Release Date: March 21, 2023 Get Speechify to make any book an audiobook
This is a graphic novel-style biography of Felix Manz, a Protestant (Anabaptist) reformer from Zurich during the sixteenth century. Manz and his compatriots had a few beefs with the Catholic church, broadly classified. The first (and most religious / doctrinal) grievance was with respect to how the Church handled baptisms; specifically, infant baptism prevented baptism from being a free choice for the baptized. The second set of grievances involved the priesthood and how priests were moved around at the convenience of the Church and how much money they cost the citizenry. (i.e. They wanted local priests and not to be forced to pay a lot of overhead.) The third complaint was more an entire slate of complaints about resources. In that era, Swiss commoners couldn’t just go hunting in the woods or chop firewood as they needed because the land was under the ownership of the powers that be.
The story of Manz and his followers is intriguing, if one is interested in history. It’s kind of a strange topic to read in comic book form, but as history can be tedious in historical / biographic tomes, this makes for a quick and painless way to take in the story. There are a couple points where the book seems to shift into hagiographic territory (i.e. being difficult to swallow for the non-believer.)
The art is clear and neatly rendered, but I wondered how time-accurate it is. Maybe it is, but the inside of the houses looked pretty much like today (e.g. curtains and furnishings) and I found myself wondering whether its anachronistic or not. Ultimately, I have to give the artist the benefit of the doubt as I know virtually nothing about how Swiss commoners lived in the 1500’s. At the end of the book, there are some appendices that provide more information in prose text.
If you’re interested in European and / or Religious History, you may want to read this book.
It’s a daunting task to provide a flyover of such a fruitful mythological tradition, one that spanned thousands of years. This book does a mixed job of it. When it’s good – it’s exceptional, and when it’s not – it’s not. One can’t fault a book with this one’s editorial mandate for not being comprehensive. However, one can fault it for not using the little space available in the best manner. The book spends too much time discussing art and artifacts, and (to a less objectionable degree) history. I say “to a less objectionable degree” not because there was less space devoted to history but because having some historical and anthropological background is of benefit to understanding a culture’s stories [more so than knowing about their material possessions.] Until I got to chapter three, I thought the book might have been mistitled and should have been “Egyptology: A Very Short Introduction” because it was such a broad discussion of Egypt and its artifacts.
That said, in chapter three, the book does an excellent job of reviewing the gods of Egyptian Mythology. Thereafter, it meanders back and forth between being an excellent introduction to Egyptian Mythology and a rambling discussion of things Egypt. There’s a fascinating presentation of the conflict between Horus and Seth, but most of the discussion of myths are short summations (often one-liners.)
I don’t have any basis for comparison, and, therefore, couldn’t tell you if there is a better introductory guide to Egyptian Myth. That said, it does a good job of presenting an outline of the subject, but expect to spend a fair amount of time reading about subjects that are, at best, tangential to the stories of ancient Egypt.
The astronomer Francesco Sizzi
worked himself into a tizzy:
"More rocks in space?
There're seven holes in a face!
Pssh! Galileo calls himself scientist, but is he?"
Note: When Galileo suggested Jupiter had moons, Sizzi summarily rejected the idea based on the “rationale” that there couldn’t be more than seven natural satellites because there are seven holes in a mammal’s head, seven days in a week, and [somehow] seven metals… ergo, seven astronomical bodies, maximum.
Like – I suspect – most of humanity, I’m a big fan of Shakespeare’s work, but I’m also not alone in feeling that I’ve missed a some of the depth and texture of his plays. Both language and the body of common / popular knowledge have evolved and migrated tremendously since the Elizabethan era. This makes a market for books that offer insight into the age and the role that the beliefs, norms, and daily life played in Shakespeare’s theatrical works. This book is one such work. It focuses on the role supernatural beings and various festivals play in the Shakespearean canon and why they do so.
Conceptions of the supernatural may be one of the areas in which human beliefs have changed most severely since Shakespeare’s day. The book has chapters on witches, ghosts, fairies, and enchanted forests that are interspersed among chapters that deal with various seasonal festivals of Pagan origin. I did find this leapfrogging around a bit odd, but I would speculate two possible reasons for it. First, the author may have wanted to build cyclicality into the overall organization, and thus put beings and creatures that seemed thematically related to a season near its festivals. Second, it may have seemed like a good idea to break up the festivals because that discussion could have felt tedious to a general reader if it’d been clumped together (as opposed to the “sexier” topics of witches and ghosts and the like.) This organization didn’t bother me; it just seemed a bit strange, but I could imagine it being for the best.
I learned a great deal from this book, and my newly gained knowledge wasn’t all about the supernatural elements of Shakespeare. The author dropped some fascinating facts regarding other domains as well – such as Elizabethan sexuality and lifestyles as well as biographical facts about Shakespeare. If you’re looking to expand your understanding of background information relevant to Shakespeare’s plays, this book is worth looking into.