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THE PAPER'S PAPERS

Name: THE PAPER'S PAPERS
Author: Richard F. Shepard
ISBN: 0-8129-2453-3

A REPORTER'S JOURNEY THROUGH THE ARCHIVES OF THE NEW YORK TIMES

by Richard F. Shepard ‧ RELEASE DATE: May 1, 1996

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Shepard, who spent 45 years at the New York Times as a reporter and editor, clearly enjoyed this rummage through the paper's archival attic. Others, not dying of curiosity to read memos from publishers to editors concerning wedding announcements and obituaries, might not care to rummage with him. In fairness to Shepard's book, its heart clearly lies in more than 120 photographs and reproductions of other material from the Times's archives, dating back to the paper's birth in 1851— materials that were not available for review. These range from a 1912 letter from publisher Adolph Ochs describing lunch at his home with President William Howard Taft (seating chart and luncheon menu included) to a 1942 memo from Ochs's son-in-law and successor, Arthur Hays Sulzberger, on the great debate over whether the paper should include a crossword puzzle. Imagining this missing material makes the book a more pleasant browse but does nothing to make it seem more vital or compelling. Shepard offers a voyeur's view of the inner workings of the newspaper and the ways it has evolved over the years. One can read, for instance, memos that circulated among Times executives discussing the merits of comics (no) or a bridge column (eventually, yes). All these decisions were influenced by powerful egos balanced by an equally powerful reverence for the Times as a grand institution not to be tampered with lightly. Shepard does touch briefly on such larger issues as the need to rethink foreign news coverage in the postCold War era. Yet a chapter on the Bay of Pigs coverage and the Pentagon Papers is shorter than the one devoted to society and style. In the end Shepard's book proves a cardinal rule of newspaper journalism: Most readers will find yesterday's issues useful primarily for the wrapping of dead fish.

Pub Date: May 1, 1996

ISBN: 0-8129-2453-3

Page Count: 320

Publisher: Times/Henry Holt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 1, 1996

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.