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CULTURE AND COMMITMENT

Name: CULTURE AND COMMITMENT
Author: Margaret Mead
ISBN: 0370013328

A STUDY OF THE GENERATION GAP

by Margaret Mead ‧ RELEASE DATE: Jan. 9, 1969

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"The future is now," Margaret Mead says as the coda of her series of three essays developed from the Man and Nature lectures at the American Museum of Natural History. The lesson the elders of western society must learn is to relocate the future in the present, to give power to the young and together work out man's destiny. The message will be impossible for some to swallow, but Mead, now approaching 70, is both optimistic and shares the enthusiasm of activist youth. In the first two essays she classifies cultures in terms of models for behavior. In "postfigurative" societies the three generation family is typical, and grandparents set the tone of the life style. "Cofigurative" societies are those in which there is some recognition and approval of change, and models can be drawn from contemporaries. We are now moving toward a "prefigurative" society—the NOW generation if you will—and Mead feels that this may be our only hope. As usual the distinguished anthropologist displays a stunning intuition illumined by anecdotes drawn from her lifelong fieldwork, but also, as usual with intuitionists, you find you want to ask more pointed questions as you read, pick a hole in an argument here or there and finally ask who are the teachers from whom the young are learning if they are to teach the old. Perhaps the real point is that the word "generation" has lost meaning and we must substitute a new term for groups only five or six years apart who act as the links between those who came before and those who come after.

Pub Date: Jan. 9, 1969

ISBN: 0370013328

Page Count: 99

Publisher: Doubleday

Review Posted Online: May 21, 2012

Kirkus Reviews Issue: Jan. 1, 1969

Categories:

GENERAL NONFICTION

- BOOK REVIEW
NEW LIVES FOR OLD
by Margaret Mead

- BOOK REVIEW
LETTERS FROM THE FIELD, 1925-1975
by Margaret Mead Margaret Mead & Margaret Mead

- BOOK REVIEW
WORLD ENOUGH
photographed by Ken Heyman & by Margaret Mead

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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.