by William Emons Cooper ‧ RELEASE DATE: July 9, 2010
A healthy reminder that James Fenimore Cooper’s mythicized frontier was seen through the eyes of, and measured against, a...
Cooper, a librarian, examines the place of the gentry in James Fenimore Cooper’s Littlepage trilogy.
As James Fenimore Cooper (JFC) was born to New York state’s frontier gentry, he brought an insider’s romanticized notion to the role played by that class in the development of colonial and post-colonial society. The author follows the evolution of the landed gentry, from its origins in a quasi-feudal patron system with its fiefdom of fealty and service, through its transformation by the English to landlords and merchants on the lookout for trade, troop provisioning and land speculation—a definite shift from gentleman to businessman—and finally, through class identification and intermarriage, the upper crust fancied themselves as “a group with similar interests and lifestyles like the English landed gentry,” fox hunting and all. Cooper delineates their aristocratic pretensions, their ties to the Episcopalian Church and the Federalists, and their sense of entitlement due to wealth, education and breeding. JFC came out of a tradition that looked with horror upon the hoi polloi exercising political power, and approached his own political responsibilities with “a noblesse oblige attitude of duty.” In the gentry, JFC argued, resided the qualities of bravery and charity, wisdom and honesty, a class that radiated comfort and gentility. Certainly there were exemplars within the gentry who lived up to these standards, but Cooper feels JFC overstates their superiority. The gentry held no divine writ to civilize the great unwashed masses, and they were hardly above self-interest: “In actual fact, the landed gentry’s interests”—namely the production of wheat and enhancement of property value—“dominated their attitudes toward their tenants and their political actions, and much of their culture and education was due to their wealth, and not some inherent good.” Cooper could have used more specific examples of Janus-faced gentry, as well as more examples of the messy republican spirit of the frontier to buttress his argument, though few will quarrel with his class critique of JFC.
A healthy reminder that James Fenimore Cooper’s mythicized frontier was seen through the eyes of, and measured against, a smug aristocracy.Pub Date: July 9, 2010
ISBN: 978-1-4327-6142-4
Page Count: 54
Publisher: N/A
Review Posted Online: Sept. 27, 2010
Review Program: Kirkus Indie
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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 Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955
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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