An absorbing, challenging work of ``bottom-up'' history that gives a voice to the unlettered and the disempowered. Blackbourn (History/Harvard) transforms an apparently minor historical curiosity, an instance at best of religious pathology, into a fascinating, surprising, and moving picture of cultural turmoil in the new German nation-state. The event in question is the alleged visitation of the Virgin Mary to three schoolchildren in the remote Rhineland village of Marpingen in 1876, and the response thereto. With sure control of his material and an archaeologist's reconstructive gift, Blackbourn deftly reveals the Marpingen events as a tangled but telling intersection of multiple cultural currents: religious strife, both interdenominational and between competing tendencies in the Catholic hierarchy itself; local communal rivalry; class tensions; grassroots populist activism; Bismarck's ongoing Kulturkampf (``cultural war'') against the Catholic Church; and the upheavals in work and family life provoked by the confrontation of a traditional rural culture with the very different rhythms of a 19th-century industrial state. Blackbourn brushes against the grain of readers' expectations: He encourages us to regard the widespread popular support of the visionaries not as superstitious medieval credulity but as a sophisticated mobilization of deep-rooted cultural resources by a community beset by social dislocation. Conversely, the ``progressive'' modernizing forces of state authority, whose response to the apparitions varied from patrician condescension to outright contempt or suspicion, stand revealed as at least as self- righteous and blinkered (by a faith in secular rationality often as unyielding as religious dogma) as the peasants they undertook to control. The Church itself is riven and ambivalent, its sponsorship of the cult of the Madonna at odds with the increasingly authoritarian bent of the 19th-century Vatican. This dense, authoritative book demands and deserves an attentive reading and offers rewards few recent historical narratives can match.
Pub Date: Sept. 15, 1994
ISBN: 0-679-41843-1
Page Count: 448
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1994
BOOK REVIEW
A very welcome instance of philosophy that can help readers live a good life.
A teacher and scholar of Buddhism offers a formally varied account of the available rewards of solitude.
“As Mother Ayahuasca takes me in her arms, I realize that last night I vomited up my attachment to Buddhism. In passing out, I died. In coming to, I was, so to speak, reborn. I no longer have to fight these battles, I repeat to myself. I am no longer a combatant in the dharma wars. It feels as if the course of my life has shifted onto another vector, like a train shunted off its familiar track onto a new trajectory.” Readers of Batchelor’s previous books (Secular Buddhism: Imagining the Dharma in an Uncertain World, 2017, etc.) will recognize in this passage the culmination of his decadeslong shift away from the religious commitments of Buddhism toward an ecumenical and homegrown philosophy of life. Writing in a variety of modes—memoir, history, collage, essay, biography, and meditation instruction—the author doesn’t argue for his approach to solitude as much as offer it for contemplation. Essentially, Batchelor implies that if you read what Buddha said here and what Montaigne said there, and if you consider something the author has noticed, and if you reflect on your own experience, you have the possibility to improve the quality of your life. For introspective readers, it’s easy to hear in this approach a direct response to Pascal’s claim that “all of humanity's problems stem from man's inability to sit quietly in a room alone.” Batchelor wants to relieve us of this inability by offering his example of how to do just that. “Solitude is an art. Mental training is needed to refine and stabilize it,” he writes. “When you practice solitude, you dedicate yourself to the care of the soul.” Whatever a soul is, the author goes a long way toward soothing it.
A very welcome instance of philosophy that can help readers live a good life.Pub Date: Feb. 18, 2020
ISBN: 978-0-300-25093-0
Page Count: 200
Publisher: Yale Univ.
Review Posted Online: Nov. 24, 2019
Kirkus Reviews Issue: Dec. 15, 2019
BOOK REVIEW
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
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 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
BOOK REVIEW
BOOK REVIEW
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