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DUNGEON, FIRE AND SWORD

Name: DUNGEON, FIRE AND SWORD
Author: John J. Robinson
ISBN: 0-87131-657-9

THE KNIGHTS TEMPLAR IN THE CRUSADES

by John J. Robinson ‧ RELEASE DATE: Jan. 9, 1992

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The author of Born in Blood: The Lost Secrets of Freemasonry (1989)—which provocatively argued that the Freemasons are a descendant order of the medieval Knights Templar—now concentrates, in a highly detailed but far less captivating addendum, on the Knights' role in the Crusades. Robinson's fascination with the military monastic order organized by a band of knights in the aftermath of the First Crusade and originally dedicated to the protection of pilgrims in the Holy Land continues. Here, he sets out to recount the Knights' role as trained warriors and, eventually, as international bankers during the nearly 200 years from Pope Urban II's call for the First Crusade in 1095 through the last Crusaders' abandonment of the Holy Land in 1291. Unfortunately, in this version the fascination of the Templar tradition (including the order's secret initiation rites, its rules of chastity and individual poverty, its provision against bathing, and its recruitment from the ranks of murderers, exiles, and excommunicated Catholics) is submerged beneath deadly masses of historic detail concerning the ever-changing political alliances, royal successions, and battle plans that comprised the Christian invasions of the Holy Land. Isolated incidents featuring such swashbucklers as Richard the Lion-Hearted, Frederick Barbarossa, and the Syrian Assassins sparkle occasionally against the otherwise monotonous accounts of skirmishes against the Muslims, disputes among Christian noblemen, and struggles for the crown of Jerusalem- -but the Knights themselves are often lost in the background of these events, and only regain their undeniable mystique when Pope Clement V disbands the order at the behest of France's avaricious King Philip IV, and the Knights are reduced to a fugitive, underground existence whose traditions may continue in some form to this day. Lacking the power and focus of Robinson's earlier work, this serves as little more than reference material for die-hard Crusade fans. (Maps.)

Pub Date: Jan. 9, 1992

ISBN: 0-87131-657-9

Page Count: 512

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 15, 1991

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.