A stunning example of a happy marriage between fecund imagination and devoted scholarship.
A full-immersion exploration of two great poets at the end of the 18th century, a time that ended with the publication of their Lyrical Ballads.
In his latest, Somerset Maugham Award winner Nicolson (The Seabird's Cry: The Lives and Loves of the Planet's Great Ocean Voyagers, 2018, etc.) provides an astonishingly rich re-creation of the months that the Wordsworths and Coleridges lived near each other in southwest England. The author tells us how they met, how they ended up living there, and how they spent their hours and days (lots of walking and talking) when both of them would write some of their most celebrated works—Coleridge: “Kubla Khan” and “Cristabel”; Wordsworth: “Tintern Abbey.” Nicolson also reminds us continually of the women in the writers’ lives: Wordsworth’s sister, Dorothy, a crucial companion who suggested ideas; Coleridge’s wife, Sara, who wasn’t as much a part of the literary excitement. We also see the emerging—and then diverging—poetical attitudes of the two principals and their eventual separation. Nicolson, like Richard Holmes—to whom he pays tribute early in the volume—not only read the works of Wordsworth and Coleridge and conducted library research; he moved to the region and enjoyed the same nature walks, becoming extremely familiar with the woods and water. Periodically, he offers his own lyrical paragraphs about the terrain—about what it was like in 1797 and what it’s like now. This reflects the author’s deep commitment to the project and diligence in trying to truly understand these men and their writing. He also quotes and expatiates upon hundreds of lines of poetry, dives into their letters, and tells stories about some of their notable visitors (young William Hazlitt was smitten by Coleridge). Nicolson’s passion sometimes leads him to suggest that all of this has been consequential for how we think and imagine today.
A stunning example of a happy marriage between fecund imagination and devoted scholarship.Pub Date: Jan. 21, 2020
ISBN: 978-0-374-20021-3
Page Count: 448
Publisher: Farrar, Straus and Giroux
Review Posted Online: Nov. 10, 2019
Kirkus Reviews Issue: Dec. 1, 2019
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
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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