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GALILEO'S REVENGE

Name: GALILEO'S REVENGE
Author: Peter W. Huber
ISBN: 0-465-02623-0

JUNK SCIENCE IN THE COURTROOM

by Peter W. Huber ‧ RELEASE DATE: Sept. 27, 1991

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A polemic twice as long as it should be by lawyer/engineer Huber (Liability, 1988), now taking aim at the hired-hand expert witnesses who are called upon in liability cases where appeal to science is the issue. Where are the days of yore when judges exercised judgment about the credentials of experts? Or when juries acted on the conviction that victims might be self-destructive, ignorant, or otherwise to blame? All that is gone in these days of ``junk'' science, says Huber, in which self-proclaimed fringe scientists are given equal weight in the courtroom. So we hear about trauma- induced cancers, chemically induced AIDS, the dangers of all IUDs and of self-accelerating Audi cars (dramatically depicted on 60 Minutes). Huber sees the new let-it-all-hang-in courtroom behavior as rooted in a new liability-science that uses law to effect social control by charging accidents to the person (or agent) who might have prevented it most cheaply. So instead of blaming the victim for mistaking the accelerator for the brake, blame the car designer; blame the tobacco company and not the chain-smoker; blame the IUD for pelvic inflammatory disease and not its promiscuous user. Indeed, Huber's blame-the-victim harping mars what is often an incisive indictment of stupidity, arrogance, and deception masking as fair justice. Moreover, the question of why America is so litigious a society, driven to vicious circles of fear and distrust, suit and countersuit, and what can be done about it are barely touched upon. Huber's appeal to good science and the noble search for truth are to be commended, but, it should be noted, manufacturers do make mistakes that cost lives, victims are often innocent, and medical science has yet to reach consensus concerning the cause and cure of many an ailment.

Pub Date: Sept. 27, 1991

ISBN: 0-465-02623-0

Page Count: 304

Publisher: Basic Books

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 1991

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.