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Now, many years since his doctoral work was completed at Stony Brook University, Gruber has written a journal of his experiences as a student of anthropology and a Benedictine monk in a world in which the secular and spiritual are deeply intertwined. The book, Journey Back to Eden: My Life and Times among the Desert Fathers (Orbis: New York, 2002), offers readers an insight into the daily lives of the Coptic monks, Coptic Christians and the world in which they live, a world which is largely Arab and Islamic. It is an affectionate portrait, full of profound respect for the Coptic church.
Father Gruber's journal of his year with the Copts cannot be called a travelogue of the trials and tribulations of a young American student in Egypt. Throughout his day-to-day activities and frustrations lies a deeper insight into the people of a world in which all things are influenced by the spiritual. In the early days of his journey, for example, he tells of building a sand castle on a beach. Father Gruber is accosted by some young Muslim boys who accuse him of spreading Christianity in Egypt, mistaking his sand castle for a church. Egypt is truly a place of discovery, Gruber says, " ... seeing the character of these people and how deeply their religious concerns and issues preoccupy them and how they tend to interpret everything they experience through the prism of their faith. In seconds, the boys kicked down the towers of my castles and ran away ... triumphant or afraid?"
He also learns with some amazement of the Copts' respect for monks and priests, and he marvels at finding himself standing in churches using a handcross on lines of pilgrims who approach for blessings. On another occasion, he is baffled by an encounter with two Muslim brothers who, thinking there is a bad spirit in their house after their father's death, ask Father Gruber to bless the house. When he expresses his puzzlement, they respond that this is perfectly acceptable, and he should not fear any problems would persist. He is told not to interpret this as a secret vote of confidence from the Moslems. A friend tells him Moslems rationalize that the Muslim sheik is dealing with God directly and "if you want to resolve a problem with evil spirits, you need someone whose religion is of a lesser sort."
While the book can easily be read as a journal from beginning to end, its daily entries lend themselves to being read individually as spiritual and cultural reflections on an ancient people who can offer insights to modern Western man. Father Gruber's conversations with the monks lead to his understanding of the sense of humility and charity of the desert monks. His travels to 12 Coptic monasteries in the Egyptian desert describe monastic lifestyles steeped in silence, prayer and an austere existence devoid of any modern conveniences. At the same time, the monasteries, defined in many ways by climate and geography, are built on a deep sense of community. How is it that in a world of every modern convenience, where geography and climate play little role in movement and lifestyle, most Westerners remain isolated?
As Father Gruber prepared to leave Egypt, he realized how intensely he was affected by the Copts of Egypt. Thus, this is essentially a book about a deeply spiritual pilgrimage and the profound impact it had on one man's life. The afterword strikes a note of longing to remain in Egypt tempered with a desire to return to America. "I shall only manage to return to the world from which I came if I consider myself a bearer of the desert harvest.... My eyes will be turning backward, even as I had once looked forward to a future horizon before I came here."
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This was a great 2nd book for Marks. As a bachelor for years, Marks provided me with many simple recipes in his initial epic instructional, "No More Mac and Cheese". The gazpacho soup recipe was my favorite, so easy I could throw it together in the back of my Vanagon or in the comfort of my PE office---although the aroma never overcame the jocks in the locker room!! Every meal was always finished off with a nice couple of jars, usually the ones left over from the glandular kids who got only 0+ on the pullup bar (apologies to Otis). I look forward to more from Marks.
Dr. C. is great at explaining simple ways of bringing up and disciplining kids. For instance, he says "catch 'em being good." My heart just breaks when I see a child trying to please a parent who doesn't notice or reward the child with a few kind words or a moment's attention. Dr. C. also explains how to adjust your methods to the age of the child--for example, don't lecture a 2 year old about the benefits of not crossing streets, because she's not old enough yet to understand the lecture. But best of all, his methods make sense. There's no psychobable. There's no guilt. His techniques are easy to remember, don't hurt children, and they work like magic. I just wish more parents used them (especially when I'm in a busy grocery store or on a crowded airplane).
Reviewed by Randall Dean Marshall, MD
Director of Trauma Studies and Services
New York State Psychiatric Institute
Associate Professor of Clinical Psychology
Columbia University College of Physicians and Surgeons
Jason Marks has written an accurate and thoughtful memorial to the many Vietnam Veterans who continue to suffer from the hellishness of war, and the humiliation of their homecoming. His story could not be more serendipitously timely. He gives life to the great loneliness that veterans have felt in a civilian world and, more tragically, among the politically and bureaucratically fragmented subculture of Vietnam veterans since the war.
He shows how the power of the past and the depth of shame that connects us to the loved and dead cannot be underestimated; in fact, if one's story is desperately in need of telling, the willful silencing of it can determine the course of one's life. The great gulf between what we expect of ourselves -- i.e., courage and heroism -- and what we actually do in the chaos of battle can become an emptiness that simple forgiveness or religious exoneration cannot fill. He shows how guilt can become the primary emotional connection between the living and the dead, and how difficult it is to find a more livable way of honoring the lost. But most importantly, Mr. Marks reminds us that great literature can play a profound, transformative, even lifesaving part in soothing human unhappiness that springs from the dissatisfaction that moral people feel with themselves.
