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THE OBELISK AND THE CROSS

AN ALTERNATIVE HISTORY OF GOD, MYTH AND MEANING IN THE WESTERN WORLD

A sometimes-engaging but unfocused work that delves into inter-religious connections.

An exploration of salvation and symbolism in religion from prehistory to the modern day. 

Sunderland’s debut begins by asking why there’s an ancient Egyptian obelisk at the center of St. Peter’s Basilica in Vatican City, the very heart of the Catholic Church. Does it truly represent Catholicism’s dominance over pagan ideas, or was it a subversive symbol of the heliocentric theory of the solar system, once maligned by the church? The book then settles into a thorough discussion of religion and divinity. Sunderland makes compelling points about the connections between Christian and Egyptian religions, including the similarity between Jesus Christ and Amun-Re, the monotheistic Egyptian god. The book also abounds with other, less central, insights; for example, in a section about Christianity in the Middle Ages, Sunderland observes, “This darkness is reflected in the loss of civilised culture and in the neglect, by the Roman Catholic Church, of those social outsiders with whom Jesus Christ would have most identified.” The author poses three questions that unite and divide humans across time and religion: “Where did we come from? Why are we here? What happens when we die?” However, he spends so much time on how specific religions would answer these questions that he often seems to lose focus on the initial premise: the obelisk and its connections to Christianity. By Chapter 12, the book has worked its way back to the obelisk, but the chapters before it often feel tangential and disconnected. Instead of layering the argument, the book frequently overloads readers with heavily condensed, brand-new information. Some sentences lack sufficient context, such as, “The criteria of discontinuity, embarrassment, rejection and execution are analysed against six primary sources…to reveal Jesus the man as a valid historical figure.” As a result, readers will have trouble identifying what each new term means, and which ideas will be important later in the book.

A sometimes-engaging but unfocused work that delves into inter-religious connections. 

Pub Date: May 25, 2016

ISBN: 978-1-925442-55-7

Page Count: 274

Publisher: Vivid Publishing

Review Posted Online: Dec. 26, 2016

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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

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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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