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Finally, a rehab center opens in her town. Sally's parents move closer to the center so Sally can live at home. Her father flies her back and works like a soldier helping Sally to feel integrated into her rather large family.
Sally has an older, bossy sister named Mindy, a brother close in age named Kent and a sister in kindergarten named Meg. She gets to know Meg because Meg was the sibling she spent the least amount of time with due to her years in America.
Sally's father is truly a rare gem. He is clearly a very intelligent and articulate man and he provides intelligent explanations for things. For example, when Sally, understandably fearful of starting out in public school asks why she was sent out of the country in the first place, her mother flares up. That was needless. Sally needed sympathy and a good explanation, which her father provided. He told her that at Meg's age, Sally could neither speak clearly nor feed herself; she could not walk; she could not dress herself. He summed it up nicely by saying that he thought she would want to do these things for herself. He was truly a delightful character.
Once enrolled in public school, Sally makes friends with classmates Jon and Elsje Jansen and another girl who immediately takes her under her wing. Sally learns that Elsje's brother Pieter had a heart condition that precluded him from attending school for a year. Nursed at home, Pieter nurses a grudge against his illness and insists on only speaking Dutch, thus further isolating himself. It is Sally, his sister and his friends who get Pieter to leave his self-imposed shell to help them with their dog training project.
This is a wonderful book that I have loved since I was a little girl. I even have a well loved copy. It is a real treasure.
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Battles has an excellent grasp on the content of the institutes. He takes, in order, every book, section, and paragraph and explains the content of it in a concise way. The book is in outline form and can readily be used as a systematic theology--even though the institutes are not technically a systematic theology.
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In THE SHAMANS OF PREHISTORY, Jean Clottes and David Lewis-Williams put forth their interpretation of the meaning of Paleolithic cave art. Clottes is currently investigating Chauvet and Lewis Williams is a professor of cognitive archeology affiliated with the University of Whitwatersrand in South Africa.
During the last Ice Age, Paleolithic humans gathered in the warmer parts of the European continent in what is today southern France and northern Portugal and Spain, along with large numbers of animals including horses, bison, deer, aurochs, and others. For some reason, these humans felt compelled to depict some of these animals in "parietal" or cave art. The discovery of this art has launched much speculation.
Early on, experts suggested that the cave art was "art for art's sake" (posited by anti-church scientists who could not accept any religious connection). Most recently, experts in Structuralism have suggested binary patterns underlie the meaning of the art, but these patterns are so general as to be unhelpful.
The most persistent interpretation of the art during the past 100 years has been that it was created in conjunction with sympathetic magic rituals used to increase the size of herds of animals hunters stalked. But this interpretation has many flaws. For one thing, the area surrounding the caves was brimming with game at the time the art was created. For another, many of the animals consumed by Paleolithic humans were not depicted (fish, birds, boars, for example). For another, horses outnumber other beasts pictured, and although they were sometimes consumed by humans, the bones left behind in various camp sites indicate horses were not at the top of the menu. Other problems with the "hunter" interpretation lie in the actual depiction of the animals-spears and arrows are often placed at odd angles for killing; animals are placed at odd angles for living or dying; animals appear to be more alive than dead; pregnant females are seldom shown--and last but not least, some of the animals are predators themselves. Naturalists that they were, Paleolithic folks certainly understood the source of baby animals and they certainly would not have wished to increase the numbers of their competitors.
Clottes and Lewis-Williams propose another interpretation of the cave art -- Shamanism. The term Shaman is taken from the Siberian word Tungus-the name of one who goes into a trance and has visions. All humans are capable of entering a trance or "altered state" and cultures around the world exhibit variations of Shamanism -- including many orthodox Western religions. Some enter a trance via drugs (wine, peyote, etc.), others engage in ritual behavior (chants, songs, and/or dancing). Shamanic trances produce out-of-body experiences involving various apparitions which may or may not be rendered into art forms.
I found the authors arguments concerning Shamanism persuasive and logical. The evidence they offer to support their thesis is excellent (many colorful photos). Their interpretation is helpful while not overreaching. Probably the most important aspect they stress is that while there is much diversity in cave art, a pattern is present. Best of all from my perspective, this thesis is gender and age neutral. Whatever Paleolithic humans did, women probably took part. This is a beautiful Abrams art book.
'The trees were lashed into a violent frenzy. Meg screamed and clutched at Calvin, and Mrs. Which's authoritative voice called out, "Qquiett chilldd."
Did a shadow fall across the moon, or did the moon simply go out, extinguished as abruptly and completely as a candle? There was still the sound of leaves, a terrified, terrifying rushing. All light was gone. Darkness was complete. Suddenly the wind was gone, and all sound. Meg felt that Calvin was being torn from her. When she reached for him, her fingers touched nothing.
She screamed out, "Charles!" and whether it was to help him or for him to help her, she did not know. The word was flung back down her throat and she choked on it.
She was completely alone.'
To find out what happens to Meg, you will have to read this book. First, you can get a brief preview of its exciting, unforgettable climax.
'With an immense effort she tried to breathe against the rhythm of IT. But IT's power was too strong. Each time she managed to take a breath out of rhythm an iron hand seemed to squeeze her heart and lungs.
Then she remembered that when they had been standing before the man with the red eyes, and the man with the red eyes had been intoning the multiplication table at them, Charles Wallace had fought against his power by shouting out nursery rhymes, and Calvin by the Gettysburg Address.
"Georgie, porgie, pudding and pie," she yelled. "Kissed the girls and made them cry."
That was no good. It was too easy for nursery rhymes to fall into the rhythm of IT.
She didn't know the Gettysburg Address. How did the Declaration of Independence begin? She had memorized it only that winter, not because she was required to at school, but simply because she liked it.
"We hold these truths to be self-evident!" she shouted, "that all men are created equal, that they are endowed by their creator with certain unalienable rights, that among these are life, liberty, and the pursuit of happiness."
As she cried out the words she felt a mind moving in on her own, felt IT seizing, squeezing her brain. Then she realized that Charles Wallace was speaking, or being spoken through by IT.
"But that's exactly what we have on Camazotz. Complete equality. Everybody exactly alike."'
To find out what happens to Meg and her friends in the exciting resolution, I recommend that you read this imaginative novel, A Wrinkle in Time, by Madeleine L'Engle.