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THE ORION MYSTERY

Name: THE ORION MYSTERY
Author: Robert Bauval
ISBN: 0-517-59903-1

UNLOCKING THE SECRETS OF THE PYRAMIDS

by Robert Bauval & Adrian Gilbert ‧ RELEASE DATE: Aug. 1, 1994

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This fascinating archaeological detective story argues that the great pyramids of Egypt's Fourth Dynasty (c. 26002400 b.c.) were vast astronomically sophisticated temples, rather than the pharaonic tombs depicted by conventional Egyptology. In March 1993, a tiny remote-controlled robot created by Rudolf Gantenbrink, a German robotics engineer, traveled up airshafts within the Great Pyramid of Giza and relayed to scientists video pictures of a hitherto unknown sealed door within the pyramid. Bauval, a British engineer and writer who has been investigating the pyramids for more than ten years, and Gilbert, a British publishing consultant, use Gantenbrink's tantalizing discovery as a launching pad for an extended analysis of the purpose of the mysterious airshafts, which lead from the Great Pyramid's chambers to its exterior, and of the placement of other Fourth Dynasty pyramids. They were sited, the authors argue, to coincide with the key stars of Orion, a constellation that had religious significance for the Egyptians. Bauval and Gilbert claim that the shafts were pointed directly at important stars in Orion—that is, at those stars as they were placed in ancient times. Using astronomical data about stellar movement, they argue that the Orion stars coincide exactly with the pyramids' positions in approximately 10,400 b.c.—a period the Egyptians called the First Time, when they believed the god Osiris ruled the Earth. The authors also speculate that the mysterious space within the Great Pyramid discovered by Gantenbrink contains the mythical Benben stone, which the Egyptians linked to the creation of the world. The book's contentions are sometimes far-fetched and certainly unlikely to put scholarly controversy about the pyramids to rest. Still, this is an enjoyably radical rethinking of the mystery of the pyramids, with some ingenious arguments made in lucid style.

Pub Date: Aug. 1, 1994

ISBN: 0-517-59903-1

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: June 15, 1994

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.