LOOKING FOR HAMLET

Name: LOOKING FOR HAMLET
Author: Marvin W. Hunt
ISBN: 978-1-4039-7036-7

by Marvin W. Hunt ‧ RELEASE DATE: Dec. 1, 2007

With its astute analysis of major issues within the play, accessible overview of the history of their interpretation and a...

bookshelf

A riveting primer on the work many deem Shakespeare’s greatest.

Hamlet is “the single most important work in constructing who we are, especially in how we understand our psychological, intellectual, and emotional beings,” writes Hunt (English/North Carolina State Univ.), because it “enacts a radical and unprecedented internalization of reality.” (Reading it, Dostoevsky heard “the groaning of the whole numbed universe.”) Using as a springboard Hamlet’s famous remark from Act II Scene ii, “There is nothing either good or bad, but thinking makes it so,” Hunt convincingly argues that both the play and Shakespeare’s most enigmatic character have figured largely in how subsequent cultures have defined themselves through their interpretations of this drama, which brought some 600 new words into the English language. The author also supplies the tragedy’s history, showing that the story of Hamlet originated with 12th-century Danish historian Saxo the Grammarian and was first popularized in Shakespeare’s day by François de Belleforest and perhaps Thomas Kyd. Hunt discusses the significant variations among the three Shakespearean versions: the first and second quartos of 1603 (Q1) and 1604/5 (Q2), as well as the First Folio (F1) of 1623, which appeared seven years after the Bard’s death. Hunt’s comparison of Q1 and Q2 yields a beautiful close reading of Hamlet’s character, and his controversial view that F1 follows Q1 more closely than Q2 makes even a Shakespeare novice appreciate just what’s at stake in the editorial decisions surrounding any modern edition.

With its astute analysis of major issues within the play, accessible overview of the history of their interpretation and a reading of contemporary criticism sure to set alight a few rooms in the ivory tower of Shakespearean studies, Hunt’s work offers something for casual readers as well as literary scholars.

Pub Date: Dec. 1, 2007

ISBN: 978-1-4039-7036-7

Page Count: 256

Publisher: Palgrave Macmillan

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 1, 2007

Categories:

GENERAL NONFICTION

bookshelf

NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

bookshelf

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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

bookshelf

TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

bookshelf

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.