by Whitley Strieber Jeffrey J. Kripal ‧ RELEASE DATE: Feb. 2, 2016
A thought-provoking, intelligent reconceptualization of supernatural events.
A religious historian and a popular fiction writer and mystic collaborate to adopt unexplained phenomena into the realm of natural occurrences.
Best known for his graphic depictions of alien abductions and otherworldly encounters (his own included), Strieber (Solving the Communion Enigma: What Is to Come, 2012, etc.) pairs up with Kripal (Religion/Rice Univ.; Comparing Religions, 2014, etc.) to produce a cohesive reframing of the “pantheon of the unknown” through the lens of the natural world. To accomplish their “apocalypse of thought,” both authors worked in tandem, intertwining their unique perspectives, experiences, and educational backgrounds. They explore Strieber’s legacy, the development of alien folklore, and the logical debate on how the American government’s skepticism and secrecy surrounding UFOs only propagates their mythological potential. Kripal’s broad religious comparisons and his intellectualization of unknown phenomena from a spiritual perspective complement Strieber’s menacing laundry list of what haunts him most, from his many sinister encounters with nonhuman entities to a medically mystifying, nonremovable ear implant, a beautiful ghostly temptress, and gargantuan pulsating spiders hovering above his bed. Appealing to his already established readership, these unsettling anecdotes indeed make this a Strieber book, but Kripal’s religious assessment of sex and gender is similarly provocative. Lucid and convincing, the writers’ volleying hypothetical interpretations of how “to embrace science in a new way” implore that it’s not necessary to believe in the supernatural in order to study it and to comprehend its validity or its possibilities or impossibilities, yet much work remains to elevate it beyond perpetual public mockery. Though Kripal implores that “we are all embedded in a much larger, fiercely alive and richly conscious reality,” perhaps the best counsel for dogmatic debunkers can be found in the book’s appendix, which kindly suggests that everyone patiently “learn to live with paradox, to sit with the question.”
A thought-provoking, intelligent reconceptualization of supernatural events.Pub Date: Feb. 2, 2016
ISBN: 978-1-101-98232-7
Page Count: 384
Publisher: TarcherPerigee
Review Posted Online: Nov. 3, 2015
Kirkus Reviews Issue: Nov. 15, 2015
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BOOK REVIEW
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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