Reviews

Viewed through this adjusted lens,

the

Icons from Sinai

begin to speak to

the heart of the visitor. The first section

of the exhibit displays the icons as holy

objects. Almost all icons are left

unsigned, because icons are never

about the artist, but the holy. The

anonymity of the works frees

viewers

focus

on the images themselves.

Most

are laden with gold, which in

the

language of icons symbolizes

condensed light, and their

colors are rich and jewel-toned.

The

second section examines the role

of the

icon in prayer and liturgical rites.

It includes a hammered silver chalice

inscribed with “Thine own of thine own

we offer Thee, O Lord.” Dating from

527-565, it causes one to ponder how

many thousands of the faithful have

touched

its rim to their lips and sipped

the Holy Eucharist.

The exhibition closes with a

look at St. Catherine’s Monastery

as the pilgrimage

site it has been for

Christians, Jews and Muslims for well

over a millennium.

Book Review by Rabbi Larry Goldmark

Temple Beth Ohr, La Mirada, CA

American Mania

By Dr. Peter C. Whybrow

Reprinted with permission

Recently I read a fascinating book entitled,

“American Mania: When More is Not Enough”

Dr. Peter C. Whybrow, the director of the

Neuro-psychiatric Institute at UCLA. The book

is an

account of the stress, overwork and

rampant dissatisfaction permeating modern

America. Dr. Whybrow brings fresh insights from

the fields of psychiatry, anthropology, economics,

neurobiology and genetics to give the reader an

understanding

of why the increasing unraveling

of our familial and social networks is making us sick.

Of the many topics that Dr. Whybrow addres-

ses in his book, I would like to deal with...

(continued on page 2)

Book Review by Lisa Bowman

The Victory of Reason:

How Christianity Led to

Freedom, Capitalism,

and Western Civilization

by Rodney Stark

Random House 2005

“Faith in

reason is the most significant feature

Western Civilization.”

So writes Rodney Stark on page 105 of

e Victory

of Reason

. His assertion is much less startling than

his thesis of the mainspring source of that

era's

faith

reason: the pre

Protestant Reformation Church.

The fact

that the concept seems

revolutionary

can

attributed to the manner in

which the years

between

the fall of Rome and until

about the 15th

century in

Europe consistently have

been portrayed

over

the

past several hundred years.

Consider the

fact that

the historic period frequently

referred to

as the

Dark Ages, and that the period

immediately

following

is called the Renaissance, or

rebirth. The

imagery

couldn’t be clearer.

But

Stark

charges head-

first into

exploding this

myth:

“The

idea that Europe fell into the Dark Ages is a

hoax

originated by antireligious, and bitterly anti-

Catholic,

eighteenth-century intellectuals who were...

(continued on page 2)

Website Review by Patty Johnson

Monastic Interreligious Dialogue:

Those looking for further evidence of inter-

religious dialogue and the fruits of that dialogue

would do well to explore this site:

http://www.monasticdialog.com

Sponsored by North American Benedictine

and Cistercian Monasteries

of Men and Women,

it includes recent news stories and upcoming

events relating to interreligious dialogue.

Contrasted with The Religion Network,

it lacks a

more accessible approach to spiritual writings,

daily prayer and the contributions of

local faith

practitioners.

The strength of the Monastic Interreligious

Dialogue site is its comprehensive links, which

include a

brief description of each site. Also

be applauded is the Bulletin archive which

includes

full text articles detailing interreligious

events and

reviews of interreligious texts. Though

the focus

is heavily on Catholic monastic dialogue

with

contemplatives of other faith traditions there is

wealth of information and experience which comes

from a lengthy and ongoing tradition of listening

and shared prayer.

Book Review by Lisa Bowman

ma the Elephant

y Gary Shoup

Art

work

by Nan Rae

Garden Fleetwood Press, 2006

The elephant

has

long captured man’s

imagination.

