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PUSHKIN’S CHILDREN

WRITINGS ON RUSSIA AND RUSSIANS

Of much interest to Russia hands, as well as admirers of Tolstaya’s fiction.

Critical pieces (most for the New York Review of Books) that add up to a highly opinionated, irony-laced view of life and art in Soviet and post-Soviet Russia.

Born in 1951, fiction-writer Tolstaya (Sleepwalker in a Fog, 1992, etc.) bears a distinguished pedigree: her grandfather was the Stalin-era novelist Alexei Tolstoy, while another forebear was the Tolstoy of War and Peace fame. This exalted lineage afforded her and her family a degree of protection from the irrationalities, often murderous, of Soviet politics, about which she has much to say in these pages. Reviewing Robert Conquest’s The Great Terror, for instance, she remarks that Lenin hated the intelligentsia more than any other class, “and they were the first to be slaughtered,” precisely, she suggests, because they had a conscience and “were not indifferent to issues of social good”; strange it is, then, that so many intellectuals should esteem Lenin to this day. Assessing Gail Sheehy’s wide-eyed biography of Mikhail Gorbachev, she wryly notes that it does no good to wonder why Gorbachev should have told his people that he was a dedicated Communist while telling Margaret Thatcher that he was no longer one of the faithful, for such duplicity is of a piece with the Soviet pattern of rule, and no Russian would bat an eye on hearing of it. (Of Sheehy, she writes, perhaps unkindly, “There is not a trace of critical attitude toward her material.”) Writing of Boris Yeltsin’s time as president of Russia, during which the Western press was given to tongue-clucking over Yeltsin’s drinking and other moral failures, she reckons that it’s a good thing that “scandals of the Gary Hart–like variety leave us indifferent,” for had Yeltsin not thwarted the coup attempt of 1991, “Gorbachev would be dead, the cold war would be revived, Eastern Europe would be stained with blood, and Russian tanks would be in Berlin.” (And in any event, she adds, “a real Russian is always thinking about vodka.”) And so on, in acidic and always intelligent prose.

Of much interest to Russia hands, as well as admirers of Tolstaya’s fiction.

Pub Date: Jan. 15, 2003

ISBN: 0-618-12500-0

Page Count: 256

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 15, 2002

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NUTCRACKER

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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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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