An intimate, sometimes striking photo-essay detailing the folkways of the Samburu, a warrior-based society of northern Kenya. Magor, a Kenyan-born model who studied design in England, lived among the Samburu for six years, recording the daily rhythms and significant ceremonies of this traditional culture, whose members depend on herds of cattle, goats, and camels for their survival. Living in semi-arid scrublands, the Samburu follow rigidly circumscribed patterns that dictate age- and gender-based divisions of labor, family and social organization, and the timing and enactment of rites of passage. The book's principle focus is on lmurran, the young warriors whose duties are to guard the community and its herds. Flamboyantly attired in ivory earrings, colored beads, bracelets, and feathers, their faces and upper bodies smeared with red ocher, they are photographed leaning upon their spears, chanting and leaping during a warrior's dance, and slitting a cow's vein for blood (which, along with milk and meat, forms the diet of the Samburu). Having gained the trust of her subjects, Magor photographed the circumcision rights performed on teenage boys, as well as the preparations for and aftermath of female circumcision performed on young girls before marriage. These pictures and their accompanying captions may be jarring to Western sensibilities, but Magor's writing is dispassionate and informative. Her camera also chronicles wedding ceremonies; rituals denoting the passage from warrior status to elder status (at which time a man can marry and take part in council meetings); and, poignantly, a private ceremony performed on a riverbank by a mother whose son is ready to move from her home. Also photographed or described are the more prosaic features of Samburu life: care of livestock, the hierarchial arrangement of huts in the villages based on the status of the elders, and the harsh but beautiful Kenyan landscape. With over 200 color photos, this is a well-documented record of one of the last remaining societies of its kind.
Pub Date: Nov. 1, 1994
ISBN: 0-8109-1943-5
Page Count: 256
Publisher: Abrams
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1994
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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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