It was into the famous and powerful Baring family of merchant bankers that Maurice Baring was born in 1874, the seventh of eight children. A man of immense subtlety and style, Baring absorbed every drop of culture that his fortunate background showered upon him; in combination with his many natural talents and prolific writing this assured him a place in literary history. In this classic autobiography, spanning a remarkable period of history, Maurice Baring shares the details of an inspirational childhood in nineteenth-century England and a varied adulthood all over the world, collecting new friends and remarkable experiences. It has been said that Baring’s greatest talent was for discovering the best in people, that he had a genius for friendship, and in this superb book his erudition and perception are abundantly clear.
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Born in London in 1874, Maurice Baring was a man of letters, a scion of a family long prominent in the financial ventures of the British Empire. The son of the 1st Baron Revelstoke (a director of the Bank of England and a senior partner at Baring Bros.) he was educated at Eton and at Cambridge, and joined the diplomatic service in 1898. In 1904 he became a journalist and reported the Russo-Japanese War in Manchuria; later he was a correspondent in Russia and Constantinople. He is credited with having discovered Chekov’s work in Moscow and helping to introduce it to the West. Baring is remembered as a versatile, prolific and highly successful writer, who produced articles, plays, biographies, criticism, poetry, translations, stories and novels. He is regarded as a representative of the social culture that flourished in England before World War I, his work highly regarded to this day for the acute intimate portraits of the time.
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Librería: Crappy Old Books, Barry, Reino Unido
Paperback. Condición: Good. Presenting: The Puppet Show of Memory (2001, House of Stratus) by Maurice Baring ? a memoir with white gloves and muddy boots, equally at home in a salon or a field kitchen. ISBN: 9780755101078 . Condition: Good , which in the venerable dialect of second-hand booksellers means ?well-behaved, fully readable, and still capable of introducing you to half of Europe before tea.? Baring?s life was a grand tour that forgot to stop: gilded drawing rooms; dust-bitten railways; telegrams, waltzes, and the occasional artillery report. Diplomat, war correspondent, friend to people who spoke exclusively in epigrams ? he drifted from late-Victorian comfort into the crisp calamity of the twentieth century, bringing a notepad and disarming charm. This isn?t a tell-all; it?s a show-you , a procession of scenes in which the curtains keep parting on Russia before it changed costumes, Paris between anecdotes, and England in the exact moment it traded top hats for tin hats. From the outside: the neat, minimalist House of Stratus look ? sleek cover, sensible dimensions, a paperback that sits on the shelf like it owns cufflinks. Expect honest shelf-rub, a courteous spine crease (more ?raised eyebrow? than ?trauma?), and pages with that gentle early-2000s ivory tone. Nothing dramatic: no fluorescent graffiti, no cryptic marginalia from a previous owner named ?Aunt Sybil.? Our Good means the binding is steady, the text is clean, and the overall effect is ?civilised but curious.? Inside: Baring conducts memory like theatre ? scenes, players, exits pursued by history. You get Versailles whispers and barracks coffee, Moscow sleigh bells and newsroom deadlines, the Souls and the soldiers, plus cameo appearances by the sort of people who can turn a dinner table into a primary source. The prose is bright without staring, amused without cruelty, gracious even when the century stops being so. He?s the rare memoirist who can be both insider and eyewitness, noting the embroidery on the curtain and the fire behind it. Tone report: urbane, lightly ironic, quietly devastating when it wants to be. Baring writes as if good manners can survive anything ? which makes it all the more affecting when they don?t. Anecdotes land like postcards; reflections arrive like after-dinner brandy. It?s a time machine operated by someone who remembers where everyone sat, what they said, and which of them knew the waltz by heart. Why this copy? Because Crappy Old Books specialises in the noble paradox: decidedly un -crappy editions with just enough lived-in charm to prove they?ve been read by actual humans. Our Good is your sweet spot ? opens flat, behaves politely, and looks excellent beside a teacup or a trench map (depending on your afternoon). Ideal for: Readers who like their history with people in it, all talking at once. Fans of memoirs that keep a diary and a passport in the same pocket. Anyone who enjoys the moment when epigram meets epoch and both blink. Potential side effects: an urge to write letters on heavy paper, sudden affection for railway timetables, and a habit of describing acquaintances as ?figures in a well-lit tableau.? In short: a cultivated, humane, irresistibly readable memory-theatre of a vanishing world, staged by a master of entrances and exits. The Puppet Show of Memory lets the curtain rise on an age and refuses to slam it. Brought to you by Crappy Old Books , where the name is self-deprecation and the stock is impeccably turned out. Nº de ref. del artículo: 4816
Cantidad disponible: 1 disponibles
Librería: Revaluation Books, Exeter, Reino Unido
Paperback. Condición: Brand New. 460 pages. 9.00x6.00x1.25 inches. In Stock. Nº de ref. del artículo: zk0755101073
Cantidad disponible: 1 disponibles
Librería: MULTI BOOK, Cerreto Laziale, RM, Italia
brossura Copertina flessibile. Condición: Molto buono (Very Good). Copertina flessibile 9780755101078 Molto buono (Very Good) . Nº de ref. del artículo: bc_41179
Cantidad disponible: 1 disponibles