by John Nichols ‧ RELEASE DATE: March 1, 2000
A real pleasure for fans of Nichols’s work.
Politically charged essays by the noted novelist and screenwriter.
One of the last of the '60s-era true believers, Nichols (Conjugal Bliss, 1993, etc.) has earned a strong reputation not only for this Southwestern-set novels (the best known of them The Milagro Beanfield War), but also for his nature essays and environmental polemics. This gathering of essays from the past three decades gives a glimpse of all of Nichols’s interests. Alternately humorous and heavy-handed—and sometimes, as with an opening meditation on clouds, just silly—Nichols offers a portrait of his development as a writer and regional activist. The strongest pieces in the book are those in which Nichols addresses his sense of commitment to place—namely, to the high desert plateau of northern New Mexico, where Anglo transplants such as himself live uneasily beside Hispanics who can chart their roots in the region back half a millennium and more. In one particularly resounding essay, Nichols writes of the trouble he found himself in when the actor-director Robert Redford decided to film The Milagro Beanfield War on location in the little New Mexico town of Truchas, whereupon "a few dozen tanned, muscle-bound cocaine freaks wearing Acapulco sunglasses arrived in Santa Fe" and Hispanic activists protested—as, to no avail, did Nichols—against a production whose lead actors were Panamanian, Brazilian, Italian-American, and Anglo, with only a few extras drawn from the local populace. Not that he’s necessarily a regional chauvinist: Nichols writes of being, like everyone else, a hybrid of many cultures, bloods, and influences: " a westerner, a southerner, an easterner, a New Englander, a Yankee, a rebel, a gringo, a frog, an honorary Gallego." Elsewhere Nichols writes of the intellectual rewards of being a naturalist in a region rich in natural beauty, of the pains of that avocation in a place constantly under threat of development, and of his growing awareness of his own mortality, among many other subjects.
A real pleasure for fans of Nichols’s work.Pub Date: March 1, 2000
ISBN: 0-8263-2182-8
Page Count: 259
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2000
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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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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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