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THE OMEGA PROJECT

Name: THE OMEGA PROJECT
Author: Kenneth Ring
ISBN: 0-688-10729-X

NEAR-DEATH EXPERIENCES, UFO ENCOUNTERS, AND MIND AT LARGE

by Kenneth Ring ‧ RELEASE DATE: May 20, 1992

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A suffocating attempt to squeeze UFOs and NDEs (near-death experiences) into the same psychospiritual pigeonhole. Ring (Psychology/Univ. of Conn. at Storrs), well known for his research into near-death experience (Heading for Omega, 1984, etc.), reports that he long resisted investigating other species of paranormal activity (``I don't do UFOs,'' he would exclaim). This blockade ended in 1987, when Whitley Strieber's Communion (Strieber contributes a foreword here) fell into his hands. Ring was hooked, as it dawned on him that UFOs and NDEs ``lead to a similar kind of spiritual transformation.'' In fact—hold onto your New Age hats- -UFOs cause ``a higher level of human being to manifest.'' Ring tries to demonstrate this by detailing typical UFO abductions, which in some respects do parallel religious initiation journeys, but which seem to engender far more fear than enlightenment. The ``Project Omega'' of the title is Ring's attempt to determine the psychological factors that predispose people to NDEs and UFO encounters. He concludes, with neat circularity, that UFOers and NDEers are ``encounter-prone personalities.'' Far more interesting is his discovery that many of these people have suffered a high degree of childhood abuse or trauma. This is suggestive in many ways; what it suggests to Ring is that UFO abductions are not alien encounters per se but some kind of symbolic event, a conclusion that puts him in the ``soft-core'' camp spearheaded by Strieber and Jacques Vallee. Some intense firsthand reports of UFO abductions—these really are scary—ruined by pretentious psycho-pop speculation about emerging ``new levels of consciousness'' and the like. Now that Ring ``does'' UFOs and NDEs, where will he find his next evidence of the coming paradigm shift? Perhaps in the proliferation of wide- eyed books like this.

Pub Date: May 20, 1992

ISBN: 0-688-10729-X

Page Count: 288

Publisher: Morrow/HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 1992

Categories:

GENERAL NONFICTION

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NUTCRACKER

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

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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

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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

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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.