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INSIGHTS OF A MADMAN

PROBING COMMENTARIES ON GOD, THE DEVIL, RELIGION, EVIL, LOVE, RETRIBUTION, AND REDEMPTION

An intriguing, bumpy, and argument-starting collection of reflections about good, evil, and God.

A collection of commentaries offers a guided tour of one man’s psychological evolution.

In this ambitious book, Rabii seeks to chart his personal and intellectual development from “an immature, ultra-religious snot who regurgitated only what his environment fed him, to the adolescent inquirer who clung to some of the doctrines of his obscure faith but was slowly developing his own perspectives, to the idealistic adult who finally broke the chains that locked him into certain ways of thinking and replaced his childhood belief system.” The author explains these new ways of thinking in these pages. He is dismayed by many things, from the emphasis on power and money over compassion to the continued poor treatment of women in many parts of the world to what he sees as “the cultural neglect of the right side of the brain.” Rabii goes over the autobiographical details of his earlier life (which he covered in his 2018 book The Life and Times of a Black Prince in America) and mentions that when he left the religion of his youth at the age of 45, he began his current journey. The key tools on this odyssey were the author’s “theories,” for which he uses the acronym “GUDLLERT”—“God, the Universe, The Devil, Love, Luck, Evil, Retribution, and Terror.” The central preoccupation of these “theories” (they aren’t actually theories but rather speculations) is the nature of good and evil and, by the author’s extension, the nature of God and the devil. GUDLLERT No. 3, for instance, posits that the traditional God of the Bible doesn’t exist because such an absence would explain the enormous extent of human evil. As a result, God “protects no one from the beastly aspects of man,” a conclusion that allows Rabii to expand on human malevolence throughout history.

These vivid and thought-provoking philosophical ruminations are deftly grounded in real-world facts (as well as several uncredited, jarringly graphic photographs). But these reflections also grapple with metaphysics throughout. GUDLLERT No. 5, for instance, “alleges an organic force in the Cosmos that is the opposite of creation and feeds off all things that contribute to returning the Cosmos to a negated state of being.” This tendency can be a bit frustrating for readers. When Rabii comments that “if one day, science possessed irrefutable proof” of God’s “existence or non-existence, a comparison of the after-effects would be quite noteworthy,” the author reveals the bias that runs throughout the book. Science doesn’t need to demonstrate the “non-existence” of the supernatural. Rabii writes in his various GUDLLERTs about a broader interpretation of what God is, but he also contends that the natural world “did not just pop out of nothing or ‘evolve’ into existence.” He tells his readers that “the sun, skies, and trees do exist, and their existence means, at least to me, that they were created.” And “if they were created, then ‘something’ created them.” The energetic, free-wheeling nature of his philosophical speculations sits awkwardly alongside this kind of creationism and implies that he hasn’t in fact wandered very far from his strictly fundamentalist upbringing. The author’s underlying contentions never quite seem to accommodate the possibility that there are no gods or devils at all.

An intriguing, bumpy, and argument-starting collection of reflections about good, evil, and God.

Pub Date: May 15, 2020

ISBN: N/A

Page Count: 306

Publisher: Self

Review Posted Online: Oct. 6, 2020

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A WEALTH OF PIGEONS

A CARTOON COLLECTION

A virtuoso performance and an ode to an undervalued medium created by two talented artists.

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The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.

Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.

A virtuoso performance and an ode to an undervalued medium created by two talented artists.

Pub Date: Nov. 17, 2020

ISBN: 978-1-250-26289-9

Page Count: 272

Publisher: Celadon Books

Review Posted Online: Aug. 30, 2020

Kirkus Reviews Issue: Sept. 15, 2020

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CINEMA SPECULATION

A top-flight nonfiction debut from a unique artist.

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The acclaimed director displays his talents as a film critic.

Tarantino’s collection of essays about the important movies of his formative years is packed with everything needed for a powerful review: facts about the work, context about the creative decisions, and whether or not it was successful. The Oscar-winning director of classic films like Pulp Fiction and Reservoir Dogs offers plenty of attitude with his thoughts on movies ranging from Animal House to Bullitt to The Texas Chainsaw Massacre to The Big Chill. Whether you agree with his assessments or not, he provides the original reporting and insights only a veteran director would notice, and his engaging style makes it impossible to leave an essay without learning something. The concepts he smashes together in two sentences about Taxi Driver would take a semester of film theory class to unpack. Taxi Driver isn’t a “paraphrased remake” of The Searchers like Bogdanovich’s What’s Up, Doc? is a paraphrased remake of Hawks’ Bringing Up Baby or De Palma’s Dressed To Kill is a paraphrased remake of Hitchcock’s Psycho. But it’s about as close as you can get to a paraphrased remake without actually being one. Robert De Niro’s taxi driving protagonist Travis Bickle is John Wayne’s Ethan Edwards. Like any good critic, Tarantino reveals bits of himself as he discusses the films that are important to him, recalling where he was when he first saw them and what the crowd was like. Perhaps not surprisingly, the author was raised by movie-loving parents who took him along to watch whatever they were watching, even if it included violent or sexual imagery. At the age of 8, he had seen the very adult MASH three times. Suddenly the dark humor of Kill Bill makes much more sense. With this collection, Tarantino offers well-researched love letters to his favorite movies of one of Hollywood’s most ambitious eras.

A top-flight nonfiction debut from a unique artist.

Pub Date: Nov. 1, 2022

ISBN: 978-0-06-311258-2

Page Count: 400

Publisher: Harper/HarperCollins

Review Posted Online: Oct. 31, 2022

Kirkus Reviews Issue: Dec. 1, 2022

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