The Nutcracker

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The story that inspired the legendary ballet, presented in a beautiful hardcover edition perfect for giving as a gift.

Written in 1816 by the German Romantic E. T. A. Hoffmann for his children, nephews and nieces, The Nutcracker captures better than any other story a child's wonder at Christmas. Since its publication, it has inspired hundreds of artists and adaptations, most notably the legendary ballet, scored by Russian composer Pytor Ilyich Tchaikovsky. Today, the story - and its enchanting images of sugar plums and nutcrackers, mistletoe and the Kingdom of the Dolls - continues to cast its fantastical spell on readers of all ages.

E. T. A. Hoffmann (1776-1822) was one of the major figures of European Romanticism, specializing in tales of the fantastical and uncanny. He was also a music critic, jurist, composer and caricaturist. His Tales of Hoffmann , available in Penguin Classics, includes such masterpieces as 'Mademoiselle de Scudery', one of the earliest example of crime fiction, and Hoffmann's terrifying version of 'The Sandman'.

Joachim Neugroschel won three PEN translation awards and the French-American Foundation Translation Prize. He translated Thomas Mann's Death in Venice and Sacher-Masoch's Venus in Furs , among other works, for Penguin Classics.

Excerpt provided by Syndetics

  Christmas Eve FOR THE ENTIRE TWENTY-FOURTH OF DECEMBER, the children of Medical Officer Stahlbaum were not permitted to step inside the intermediary room, much less the magnificent showcase next door. Fritz and Marie sat huddled together in a corner of the back room. The deep evening dusk had set in, and the children felt quite eerie because, as was usual on this day, no light had been brought in. Fritz quite secretly whispered to his younger sister (she had just turned seven) that he had heard a rustling and murmuring and soft throbbing in the locked rooms since early that morning. Also, not so long ago (Fritz went on), a short, dark man with a large casket under his arm had stolen across the vestibule. However, said Fritz, he knew quite well that it was none other than Godfather Drosselmeier. Marie joyfully clapped her little hands and exclaimed: "Ah, I wonder what lovely presents he's made for us!" Supreme Court Justice Drosselmeier was anything but handsome. He was short and scrawny, his face was covered with wrinkles, and he wore a big, black patch instead of a right eye. He also had no hair on his head, which is why he sported a very lovely periwig made of spun glass and very artistic. Indeed, the godfather was altogether a very artistic man, who even knew a thing or two about clocks and could actually build them. So if any of the beautiful clocks in Stahlbaum's home fell ill and couldn't sing, Godfather Drosselmeier would come by, remove his glass periwig, take off his snug yellow vest, tie on a blue apron, and insert sharp instruments into the gears. It was very painful for little Marie, but it didn't harm the clock at all. In fact, the clock even grew lively, and it started cheerfully humming, striking, and singing again, much to everyone's delight. Whenever Drosselmeier visited them, he would bring something nice for the children. His pocket might contain a manikin that could twist its eyes and bow--which was comical to see. Or Drosselmeier might have a box from which a little bird came hopping out, or he might have something utterly different. But for Christmas, Drosselmeier always completed a gorgeous artistic work, which cost him a great effort. That is why, after showing the gift, the parents very cautiously stored it away. "Ah, I wonder what lovely presents he's made for us," Marie exclaimed. Fritz decided that this year it could be nothing but a fortress, where all kinds of very handsome soldiers drilled and marched to and fro. Next, other soldiers would have to storm and invade the fortress. But now the inside soldiers boldly shot their cannons, making them boom and burst. "No, no!" Marie interrupted Fritz. "Godfather Drosselmeier told me about a beautiful park with a huge lake and with marvelous swans gliding about and wearing gold neckbands and singing the loveliest songs. Then a little girl comes to the lake and entices the swans and feeds them sweet marzipan." "Swans don't eat marzipan," Fritz broke in quite roughly, "and Godfather Drosselmeier can't make a whole park. Actually, we get little out of his toys. They're promptly taken away from us. So I much prefer what Mama and Papa give us. We can keep their presents nicely and do whatever we like with them." Now the children debated what their parents would bring them. Marie felt that Fräulein Trutchen (her large doll) was changing deeply. For, clumsier than ever, she fell on the floor every moment. This didn't happen without a nasty grin, and there was no further thought of the cleanliness of her garments. Nor did a thorough scolding help. Also, Mama, we are told, smiled with such delight at Gretchen's small parasol. Fritz, by contrast, assured the others that his royal stable lacked a good sorrel, just as his troops fully lacked a cavalry--Papa was well aware of that. So the children knew that their parents had bought them all kinds of beautiful presents, which they now displayed. But the children were also certain that the dear Holy Christ shone upon them with the pious and friendly eyes of children. And they were equally convinced that, as if touched by fruitful hands, every Christmas gift would bring marvelous pleasure like no other. The children, who kept whispering about the expected presents, were reminded of that pleasure by their older sister, Luise. And they added that it was now also the Holy Christ, who, through the hands of their dear parents, always gave them whatever real joy and pleasure He could bring them. Indeed, He knew that a lot better than did the children themselves, who didn't have to nurture all sorts of hopes and wishes. Rather, they had to wait, still and pious, for their Christmas presents. Little Marie grew pensive, while Fritz murmured to himself: "I'd love to have a sorrel and Hussars." By now it had grown completely dark. Fritz and Marie, thoroughly pressed together, did not dare say another word. It sounded as if rustling wings encircled them, and as if they could catch a very distant and very splendid music. A bright shine grazed the wall, and now the children knew that the Christ Child had flown away on radiant clouds, flown to other happy children. At that moment, they heard a bright silvery chime: "Klingling, klingling!" The doors burst open, and the radiance erupting into the large room was so deep that the children cried out: "Ah! Ah!" and they halted on the threshold, petrified. But then Mama and Papa stepped in, took the children by the hand, and said: "Come on, come on, you dear children, and look what the Holy Christ has brought you." The Gifts I TURN TO YOU, GENTLE READER OR LISTENER--Fritz, Theodor, Emst--or whatever your name may be, and I picture you vividly at your last Christmas table, which is richly adorned with gorgeous, multicolored presents. You will then envisage how the children halted, in silence and with shining eyes. You will then envision how, after a while, Marie cried out with a deep sigh: "Ah! How beautiful! Ah! How beautiful!" And Fritz tried out his caprioles, which were very successful. But the children had to have been devout and well behaved the entire year, for never had they had such splendid and such beautiful gifts as this time. Excerpted from The Nutcracker by E. T. A. Hoffmann, Joachim Neugroschel All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Reviews provided by Syndetics

