THE SOLACE OF FIERCE LANDSCAPES

EXPLORING DESERT AND MOUNTAIN SPIRITUALITY

Deserts doubling as both reality and symbol are the heroes of these memorable reflections on the interplay between nature and spirit. Lane (Theological Studies and American Studies/St. Louis Univ.) offers a modern contribution to the ancient tradition of apophatic (or negative) theology—the teaching that nothing can literally be said of God. The precursors he cites include the desert fathers, Meister Eckhart, and the anonymous author of the 14th-century Cloud of Unknowing. The paradox of apophatic teaching is in its sustained expression: How to describe the indescribable over enough pages to make a book? The answer is through metaphor, and Lane’s are apt and effective. Against the austere backdrop of the most abstract theological tradition in Christendom he paints the pictures of his personal visits to, among other places, Mount Sinai, a desert monastery in New Mexico, and the nursing home where his mother is dying. His point is that the “fierce landscapes” of the title mirror the conceptual emptiness of both the unimaginable God and the ends of our own lives. Like all good symbols, the Sinai desert and the dying mother lose nothing, in Lane’s descriptions, of their own concrete and affecting reality, even as they figure the silencing transcendence of God. The upshot is a happy one for both spirituality and the reader: Pushed by God, deserts, and death to the limits of human life, the spiritual seeker is relieved of worry over her own anxious ego—“the things that ignore us save us”—and the reader, in turn, comes away soothed by a fine illustration of the intimate connection there can be between abstract ideas and the daunting realities of life. In the vast desert of pop spirituality, Lane’s book is an oasis. (5 photos, not seen)

Pub Date: April 1, 1998

ISBN: 0-19-511682-8

Page Count: 304

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 1998

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An erudite and artful, though frustratingly restrained, look at Old Testament stories.

THE BOOK OF GENESIS ILLUSTRATED

The Book of Genesis as imagined by a veteran voice of underground comics.

R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.

An erudite and artful, though frustratingly restrained, look at Old Testament stories.

Pub Date: Oct. 19, 2009

ISBN: 978-0-393-06102-4

Page Count: 224

Publisher: Norton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 2009

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THE MYTH OF SISYPHUS

AND OTHER ESSAYS

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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