bookshelf

THE SIGN AND THE SEAL

Name: THE SIGN AND THE SEAL
Author: Graham Hancock
ISBN: 0-517-57813-1

THE QUEST FOR THE LOST ARK OF THE COVENANT

by Graham Hancock ‧ RELEASE DATE: April 1, 1992

bookshelf

English journalist Hancock retells the circumstances and thoughts that led to his discovery that the Lost Ark of the Covenant really exists. (Note that the subtitle is not How Indy and I Raided the Lost Ark.) Hancock was in Ethiopia in 1983, having been hired by the Ethiopian government to write and produce a coffee-table book extolling that country. He was greatly surprised when told that Ethiopia's Falasha Jews did not exist, and that many people could land in jail, or worse, if he went around photographing such nonexistents. Even so, off he went to Axum, deep in the desert, to see the temples and statuary of the Black Jews of Ethiopia. What he found was a sect that claimed to have the original Ark of the Covenant. Refused entrance to the sanctuary of the jealously guarded Ark, Hancock went home—and saw Steven Spielberg's Raiders of the Lost Ark, which inspired him to investigate the history of the Ark. Built at the foot of Mount Sinai, Hancock tells us, it ``was deposited [around 955 B.C.] by Solomon in the Holy of Holies of the First Temple.'' Later, Hancock says, it was stolen by Solomon's outcast son and carried south to Ethiopia and kept there for 800 years by a Judaic cult. Then it apparently was seized by the Knights Templar, who thought that it was the Holy Grail. The Knights converted the Jews, who kept the Ark in a great church. And to protect the Ark, all of the churches in the cult have their own replicas of the Ark: The original is never seen, even on the holiest days of the year. In 1991, during the Gulf War, Hancock returned to Axum to see the Ark—and was refused. Not as much fun as might be hoped as Hancock digs through literary and bibical texts while convincing himself that the Ark exists. (Sixteen pp. of b&w photographs—not seen.)

Pub Date: April 1, 1992

ISBN: 0-517-57813-1

Page Count: 608

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 1992

Categories:

GENERAL NONFICTION

- BOOK REVIEW
MAGICIANS OF THE GODS
by Graham Hancock

- BOOK REVIEW
FINGERPRINTS OF THE GODS
by Graham Hancock

bookshelf

NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

bookshelf

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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

bookshelf

TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

bookshelf

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.