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A Bridge for Zarathustra

Name: A Bridge for Zarathustra
Author: Annie Francoeur
ISBN: 978-1-4834-2146-9

by Annie Francoeur ‧ RELEASE DATE: Nov. 24, 2014

An unusual faith-based message, attributed to a deceased prophet.

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Francoeur (Un pont pout Zarathoustra, 2014) offers a memoir about channeling the spirit of the prophet Zarathustra.

The author writes that it was a November day in 2007, during a retreat at a Lake Tahoe hotel, when she first encountered a spirit repeating its name in a voice that only she could hear: “Zarathustra, Zarathustra”—also known as Zoroaster, the founder of the Persian religion of Zoroastrianism, believed to have lived sometime between 1700 and 1300 BCE. For seven years, the author says, Zarathustra communed with her via visions and encouraged her to spread his message, which resulted in this book. In the first two chapters, Francoeur focuses on asserting the truth of the relationship, however unbelievable it may seem to readers. In the subsequent 17 chapters, she writes in the voice of Zarathustra, sharing his words of peace and self-fulfillment: “I am here to mirror back to you who you really are. I want you to learn about your true identity, I want you to let yourself bloom, whatever limits your mind has set on this truth for whatever length of time.” In addition to offering advice on how to live, the book provides stories about Zarathustra’s time on Earth, including tales that center on lessons he learned in his youth and his love of his wife, Lara. Readers may be surprised that Zarathustra doesn’t discuss many of the concepts associated with Zoroastrianism—neither Ahura Mazda (the god of Zorastrianism) nor the Avesta (the faith’s sacred texts) are even mentioned. But perhaps it’s unsurprising that a prophet’s positions might evolve a bit over the course of 3,000 years. This book presents a Zarathustra for the 21st century, eschewing dogmatic cosmology in favor of the nonsectarian, individual-centered affirmations of contemporary spiritualism. Most readers will likely not be persuaded, but such revelations have rarely been met with widespread enthusiasm. Overall, the book is most interesting when it recounts narratives from Zarathustra’s life. However, these memories and parables aren’t quite as poignant as one might hope. For a man who’s been credited with inventing monotheism, this book’s Zarathustra seems to have run out of original ideas.

An unusual faith-based message, attributed to a deceased prophet.

Pub Date: Nov. 24, 2014

ISBN: 978-1-4834-2146-9

Page Count: 146

Publisher: Lulu

Review Posted Online: Jan. 11, 2016

Review Program: Kirkus Indie

Categories:

GENERAL NONFICTION

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NUTCRACKER

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

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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

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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

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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.