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ABOVE THE CLOUDS

Name: ABOVE THE CLOUDS
Author: Jonathan Bach
ISBN: 0-688-11760-0

by Jonathan Bach ‧ RELEASE DATE: May 18, 1993

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An abandoned son comes to terms with a famous father (Richard Bach, author of Jonathan Livingston Seagull) in a memoir that mixes a moving account of a child's confused loyalties and sense of loss with a mÇlange of self-help truisms. Named after the seagull hero, the author never really knew his father until his senior year in college, when his decision to write an initially hostile book about his dad began a dialogue between the two. Bach päre left his family when the youngest of his six children was nine months old and Jonathan only two, ``because he didn't believe in marriage and couldn't be a father anymore.'' And because Richard Bach apparently also didn't believe in birthdays, Christmas, or any of the holidays marked by cards and calls, the children never heard from him. Their mother, a remarkably accomplished woman, moved the family to Vermont, where she later remarried. The author's fierce love and admiration for her made it difficult for him to forgive his father, especially when he learned that Richard was involved with other women. In time, the older children made contact, and then met, with their father, and the young author even sent him some stories of his own—yet anger and anguished inability to understand his father prevented both reconciliation and acceptance. But after Jonathan found Richard's response to his proposed book to be surprisingly supportive, the tentative rapprochement became a complete reconciliation as the son flew out to Seattle to meet his father. As they talked, the author found that his ``misconceptions had dissolved'' and that he'd become ``a distant-son-turned-understanding-friend who, like millions of other people, likes what [Richard] has to say, and how he says it.'' Bach affectingly evokes the anguish of a fatherless childhood- -but less so the reconciliation, as he self-consciously glosses over behavior that, despite high-sounding talk, still seems inexcusable.

Pub Date: May 18, 1993

ISBN: 0-688-11760-0

Page Count: 288

Publisher: Morrow/HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 1993

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.