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The Unfinished Tower of Babel

DIVINE INTERVENTION AND SOCIAL CHANGE

Orderly examination of empire, religion and the will of God.
Sociologist Bonn (Painting Life: The Art of Pieter Bruegel, the Elder, 2007) uses the biblical tale of the Tower of Babel as a jumping-off point for exploring the history of empire. Bonn works under the presumption that Babel is a myth, meant to characterize the rise and fall not of a tower but of the Babylonian Empire. Still, he sees in the story an elegant archetype for examining all empires. Further, Bonn points to the history of Christianity (as a faith tradition, not as an organized religion) as pointing the way toward a reversal of the Babel story. Drawing upon a breadth of knowledge, the author also sees history from a unique, overarching perspective. He begins with a brief, yet thorough, overview of ancient history, especially the histories of Babylon and Israel, which flows into a history of the Roman Empire and the advent of Christianity. Through the Christian faith, Bonn says, God and his followers began the process of reversing the effects of the Tower of Babel—the disbursement of peoples began to contract, as followers of Christ found a single reason to come back together. In examples such as the Day of Pentecost, this included a shared language as well. “It was in spreading the message of Christianity throughout the Roman Empire,” the author says, “that the early Christians came to reverse the logic of the myth of the Tower of Babel.” However, following history further, Bonn explains that the established church in Rome began to pervert the faith into yet another empire. As with all empires, as it gained in size and stature, God caused its downfall. Thus, Bonn explains, even the established church itself was broken apart by the Protestant Reformation and the Enlightenment. Bonn goes on to apply his theory to the modern world, explaining that it is not functional success (personified now by great towers—skyscrapers) which is problematic, but instead pride, avarice and wanton power. A sizable portion of Bonn’s work is concerned with explaining world history, often with facts and figures that, while they could provide background for a novice, largely do not affect his arguments. He follows his thesis through from the dawn of Western history to modern times, but his already slim volume could be pared down further without threatening his ideas.

Imaginative, inventive and erudite.

Pub Date: May 29, 2014

ISBN: 978-0989976008

Page Count: 138

Publisher: Sistina Street Press

Review Posted Online: July 8, 2014

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NUTCRACKER

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

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

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.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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