LYING BELIEFS

Name: LYING BELIEFS
Author: Maurice D. Johnson
ISBN: 978-0615995540

by Maurice D. Johnson ‧ RELEASE DATE: March 29, 2014

Though theoretically written for and aimed at, well, everyone, this book is more likely to find an appreciative audience...

bookshelf

A proposed alternative to traditional religious ideologies, focusing on the inherent godliness of every human being.

Johnson (The Human Ego: Who Do You Think You Are?, 2012) begins his spiritual manifesto with a bang, challenging readers to accept that “the vast majority of our beliefs are based upon lies.” Through a pastiche of Freudian psychology, biblical exegesis, medicine, semiotics, astrophysics, pantheism and popular culture, he goes on to outline his philosophy of human experience: Most are governed by their egos/selves/subconscious minds when they should be in unity with their souls/beings/consciousnesses; religious beliefs are simply dictated by our parents and culture and are rigidly enforced by our controlling subconscious minds; we have erroneously ascribed human attributes to a divine essence that resides innately in all human beings and is derived from the air we breathe and the sun that lights our planet; and we must let go of fear about the past and future and be conscious in the moment in order to save ourselves and our world from a “sub-conscious Hell on Earth.” The book seems aimed at those with existing, entrenched beliefs. It seems equally apparent, however, that this target audience, particularly Christian believers, will be unlikely to make it past the first few pages. It’s a potential misstep, in that regard, to suggest people hold on to such “lying beliefs” merely to satisfy a voracious, selfish ego. A softer sell might have more effectively introduced this philosophy that, while admittedly a bit eclectic, embodies some appealing ideas and imagery that might otherwise engage followers of liberal religious traditions. Johnson’s conversational prose is informed by the rhetorical style of the pulpit. Some readers may find that his colloquial interjections effectively lighten up the heavy material, while others may feel they erode the seriousness of his investigation.

Though theoretically written for and aimed at, well, everyone, this book is more likely to find an appreciative audience among the popular philosophy and self-help crowds.

Pub Date: March 29, 2014

ISBN: 978-0615995540

Page Count: 192

Publisher: Maurice\Johnson

Review Posted Online: June 12, 2014

Review Program: Kirkus Indie

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.