by Vanora Bennett ‧ RELEASE DATE: Sept. 15, 2004
A realistic and lingering picture of evolving Russia.
Moody Russian days from London Times correspondent Bennett.
The journalist had flirted with Soviet Russia for some years before 1991, when she wangled a job as a foreign correspondent for Reuters and the Los Angeles Times. Here, she doesn’t concentrate on the breaking stories of the time, but on the less covered subjects of daily life, personal bemusements, and food. For the Russian on the street, as Bennett sees it, food is love, and caviar is its purest expression: “Does caviar actually taste good? That question is pointless. Your spoonful of black eggs is full of far more than salt and oil and protein. It is weighed down with symbolism.” Yes, Bennett likes the taste, but she likes caviar’s symbolism even more: it’s the food of regret and nostalgia, of conquest (“a delicacy snatched from the mouths of the defeated khans”), of dashing, freebooting Cossack caviar traders. Thoughts on this quintessentially Russian delicacy wend their way through the story, but don’t overwhelm it. Bennett is interested in topics as diverse as azart, the give-a-damn strain running through many Russians in the early 1990s that means “not being satisfied that you’ve got enough till you’ve got far too much.” She’s fascinated by the old southern lands—“Dagestan, a poor, crime-ridden and mostly Muslim place next door to poor, crime-ridden, mostly Muslim Chechnya”—and more taken with the fantastical coups and crazy semi-wars of the region than the big bloodbath in Chechnya (though she published a book about it, Crying Wolf, in the UK). The more obscure conflicts tell us more about life in the area, Bennett believes. She also notes, as press reports rarely do, that after all the insanity, “gradually people went back to living their real lives. . . . Most people were sick of excess.” Azart was replaced with “a taste for dull bourgeois luxuries,” and “everyone I knew had a respectable job to go to in the mornings.”
A realistic and lingering picture of evolving Russia.Pub Date: Sept. 15, 2004
ISBN: 0-7553-0063-7
Page Count: 276
Publisher: Headline
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2004
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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
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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by E.T.A. Hoffmann & illustrated by Julie Paschkis
by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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