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    The Hare with Amber Eyes: A Hidden Inheritance (CD-Audio) By (author) Edmund de Waal, Read by Michael Maloney

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    DescriptionThe Ephrussis were a grand banking family, as rich and respected as the Rothschilds, who "burned like a comet" in nineteenth-century Paris and Vienna society. Yet by the end of World War II, almost the only thing remaining of their vast empire was a collection of 264 wood and ivory carvings, none of them larger than a matchbox. The renowned ceramicist Edmund de Waal became the fifth generation to inherit this small and exquisite collection of netsuke. Entranced by their beauty and mystery, he determined to trace the story of his family through the story of the collection. The netsuke--drunken monks, almost-ripe plums, snarling tigers--were gathered by Charles Ephrussi at the height of the Parisian rage for all things Japanese. Charles had shunned the place set aside for him in the family business to make a study of art, and of beautiful living. An early supporter of the Impressionists, he appears, oddly formal in a top hat, in Renoir's "Luncheon of"" the Boating Party." Marcel Proust studied Charles closely enough to use him as a model for the aesthete and lover Swann in "Remembrance of Things Past." Charles gave the carvings as a wedding gift to his cousin Viktor in Vienna; his children were allowed to play with one netsuke each while they watched their mother, the Baroness Emmy, dress for ball after ball. Her older daughter grew up to disdain fashionable society. Longing to write, she struck up a correspondence with Rilke, who encouraged her in her poetry. The Anschluss changed their world beyond recognition. Ephrussi and his cosmopolitan family were imprisoned or scattered, and Hitler's theorist on the "Jewish question" appropriated their magnificent palace on the Ringstrasse. A library of priceless books and a collection of Old Master paintings were confiscated by the Nazis. But the netsuke were smuggled away by a loyal maid, Anna, and hidden in her straw mattress. Years after the war, she would find a way to return them to the family she'd served even in their exile. In "The Hare with Amber Eyes," Edmund de Waal unfolds the story of a remarkable family and a tumultuous century. Sweeping yet intimate, it is a highly original meditation on art, history, and family, as elegant and precise as the netsuke themselves.


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  • Full bibliographic data for The Hare with Amber Eyes

    Title
    The Hare with Amber Eyes
    Subtitle
    A Hidden Inheritance
    Authors and contributors
    By (author) Edmund de Waal, Read by Michael Maloney
    Physical properties
    Format: CD-Audio
    Width: 130 mm
    Height: 152 mm
    Thickness: 25 mm
    Weight: 272 g
    Language
    English
    ISBN
    ISBN 13: 9781427230065
    ISBN 10: 1427230064
    Classifications

    B&T Book Type: NF
    BIC E4L: BIO
    Nielsen BookScan Product Class 3: T4.1
    B&T Merchandise Category: AUD
    BIC subject category V2: BGA
    Ingram Theme: CHRN/19CNTY
    BIC subject category V2: BGFA
    B&T Modifier: Region of Publication: 01
    BIC subject category V2: AGB
    B&T General Subject: 170
    B&T Modifier: Subject Development: 03
    B&T Modifier: Academic Level: 05
    DC22: B
    BIC subject category V2: ACX, JFSL3, ACBP
    Ingram Theme: TOPC/FAMILY
    BISAC V2.8: BIO013000
    Ingram Theme: CHRN/ERLY20
    BISAC Merchandising Theme: ET050
    Ingram Theme: CULT/FRANCE
    B&T Approval Code: A14770000
    BISAC V2.8: BIO002000, SOC049000
    Ingram Subject Code: JA
    Libri: I-JA
    BISAC V2.8: BIO001000, ART019000, ART015110
    B&T Approval Code: A02110000
    BISAC V2.8: ART015100
    DC22: 909/.0492400922
    LC subject heading: , ,
    Warengruppen-Systematik des deutschen Buchhandels: 55850
    LC classification: HG1552.E64 D49 2010B
    Edition
    Unabridged
    Edition statement
    Unabridged
    Publisher
    MACMILLAN AUDIO
    Imprint name
    MACMILLAN AUDIO
    Publication date
    04 September 2012
    Author Information
    Edmund de Waal's porcelain has been displayed in many museum collections around the world, and he has recently made an installation for the dome of the Victoria and Albert Museum. He was apprenticed as a potter, studied in Japan, and studied English at Cambridge. He is Professor of Ceramics at the University of Westminster and lives in London with his family.
    Review quote
    "Enthralling . . . [de Waal's] essayistic exploration of his family's past pointedly avoids any sentimentality . . . "The Hare with Amber Eyes "belongs on the same shelf with Vladimir Nabokov's "Speak, Memory."" --Michael Dirda, "The Washington Post Book World ""At one level [Edmund de Waal] writes in vivid detail of how the fortunes were used to establish the Ephrussis' lavish lives and high positions in Paris and Vienna society. And, as Jews, of their vulnerability: the Paris family shaken by turn-of-the century anti-Semitism surging out of the Dreyfus affair; the Vienna branch utterly destroyed in Hitler's 1937 Anschluss . . . At a deeper level, though, "Hare" is about something more, just as Marcel Proust's masterpiece was about something more than the trappings of high society. As with "Remembrance of Things Past," it uses the grandeur to light up interior matters: aspirations, passions, their passing; all in a duel, and a duet, of elegy and irony." --Richard Eder, "The Boston Globe ""Absorbing . . . In this book about people who defined themselves by the objects they owned, de Waal demonstrates that human stories are more powerful than even the greatest works of art." --Adam Kirsch, "The New Republic ""Delicately constructed and wonderfully nuanced . . . There are many family memoirs whose stories are as enticing as Edmund de Waal's. There are few, though, whose raw material has been crafted into quite such an engrossing and exquisitely written book as "The Hare with Amber Eyes" . . . One of the great triumphs of "The Hare with Amber Eyes" . . . is not just the assiduous way in which de Waal interrogates his raw evidence--scattered articles and newspaper cuttings, old paintings, forgotten buildings--but the way he summons up different eras so evocatively . . . [De Waal] is, too, as you would expect of a potter, wonderfully tactile in his investigations, interrogating the physical feel of the Ephrussis' different buildings, touching surf