Publishers Weekly Review

Board-book originals include an adaptation of E.T.A. Hoffmann's The Nutcracker, illus. by Thea Kliros, which pares the holiday classic to a length suitable for toddlers. (c) Copyright PWxyz, LLC. All rights reserved

School Library Journal Review

PreS-This board book simplifies the story into just a few short sentences per page. The text is bland but easy enough for very young children to understand, and the watercolor illustrations, with their depictions of sweet-faced children in lovely costumes, will appeal to youngsters. This title would be an appropriate introduction to the ballet for toddlers and preschoolers, especially those who are about to attend their first performance.-E. M. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Booklist Review

Gr. 4-6, younger for reading aloud. This lengthy translation of Hoffmann's story may disappoint readers more familiar with stirring scenes from the ballet. The quirky tale of young Marie, her nutcracker prince, and her strange Godpapa Drosselmeier is long and involved though it does feature heavy doses of magical moments. What's wonderful about this edition is the more than 50 paintings in glorious color. The long text is broken up by small cameos and full-page art, many of the pictures are highly dramatic as when the deformed Princess Pirlipat presents herself to young Drosselmeier. Goodrich is a master of color and lighting using glowing yellows and pinks, shadowy midnight blues and foggy grays to heighten the mystical quality of the action; his sense of enchantment will touch readers. Children going to the ballet may prefer the shorter versions of the story that are available, but those who wish to immerse themselves in the Nutcracker's ambience will be captured by these mesmerizing pictures. IC. Fairy tales [CIP] 87-45242

Horn Book Review

Although the background information offered in sidebars and a few double-page spreads--in the series style, with many captioned photographs and pictures--helps establish a context for the classic story, the unattractive artwork detracts from the presentation. The garish colors will not draw children to the fantastic tale about MarieÆs adventures with the Christmas Nutcracker. From HORN BOOK Fall 2000, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Book Review

The transformation of the venerable Nutcracker ballet begun by Sendak and choreographer Kent Stowell for the 1983 Pacific Northwest Ballet production is carried through, in this volume, with Ralph Manheim's translation of the original Hoffmann story, ""The Nutcracker and the Mouse King""--including its central tale-within-a-tale, ""The Story of the Hard Nut."" Psychoanalytically-aware adults have long recognized the erotic symbolization of elderly Godfather Drosselmeier, prepubescent Clara (here Marie), and ""the Nutcracker."" But the ballet has no apparent dramatic shape--consisting in essence of one pantomime scene (the Christmas Eve party at the Stahlbaums) and two scenes of almost pure dancing (Clara/Marie's magical journey and the delights of Candytown). And children's books of The Nutcracker have been ""the story of the ballet."" Integrating Sendak's designs for the scenery and costumes, the present work retains the sense of a theatrical production--but not of a spectacle or delectation. ""The Story of the Hard Nut,"" which Drosselmaier tells Marie after the Mouse King's defeat of Nutcracker's army (from the Nutcracker's advent, all darkly shaded), features the transformation of infant Princess Pirlipat into a hideous nutcracker baby--a Sendakian theme-of-themes--who can be restored to herself only by eating the kernel of the hard nut Krakakut, which can only be cracked by an unshaven youth; and the last-minute crimp in this process, by vengeful Madame Mouserinks, sets the stage for the main-plot annihilation of the Mouse King, the restoral of the Nutcracker to his youthful, unshaven self, and his betrothal to Marie. Some wordless pictorial pages carry the major ballet passages; but most of the illustrations consist of marginal drawings. It is perhaps better so: the one full-page depiction of a dramatic scene in ""The Story of a Hard Nut"" looks paste-boardy, more ludicrous than horrifying. (In vapid, naturalistic color, Sendak always loses force.) Elsewhere the pictorial matter helps to bring out the many facets and dimensions of the story, and its stage associations--but, to everyone's credit, the story takes precedence here. Copyright ©Kirkus Reviews, used with permission.