All bark and no bite. (line drawings)
Coren (Why We Love the Dogs We Do, 1998, etc.) argues, with no discernible irony, that events and people as disparate as Waterloo and Richard Wagner would have been very different without the influence of dogs. When Napoleon was escaping from Elba, he fell into the water, a dog jumped in and began the rescue effort, and the diminutive Corsican survived to meet his Waterloo. Just think . . . if he had only drowned that day! That is the level of analysis in this truly dreadful example of what-if? history. If the author had adopted a lighter tone and confined himself to amusing stories, odd coincidences, and the little-known obsessions for dogs held by some of history’s more engaging figures from Cromwell to Custer, this volume might have been mildly entertaining. Instead, we get solemn pronouncements such as: “Dogs do have a way of weaving their influence through human events and subtly altering the course of history.” This is not to say there are no chewy biscuits in the bowl: Florence Nightingale may indeed have been inspired to become a nurse by the sight of an injured dog, and it is interesting to learn that Alexander Graham Bell taught a dog to say “How are you, grandmamma?” But it’s quite a stretch from there to speculate that dogs played a significant role in the development of Freud’s psychoanalytic theories.
All bark and no bite. (line drawings)Pub Date: April 1, 2001
ISBN: 0-7432-2228-8
Page Count: 256
Publisher: Free Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2002
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
BOOK REVIEW
BOOK REVIEW
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.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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