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THE VIRGIN AND THE PRIEST

Name: THE VIRGIN AND THE PRIEST
Author: Mark Gibbs
ISBN: 978-1438207063

: THE MAKING OF THE MESSIAH

by Mark Gibbs ‧ RELEASE DATE: Feb. 4, 2008

A controversial, well-researched and readable take on Jesus’ birth.

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A controversial take on the story of Christ’s immaculate birth by Gibbs, who claims that Zacharias, father of John the Baptist, was Jesus’ biological father.

Drawing from Hebrew texts and Jewish tradition, the Old and New Testament, heretical art and the Dead Sea Scrolls, Gibbs traces the lineage of Christ and John the Baptist to upend the traditional Christmas story. Challenging what the author believes to be a controlling and pervasive conspiracy of silence by scholars and theologians, Gibbs initially traces scripture in the gospels to connect Zacharias with Mary, who gave birth to Jesus. Delving deeper into the complicated sexual liaisons, which Gibbs believes that Judeo-Christians gloss over and do not accept, he states that Joseph (Mary’s husband) found Mary pregnant and discovered a way to conceal her sin of carrying an illegitimate child–by glorifying the God of Israel with Christ’s child. Gibbs also delves into heretical art by artists such as Leonardo da Vinci, Raphael, Andrea and Mategna–all of whom place Jesus, Mary and Zacharias together. Gibbs makes his most thorough points in this section, clearly identifying Mary and Zacharias in the artwork. Through these paintings their connection seems the most poignant, pointing to the fact that art often reveals truth. However, Gibbs’ theories often stretch too thin. In his writing on the â€œMona Lisa,” whose origin is often a mystery even to art historians, Gibbs identifies her as Elisabeth, the mother of John the Baptist–the true Holy Mother. However, Gibbs never quite delves into this theory. The â€œMona Lisa” is a famous work of art, and the author could probably write a chapter about this theory instead of mere paragraphs. Though he has seemingly done extensive research and has created a readable, informative study, Gibbs almost attempts to cover too much, and often makes grand leaps or inserts his own ideas into a scripture without fully explaining or validating his beliefs.

A controversial, well-researched and readable take on Jesus’ birth.

Pub Date: Feb. 4, 2008

ISBN: 978-1438207063

Page Count: -

Publisher: N/A

Review Posted Online: May 23, 2010

Review Program: Kirkus Indie

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.