. The legislation governing insurance and subsidies to utilities is exquisitely spelled out. The final section details what a concerned citizen can do to educate the public, lobby for change, and ultimately put. a stop to nuclear power development. The appearance of two competent books on this emotional and complex subject is heartening. Indeed the proliferation of acronyms for citizens' groups in the Nader book suggest that there is a ground swell. If nothing else, this should lead to more light for all—and more heat on public officials.

Pub Date: June 27, 1977

ISBN: 0393009203

Page Count: 431

Publisher: Norton

Review Posted Online: May 22, 2012

Kirkus Reviews Issue: June 1, 1977

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.