Just in time for Halloween: a pop guide to the hells of the Western world. Turner, longtime fiction editor of Playboy, intends her study to be ``geographical rather than theological or psychological.'' That is, she focuses on the outer aspects of hell—landscape and inhabitants—rather then their raisons d'àtre. In slick, superficial vignettes, she scurries through an enormous number of underworlds, together comprising ``the largest shared construction project in imaginative history.'' Her chronological survey begins in Sumeria, with Inanna's descent to visit her sister Ereshkigal, then moves on to Egyptian, Zoroastrian, Greek, Roman, Gnostic, and Judeo-Christian images of the netherworld. In the Middle Ages, imaginative tours of hell become popular, and purgatory was tacked on as an expiatory antechamber. Dante changed everything by turning hell into allegory, leading to literary fancies by Goethe, Milton, Byron, and Rimbaud, among others. Science, too, dismantled hell- -after early attempts to situate it on the Sun or a comet, materialists relegated it to the imagination. These days, says Turner, ``hell has become something of an embarrassment.'' Her tour is fast and fun, but by eschewing psychology and theology, she trivializes her subject into a set of colorful comic books with almost no hint of the mythological and metaphysical dynamics involved (the few explanations she does offer are reductionist- -e.g., that hells exist to foster earthly political or social power). Disappointing, too, is her failure to explore contemporary belief in hell (shared by 60% of Americans, according to a poll she cites). Sleek but shallow—and doesn't hold a candle to its counterpart, Colleen McDannell and Bernhard Lang's Heaven: A History (1988). (Illustrations: 32 pages color, 30 b&w)
Pub Date: Oct. 28, 1993
ISBN: 0-15-140934-X
Page Count: 256
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1993
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.
The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.
Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.Pub Date: Sept. 1, 1998
ISBN: 0-670-88146-5
Page Count: 430
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1998
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
This a book of earlier, philosophical essays concerned with the essential "absurdity" of life and the concept that- to overcome the strong tendency to suicide in every thoughtful man-one must accept life on its own terms with its values of revolt, liberty and passion. A dreary thesis- derived from and distorting the beliefs of the founders of existentialism, Jaspers, Heldegger and Kierkegaard, etc., the point of view seems peculiarly outmoded. It is based on the experience of war and the resistance, liberally laced with Andre Gide's excessive intellectualism. The younger existentialists such as Sartre and Camus, with their gift for the terse novel or intense drama, seem to have omitted from their philosophy all the deep religiosity which permeates the work of the great existentialist thinkers. This contributes to a basic lack of vitality in themselves, in these essays, and ten years after the war Camus seems unaware that the life force has healed old wounds... Largely for avant garde aesthetes and his special coterie.
Pub Date: Sept. 26, 1955
ISBN: 0679733736
Page Count: 228
Publisher: Knopf
Review Posted Online: Sept. 19, 2011
Kirkus Reviews Issue: Sept. 1, 1955
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