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Saigher McGrail is large and gentle. He is a Chicago Renaissance man in more ways than one. He lost his wife, Katrina, in a plane crash that should have also taken him. But he was sent back. He gives an interesting description of his "near-death" experience in the hospital on the night of the crash:
"Kat had also given up possession of her body. I instantly knew it. I passed through a nurse attending to Kat. Saw the nametag on the nurse's gown, Emily. She shuddered and screamed when I went inside her. I saw her leg go of the defibrillator's paddles she held for the doctor who wanted to restart Kat's stilled heart. The surgeon masks on the faces circling Kat were all moving at once. But their voices were of the physical world, where the only thing of interest to me was Kat's lifeless body. Kat's spirit was gone. Waiting for me at the chapel."
Saigher abandon's his prior calling as a clinical psychologist to start his own business, RecoveryTravel.com as a guide for people who's lives have been derailed by trauma. His client, for this tale's purposes, is Dr. Leslie Pollitte, Director of a joint university and hospital sponsored Xenotransplantation Research Program run by Minnesota University and the IGH (Inver Grove Heights) Medical Center. Her problem is that she knows there is something wrong with the research, but doesn't have the courage to track the problem herself.
Saigher, and his personal guardian angel he calls First Clue fly into danger to uncover a trail of deceit and mishandling of genetic material that is affecting the population. It is the old tale of science being compromised by financial gain. Not only does Mr. Ruark disseminate details of the coverup in an entertaining and understandable arena, he makes us laugh with Saigher's nonconformist speech, ideas and mannerisms. First Clue is a enjoyable ride, and Saigher is a hero who confuses, tantalizes, and makes us laugh.
Shelley Glodowski, Reviewer
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I currently have three anthologies of Sumerian-Akkadian literature on my shelves: Stephanie Dalley's 'Myths from Mesopotamia' (1989), Thorkild Jacobsen's 'The Harps That Once' (1987), and the present book. All three are by specialists and are designed for the general reader; all, within the limits of their shared conventional viewpoint, are excellent; and anyone with a serious interest in this remote and fascinating literature will want to have all three.
Of the three, Dalley's is the most 'technical' translation, in the sense that it has far more extensive footnotes, and that it wisely prefers to retain original terms such as "Kurnugi" (page 155), instead of offering essentially misleading equivalents such as "Netherworld" (Foster, page 78) or "Hades" (Jacobsen, page 207 ff). Her translations also seem to me to be the most vigorous, but that's just a personal feeling, and all three of these tranlations are wonderfully readable.
Foster tells us that the present book is "a selection, rearrangement, and abridgement of 'Before the Muses, An Anthology of Akkadian Literature' (Bethseda, MD : CDL Press, 1993)" (page vii). His substantial anthology is organized as follows : 1. Gods and Their Deeds; 2. Kings and Their Deeds; 3. Divine Speech; 4. Hymns and Prayers; 5. Sorrow and Suffering; 6. Love and Sex; 7. Stories and Humor; 8. Wisdom; 9. Magic Spells.
As is the case with the Dalley and Jacobsen anthologies, all texts have been provided with their own brief introductions, and all gaps and losses of text in the original tablets have been indicated in the translations, though Foster's texts are much more lightly annotated. His book opens with a short 8-page Introduction, and is rounded out with a Glossary of Proper Names, but lacks both a Bibliography and an Index.
The book has clearly been designed as a reader's edition, with minimal impedimenta in the way of notes and so on that might interfere with the reader's enjoyment of the texts. Foster tells us that those who want to learn more about these texts, or to read further in Akkadian Literature, should consult his much fuller 2-volume work, 'Before the Muses.'
The book is well-printed on excellent paper in a large clear font that might have been a bit heavier, is bound in glossy wrappers, and has one of those abominable glued spines that crack when opened. I wonder what happened to stitching?
Here, as a brief example of Foster's style, are the opening lines of his 'When Ishtar [i.e., Inanna] Went to the Netherworld,' with my obliques added to indicate line breaks :
"To the netherworld, land of n[o return], / Ishtar, daughter of Sin, [set] her mind. / Indeed, the daughter of Sin did set her mind / To the gloomy house, seat of the ne[therworld], / To the house which none leaves who enters, / To the road whose journey has no return, / To the house whose entrants are bereft of light..." (page 78).
Those with access to the Dalley and Jacobsen will find it interesting to compare Foster's version with theirs. His rhythms seem a little more stately and relaxed, a little less vigorous, and he seems less sparing of words. But, as I've indicated, all three books, though differing in flavor, are intensely readable, and we should be grateful to Professors Dalley, Jacobsen, and Foster, for the enormous labors which must have gone into them.
What I said in my review of Jacobsen applies equally here. The limits of Foster's book are the limits of the official point-of-view. Within these limits his book becomes a labor of love, a wonderfully readable literary treatment of some of the world's most ancient, fascinating and beautiful literature by a noted authority, and one that can be strongly recommended to all sensitive readers.
Readers, however, shouldn't take Foster as gospel but as something vastly more interesting, since what Ishtar/Inanna may well have been visiting was not the "Netherworld" but the mines of Africa. But to understand this you'll have to read linguist and scholar Zechariah Sitchin's 'The 12th Planet.' Only he provides a framework in which all becomes intelligible.
Foster provides an introduction to each piece, and to sections of the longer pieces. There are gaps in most narratives, and Foster notes them. He also provides footnotes explaining the more obscure points and allusions, as well as some issues with translations. At points, it is less than a leisurely read, but Foster seems determined to present the material in plain but telling language.
I have quoted often from the book and return to it frequently. One piece, an elegy for a woman who died in childbirth, has always moved me. It is told from the point of view of the dead woman. After remembering a happy life with her husband, she says that the day she went into labor, her face "grew overcast." Despite her pleas and the pleas of her husband to Belet-illi, the goddess of childbirth, "shrouded her face" She concludes:
[All... ] those days I was with my husband,
While I lived with him who was my lover,
Death was creeping stealthily into my bedroom,
It forced my from my house,
It cut me off from my lover,
It set my foot toward the land from which I shall not return.
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Even though it is long for a picture book, A Gift From Papa Diego can be read aloud by an adult in as little as 20 minutes. If your story time is shorter than that, breaking it into segments is easy. There are several logical stopping places that provide suspense for the next reading session. A wonderful story and excellent bilingual text in side-by-side format!
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