In this slim medley, novelist Hustvedt (The Blindfold, 1992; The Enchantment of Lily Dahl, 1996) ranges freely from autobiography to Vermeer’s Woman with a Pearl Necklace to Dickens to The Great Gatsby. The fine title piece takes as its subject the dichotomy of here and there, and the space in between, or “yonder”: Hustvedt’s native Minnesota and her parents’ Norway, Norway and New York City, where she makes her adult home. She writes about time, space, early memory, or what we ascribe to memory. She wonders what the world is like from her child’s point of view, and considers children’s sense of place, their preference for order in repetition. (“Yonder” and “home” are the twin poles of the child’s universe, notes Hustvedt.) In “Vermeer’s Annunciation,” a flash of insight into the painting of a young woman trying on a string of pearls leads Hustvedt to seek inspiration for the Dutch artist’s composition and figurative gesture in Renaissance depictions of the announcement of the incarnation to the Virgin Mary. Then, in the early master Fra Angelico’s Annunciation fresco in Florence, she finds an image as motionless as Vermeer’s. “A Plea for Eros” considers the mysterious attraction of strangeness and enchantment Hustvedt is able to feel for her longtime lover. Less personal and memorable but showing Hustvedt’s appreciation for Dickens’s dense metaphorical structures is a longer, scholarly piece on his last finished novel, Our Mutual Friend. In the closing essay, on still life, Hustvedt locates the primacy of “things” in our experience of solitude and considers the immediacy of the great allegorical paintings of the Dutch. Later painters of still life wanted something different. As she writes epigrammatically: “I am not tempted by CÇzanne’s pears in Still Life with Ginger Jar and Eggplants, because they are not pears. They are forms in the space of my perception.” A strong collection. Hustvedt’s essays, like the ordinary objects she identifies as the genesis of still life, are “dignified by the metamorphosis we call art.”
Pub Date: May 1, 1998
ISBN: 0-8050-5011-6
Page Count: 160
Publisher: Henry Holt
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: March 1, 1998
BOOK REVIEW
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
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
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