Everton profiles several Mayan families and follows their lives, in words and pictures, for twenty years. The results are compelling and the black and white photgraphy is stunning. He presents the changes that are taking place in their culture due to the demise of the hennequen and chicle industries and the rise of the tourism industry. The message is one of hope. The Maya have survived through thousands of years of change and they will continue to do so. Having met some of the people profiled in the book in person, I can tell you it is genuine in everyway. A must have for anyone interested in the Maya people and the survival of indigenous cultures!

This book is an excellent read. It provides great estimula for both mind and eyes. As I have lived and worked among poor Mayan peasants for many months, I have been suveying the market of books that describe the situation of the modern Maya of today. Who they are, how they live, how they think. This book shows you it all, without pretending to be an anthropological monograph.

The advantage of this book is that it does not try to submit its message to the reader in didactical terms. Instead, the photos and the accompanying essays elegantly unfold a series of descriptions, episodes and profound insights that together make it possible for the reader to grasp what Mayan life is like today, and how it evolved from the 1960's and 30 years ahead.

The "photo-essay" chosen by Everton as the form of presentation, is a brilliant choice. Everton, author and photographer, lets the reader see a series of facets of Mayan everyday life from the point of view of individual Mayan friends of Everton. The solidarity and love with which Everton shows us scenes from Mayan everyday life does not undermine the books credibility. All general conclusions are based on individual examples. The care for precision in details and the interest taken in describing the common episodes and daily chores of Mayan peasant life make it possible for us to get close to Everton's friends. I have not come across any other book that equals Evertons work in this respect.

Perhaps the greatest advantage of the book is the way it reveals to the reader how the book came to be. Already the ntroductory chapters pose the problem, how we should think about the concept of Mayan culture. It discusses how Mayas are usually portrayed in the Western world, and it contemplates how this idea can be refined.

Some 20 Mayan peoples of today are the descendants of the ancient Mayas who built the famous pyramid temples. But we must consider that the Mayas have a present and a future as well as a past. Otherwize, we will not be able to understand the dynamics of contemporary Mayan life, says the book. In this respect, the ever changing Mayan culture is just like any other human culture in history.

Everton's photo essays form a persuading defense of the value of what is called the "cultural diversity" of the world.

You will never look at photographs the same way again! This is the funniest book that I've read in a long, long time. This destroys the cliche that a picture is worth a thousand words... Author shows how a picture could represent an infinite number of words, situations and stories. Sit back and enjoy some grass roots philosophy from a cowboy poet that could be writing Ross Perot's speeches if Ross Perot weren't so uptight

"The Code of Kings" suffers from too much seriousness. The structure of the book relies on interpreting some main architectural achievements of the Mayan kings who commissioned them. That is, for most chapters a brief historical narrative is followed by a detailed description of the monumental group of interest and ends with an interpretation as to its relevance. The interpretations are good, and we can appreciate the great scholarly gifts of Linda Schele (in particular when the authors dispose of the Toltec Maya myths of Chichen Itza). We can even be moved at times such as when the authors talk of the Great Plaza of Waxaklahun-Ubah-K'Awil (this reviewer was happy to have read it a few days before going to Copan). However, this dense package might scare away a more casual reader of the Maya history. It also makes this book pretty useless to take along in your trip to Guatemala and Yucatan, unless you will have plenty of time to sit down under some trees and read while you visit. But if you have plenty of time to prepare for your trip, you definitely need to read it. And of course, it is a must in any serious book collection on the Maya.

This is not just an archeological study of some of the most important sites of the Maya world, it is an inmersion into Maya philosophy and art. I found it exciting how the book relates stories about the conflicts and conquests between the city states and their kings. Some of the new theories into the Toltec migration to Maya land are also very interesting and refreshing to read. I don't think this is a beginner book, at times it digs deep into Maya symbology and thinking, this could make it hard to follow if you're not familiar with some Maya history. Overall, like all of Schele's work, this is an excellent book.

As soon as I started reading "The Code Of The Kings" I knew that one thing was wrong with the book ...the title!. The title had make believe the book had something to do with glyphs in detail, Maya writing system description, the deciphering of such a system, etc. Instead I faced with ... Linda Schele's "A Forrest Of Kings", Part Two!. I loved "The Code Of The Kings" ... even when it wasn't what I had expected!

