by Steven Brutus ‧ RELEASE DATE: Nov. 5, 2012
Far-reaching, erudite introduction to philosophy of religion without needless polemics.
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Brutus (Lines of Thinking in Aesthetics, 2012, etc.) delivers an impressive introduction to global religions and the urge to worship, from ancient history to today.
In his concise introduction, Brutus writes that this book is merely meant to provide “some background for a study of religion in culture and through history.” That may seem like a tall order, but Brutus succeeds in packing a lot of information into his concise, readable summaries, helpfully broken into sections. Writers of grand-scale history can get themselves into trouble with this sort of summarization, lopping off the nuances that don’t fit their theses; but Brutus avoids this trouble via his extensive knowledge and his lack of polemics. While there are times when the reader may wish to know more about a subject, a part of the pleasure here is Brutus’s wide-ranging examination of the etymology of certain terms in various languages; faith traditions (focusing on Confucianism, Taoism, Buddhism, Judaism, Christianity and Islam); and various approaches to religion (from biology to game theory). Unlike some polemical theist and atheist writers, Brutus sets out with a more modest thesis, which comes out most clearly in his conclusion: Approaching religion from a philosophical and humble standpoint provides gratification in the search for knowledge rather than its assumption. (It’s no surprise that Brutus’ main models are the gadfly of Athens, Socrates, and the nondogmatic Buddha.) With such a broad view of the subject, readers may find certain topics more interesting than others, but without cluttering the text with footnotes, Brutus gives plenty of direction for finding out more about particular topics. Those looking for material to use in arguments against their theistic or atheistic friends and family are better off looking elsewhere, as Brutus’s book primarily addresses the act of critical inquiry itself. As he notes, everyone can do philosophy, and philosophy’s main goal is to be the servant of life. Brutus ends with a warm, personal depiction of this during his own travels in Jerusalem.
Far-reaching, erudite introduction to philosophy of religion without needless polemics.Pub Date: Nov. 5, 2012
ISBN: 978-1479109685
Page Count: 206
Publisher: CreateSpace
Review Posted Online: Jan. 16, 2013
Kirkus Reviews Issue: Feb. 15, 2013
Review Program: Kirkus Indie
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by Robert Greene ‧ RELEASE DATE: Sept. 1, 1998
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.
The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.
Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.Pub Date: Sept. 1, 1998
ISBN: 0-670-88146-5
Page Count: 430
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1998
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BOOK TO SCREEN
by R. Crumb ; illustrated by R. Crumb ‧ RELEASE DATE: Oct. 19, 2009
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
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