Acceptance of human frailty -- and Chaucer's genius was its portrayal -- can be mysteriously difficult, and profoundly liberating. The descending wisdom of the lost owl, at the end, speaks for itself.
I was moved to contemplation of these universal questions -- especially since Spetember 11, 2001 -- by reading Looking for Canterbury.
As Looking for Canterbury begins, Vietnam veteran Harry Baylor and six war-scarred friends have lost control of their lives. Tormented by emotional demons spawned by horrific experiences in Vietnam, they have battled for years to purge the visions that haunt them and move on with their lives. Conventional therapy hasn't worked and they're quickly realizing that their homegrown support group is proving futile as well. Their destinies seem clear; they will endure mental torture for the rest of their lives. That is unless Harry Baylor has anything to say about it.
Armed with half his life savings to finance his plan, Baylor, an enthusiastic fan of Geoffrey Chaucer, proposes that the group recreate the story-telling journey detailed in the poet's Canterbury Tales in New York's Central Park, essentially transforming them from a troop of soldiers to a troupe of actors. The challenge for each of them is to tell a tale that will distract the others from their worries. The only rule: the stories can have nothing to do with Vietnam. Sounds easy, but it proves more difficult - and dangerous - than they had ever imagined. As the trip progresses, the group comes to the painful realization that the demons they hoped to leave behind have, in fact, come along to spoil the ride. The mental reprieve they desperately need is in jeopardy, but they're not giving up. They've got nothing to lose but the remains of their sanity.
Looking for Canterbury takes readers on a thrilling, sometimes painful, adventure into the human psyche. Thanks to Marks' profound ability to engage readers in the lives of his characters, you find yourself experiencing first-hand the acute emotions that surface during their journey. Filled with expertly crafted hairpin turns, Looking for Canterbury keeps you wonderfully off balance. Within pages, you find yourself laughing at a humorous tale, shocked by an unexpected emotional breakdown, anxiously anticipating a character's complete disintegration, then laughing again as you're suddenly pulled back from the edge of emotional chaos. Just as Canterbury's characters, you will find yourself enjoying a leisurely stroll through the park basking in rich scenery and heartwarming comradery while simultaneously running a mental race against the subconscious at breakneck speed.
With its complex characters, fascinating literary allusion, rich description and gripping psychological insight, Marks' Looking for Canterbury is a 21st century classic, one you won't want to miss.
I don't agree that this work reveals Van Gogh as a writer. For me, they definitely confirmed his status as a painter. At his best in these letters, he's painting with words.
Which doesn't make it a less interesting read. I found this a good adjunct to taking a look at the work again, it added an extra dimension to experiencing him as a painter.
Well worth the time it takes.
De Leeuw has compiled letters covering over 25 years of Van Gogh's life, letters that offer the reader an intimate look into the artist's thoughts and emotions. He writes about his friendships, his family, his attempts at love affairs, his religious beliefs and questions, and most importantly, about his art. These letters reveal him as anything but the anti-social person often portrayed in the past, with the ones about his relationship with his brother Theo being particularly touching.
Van Gogh was a prolific correspondent and an absolutely wonderful writer. His prose is remarkable--he could have been a writer as well as an artist. These letters shed light on the inner thoughts and the inspiration for his art and show him as a person of great passion and compassion.
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The first chapter tackles the psychological: several compassionate stories are offered that make the complexities of mourning seem more "normal." These men and women got through it, and thus, so can you. The rest of the chapters cover financial issues, taxes, social security, and so on, including some thoughts about funeral arrangements.
Written by experts in their fields, these chapters offer up-to-date information and provide an excellent starting point for getting back on one's feet. An extensive Directory of Resources is valuable in itself.
Isabel: Taking Wing has about 180 pages and 12 chapters. Though the book was hard to get into at first, it became very exciting after the first few chapters. In addition to the story, the author put a section in the back of the book that tells what the women wore, as well as historical facts and pictures about Queen Elizabeth I and Shakespeare's theater. This book comes with a colorful Isabel bookmark where you can keep your place in the book.
This book has a very colorful picture of Isabel on the front, but no pictures while you are reading the story. I don't like that about the book. But I do like how the author wrote the book in first person, where you can feel what Isabel felt. She really described Isabel's thoughts and dreams in an exciting, fun to read way. I love the way the author filled this book with happy, sad and exciting times that Isabel experienced in her life.
Isabel is a 12-year-old girl growing up in a wealthy house in London. The author tells how Isabel grows tired of endless chores to prepare her for being a lady. So she sneaks out to see a Shakespeare play, but she is found out and banished to live at her aunt's house in the countryside. On the way there she is attacked by thieves. They leave her unharmed, but lost and alone. She then joins a band of actors, disguised as a boy, and finally gets a taste of the freedom she longs for. But it is not the freedom she imagined it to be. By the end of the book, though, she is reunited with her family, and discovers what freedom really means.
This book has many historical details, as well as good humor. It tells how women were expected to run the household and men to earn the money, like trading overseas that was Isabel's father's job. As Isabel bluntly put it, "Women must stay indoors, sewing stitches so fine that no one will ever see them. Our work is only visible if we do it badly. But men's work is very visible if you do it wisely." Isabel also says, "Girls must always be good and stay at home. But when you are a boy the world can be your home."
Isabel longs for adventure, and finds it in this book, and you will too!