I noticed that the writing on the front flap of the book jacket claimed that the images are large format panographs. After taking a close look at the first few images on pages 1-10, I came to the conclusion that these are panographs taken in 135 format not the medium format of the 120 or 220 types. Everton's notes of camera and film on page 7 confirmed my assessment. It is interesting that he departed from the usual practice of his peers by choosing the colour negative film Fuji NHG II rather than its sibling, the transparency film, Fuji Velvia 50. Though it does not have the punchy colours and high contrast of Velvia, NHG II gives softer colours in highlights and more shadow details. With negative films, mastery in controlling exposure is only half of the accomplishment, mastery in making prints is essential for bringing the final image to the masses. Everton said he developed his prints in a rental lab. If so, his craft is well done. The contrast control of each image is good with no lost of colour saturation and shadow details, even for heavily overcast landscape such as the one on Lemhi Pass (p56). About half of the images was taken at a time when a storm was approaching. Some even have a clearly visible rain curtain (p33,49,62). The panograph of the Great Sand Dune Monument (p62) is a real visual treat. The land and sky were connected by a rain pillar over the sand dune on the right, illuminated by the emerging light. The highlighted strip of the desert floor formed the visual anchor for the reader, guiding my eyes to start the journey from the lower left-hand side of the image then wander into the distant storm-covered horizon. The smoothness of the dunes form a visual contrast to the roughness of the storm clouds above. It is rare to see a rainstorm in a sandy desert let alone under such magical lighting. Capturing fleeing moments like this calls for great patience and skill on the photographer's part. The panograph of Lower Geyser Basin is my second favourite (p49). The steam pillar jetted out of the geyser is the force within the deep earth whereas the heaven is owned by the menacing storm dumping torrents of rain from above. I couldn't stop asking if this image was taken on Planet Earth or near Mount Doom of Middle Earth in Tokkien's fantasy. My other favourite is the panograph of the Lower Calf Creek Falls (p72). Here stillness and transquility was interrupted by the gushing waterfall. The branches of the two trees at the foreground formed a perfect arch that frames the waterfall. This is a stage built by Nature where we are invited to sit in front and be immersed in the sound of moving waters.
The map next to Everton's preface showed not only the places where the images were taken but confirmed the warning that American wilderness is an endangered specie. The rest of the writings is simply an eloquent elaboration of this urgent issue. This book is another quality publication from Abrams Inc. I give it four out of five stars.

This book deserves more than five stars for the unmatched color panoramas of the most picturesque horizons in the western United States.

You could visit these sites for twenty years and not see actual scenes as luscious as these. Whether you know the West or think you would like to, I suggest that you start with this remarkable book. This is the West as you've never seen it . . . but could. The wonderful photography is nicely complemented by the essays that provide geological and historical perspectives on the scenes portrayed here.

The photography is all done in 148 or 150 degree large format color panoramas. This perspective approximates what the human eyes can see, including peripheral vision. As a result, these images give you a remarkable sense of being present that is almost impossible to obtain in a book.

The reproduction quality is amazingly good, and the lighting and tones vary wonderfully from one outstanding photograph to the next. Almost all are displayed over an entire wide panorama-sized page, and many extend over parts of two such pages.

The feeling is so ethereal that it evokes the same sense of natural wonder that looking at paintings by the Hudson River School creates. There are in fact some parallels, as a few scenes include tiny people or animals in the foreground.

The book is divided into sections showing the Great Plains, the Rocky Mountains, the Colorado Plateau, the Cascade range, the Pacific Northwest, and California. Although I have traveled extensively in the West for over 40 years, more than half of these scenes were new to me. I can see that I have many wonderful trips ahead of me to visit these locales, now that I know how gorgeous they are.

Here is a list of the sites:

Sand Hills, Nebraska

Badlands National Park, South Dakota

Theodore Roosevelt National Park

Montana Prairie

Breaks of the Missouri

Yellowstone National Park, Wyoming

Waterton/Glacier International Peace Park, Montana

Lemhi Pass, Montana

Mores Creek, Idaho

Aspen, Colorado

Great Sand Dunes National Monument, Colorado

Grand Canyon, Arizona

Grand Staircase -- Escalante National Monument, Utah

Ghost Ranch, New Mexico

Painted Desert and Petrified Forest National Park, Arizona

Monument Valley Tribal Park, Arizona/Utah

Wupatki National National Monument, Arizona

Mount St. Helens

Crater Lake, Oregon

Mount Shasta, California

Oregon Coast

Big Sur, California

Santa Catalina, California

Yosemite, California

Mono Lake, California

Joshua Tree National Park, California

Death Valley, California

The text connects these boundless images to "a West of unlimited horizons" and the work of Turner in developing his frontier theory of the role of the West in stimulating American imagination and initiative. Even today, the book argues that the "unconstrained Western horizon" is important to our sense of taking on the new challenges of modern society.

