A meticulously edited volume offering an unvarnished portrait.
The third volume of a projected 17-volume collection of Hemingway’s letters covers three years during which the author rose to literary fame with the publication of The Sun Also Rises (1926), Torrents of Spring (1926), and the collection Men Without Women (1927).
By 1929, he had completed the manuscript for A Farewell to Arms. The period was marked, too, by emotional upheaval: his father committed suicide, leaving his mother and teenage siblings in financial straits; he ended his first marriage to Hadley Richardson and married Pauline Pfeiffer. Among 344 letters (70 percent of which were previously unpublished) to 92 recipients, only two are to Hadley and 9 to Pauline. Hadley burned her husband’s letters after their divorce, and those to Pauline were destroyed, according to her instructions, after her death. Editor Maxwell Perkins is a frequent recipient; others include family members; friends such as Ezra Pound and F. Scott Fitzgerald; and fellow writers, including Sherwood Anderson and T.S. Eliot. In a detailed introduction, the volume’s editors note that Hemingway’s letters “are unpolished, unselfconscious, candid and casual”—and, they might have added, often catty and gossipy. Money is a recurring theme. Hemingway disparages Robert McAlmon (“without money, he would never have been published anywhere by anybody”); Ford Maddox Ford (“kissing asses of people with money” to fund his magazine); and sometimes himself. “Am thinking of quitting publishing any stuff for the next 10 or 15 years as soon as I get my debts paid up,” he wrote to Fitzgerald. “To hell with the whole goddam business.” The most moving letter is to Hadley, written in November 1926. Acknowledging his cruelty to her because of his affair with Pauline, he implores her not to feel rushed into deciding to divorce. But Hadley stood firm: “Haven’t I yet made it quite plain that I want to start proceedings for a divorce from you—right away?” she responded immediately.
A meticulously edited volume offering an unvarnished portrait.Pub Date: Oct. 22, 2015
ISBN: 978-0-521-89735-8
Page Count: 750
Publisher: Cambridge Univ.
Review Posted Online: June 29, 2015
Kirkus Reviews Issue: July 15, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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