Everyone who sees these photographs will agree that it would be horrible if these sights were ever to be spoiled. We are fortunate that government policy began to preserve these lands beginning in the 19th century. With today's challenges of pollution and visitors, perhaps even more will have to be done.

Reading and looking at this book is a spiritual journey, not unlike a peaceful meditation. If your spirit is troubled at all, I suggest this book as a balm that you can always use to ease your discomfort.

Live with beauty!

Wow. What a wonderful book that amazes me, everytime I open the cover. Everton seems to have complete control over the dynamics range in all of his photographs. Dark clouds yield to lighter, fluffy clouds, down to a light horizon, and a rich, dark lower 1/3 of these exposures. Add to this control his use of a tool that has limitations, at Noblex 150 panoramic camera.

Everton also captures locations that have already been widely photographed before, but with his own signature. He adds a new face to Calf Creek Falls in Utah. A must have book for your table.

I have to admit I didn't get more than halfway through this one - no way is this written for inquiring minds who aren't already versed in Mayan lore.

The book seems to describe the authors' discovery and fleshing-out of a new theory about how the Maya interpreted the stars. Apparently their creation story was all written up in the sky and, as the stars and planets moved, episodes in the creation were cyclically reinacted. This is not described very straight-forwardly, though, and I'm still not sure if I've got it right.

There is an attempt to make the whole thing read like a mystery novel, sort of a la "Celestine Prophesy": the book starts out describing the eager young scientists mixing with the wise tribals in an ancient ceremony. Later, for several chapters, one of the authors is quoted at length about how she discovered some commonality amongst various artifacts and codices which backed up some hypothesis, and which I entirely lost sight of by the end. She kept calling up friends and friends kept calling her up until I thought I was watching a Gidget movie. All the authors come off a little too New-Age loopy for me, adding lots of little asides praising the aboriginal and putting down the modern, and talking about how their life has been changed by their discoveries. But then, my confusion with all that Jaguar-3-Peccary-Holy-Twins-Tree-of-Life stuff may have made me just a bit grouchy.

At any rate, my point is, all the reviews on this page (except the very good Kirkus one) make the book sound like an easy read, which it isn't. It's a delineation of a hypothesis with some adventure stuff thrown in for better surface marketability. The result is, to me, confusing. Granted, it's not an easy subject, but that makes clear writing all the more important, especially if you're writing for mass consumption. Better to start out with one of Michael Coe's books and go from there.

As a person who has traveled in places where the modern Maya live--Honduras, Guatemala, and Mexico--and who has taken the trouble to get to know what the history and culture of these admirable people is really like, I have always been appalled at the number of books that claim to be about "Maya shamanism," but are really just New Age claptrap. While it is true that MAYA COSMOS does not read like a mass-market paperback, it is one of the most heartfelt, well-researched, and stunning books on the Maya that I have ever read. If you want the REAL story on who the Maya are and how their spiritual and cultural beliefs have evolved over the last 5,000 years, this is the book for you. Yes, there is some scientific data and research here, but I would rather a thousand times read that than the silly cultural misinformation written by dozens of New Age authors who project their own interpretations onto the art and the cities without even being able to read the very texts they are claiming to understand. The late Linda Schele was one of the five major figures who was responsible for cracking the code of the Maya language. As an art historian, she was well versed in the complex and fascinating symbolism of Maya culture. David Freidel has been a brilliant Maya archaeologist for over 25 years, and first became involved with the culture because of his interest in shamanism. Joy Parker, who, by the way, was the ghost-co-author of A FOREST OF KINGS (check out the Acknowledgements and the Forward where her work is credited) has spent over a dozen years working with the modern Maya (most recently, as an editor of Maya shaman Martin Prechtel's SECRETS OF THE TALKING JAGUAR and LONG LIFE, HONEY IN THE HEART) and with other indigenous cultures such as the North Native Americans (check out her book WOMAN WHO GLOWS IN THE DARK) and African cultures, so she brings a special personal interest and flair to this project. The first-person stories told in this book are priceless. I spent as many pleasurable hours reading it as I did the authors' first effort A FOREST OF KINGS. If you truly want to learn about the history of the Maya, the tragedy of the Spanish conquest, and how the modern Maya find the strength to endure, this is the book for you.

The authors present Mayan archeoastronomy in a very readable and absorbable form. Compare the astronomy/astrology/ myths and stories of the Maya to other cultures of which you are aware, and you will see that this book presents a valuable contribution to world archeoastonomy.