Massive and

intelligent animals,

throughout

history

elephants have been

admired

not

only for their ivory

tusks, but for

their power

and majesty.

Small

wonder

that in

Suma the

Elephant

author Gary

Shoup

has selected a

baby

elephant as the

protagonist in his parable

metaphoric

imprisonment.

The contrast of this

mighty

animal

existing in

a state of helplessness

dramatic.

Suma, a name Shoup derives from the Latin

“summa,” meaning “highest” or “greatest,” is

taken from

her parents by a band of monkeys

that holds her captive by tying her leg to a

tree

with a string. How

the monkeys

proceed

imprison

Suma for years despite the

fact

that

she can easily

break free is a

onumental life

lesson

Shoup, a first-time novelist, writes a graceful

tale that delicately explores

man’s tendency

toward

emotional self-imprisonment.

The

string

that

chains Suma to her captors neatly

parallels

the emotional

strings of

intimidation

with which

we entangle ourselves. Even

when

Suma’s

tormentors are physically

gone, the

memory of

their mocking laughter

continues

to shackle her.

So utterly trapped

she that

when other

elephants pass by and

show her

potential

freedom,

she remains

frozen

the

wistful

dream

ing of

what she

already

possesses.

Shoup writes confidently, unafraid to leave

his

message in the spaces

between the

words.

His

dialogue

is minimalist

and he

shuns visual

descriptions. Ultimately this

style is precisely

what lifts the slim volume

yond the realm of

children’s

literature.

Shoup

allows the reader

to fill in the blanks

with

additional

meaning

from

his or her own

life

experience.

Likewise, internationally-renowned artist Nan

Rae has elected not to

pictorially delineate

any

of the

story’s characters

with her

accompanying

illustrations. Instead, Rae

deftly

creates an

ambient mood

utilizing the

Chinese

Brush

painting for which

she is so

well-known.

Rae’s

oriental

visuals lend the

book

the lyric

meditation of a haiku poem.

Her

motifs suggest

and

amplify

rather than

illustrate the text. As a

result, we are

drawn

into

Suma’s world as she

sees

it and not

we are on the

perimeter

watching her.

Usually an inspirational book such as this

rewards the reader with the

catharsis of a

triumphant

ending.

Indeed, about half-way

through the tale,

the reader expects the

moment

of freedom to

occur with each

turn

of the

page

and begins mentally to plead

with Suma to

break free. But how

Shoup

eventually

concludes

the parable

leaves the

reader staring at his

own

face in the literary

mirror.

Will we break

the

strings that bind us?

Readers with a religious bent quickly will

assign

much spiritual meaning to

the story of

Suma.

Secular

readers will find

psychological

references.

Parents will want to read it to their

children.

Children will root

for Suma and

receive

the message

on a subtle level. But

regardless

of one’s

mindset, this is a jewel

a book that’s

meant to be shared.

Film Review by Lisa Bowman

Conversations With God

In the 1990's, Neale Donald Walsch’s marriage

was over and he was living hand to mouth trying to

support his children. Then a car accident left him

with a broken neck. Unable to work, Walsch sank

into homelessness, ultimately feeding himself by

collecting recyclable cans for five cents apiece. He

struggled to claw his way out of a dumpster-centered

life. Until one day he heard a voice in his head, a

Voice answering his soul-gnawing questions about

life. He began to write.

Conversations with God

became a series of three

books, selling almost seven million copies and

translated into 34 languages. Today Walsch is on a

mission to share what he calls the New Spirituality.

While many will remain unconvinced there’s anything

missing in the old Spirituality, Walsch’s inspiring

personal story and his message of love are a

beautifully-told tale in The Spiritual Cinema Circle’s

movie by the same name as the book.

The film,

Conversations with God

, begins with the

moment in which Walsch first hears the Voice. In

the ensuing flash forwards we see him

as he is today,

a successful author and inspirational speaker. But

the beating heart of “Conversations

with God” really

the story of his plunge to homelessness. And it is

this part of the story that succeeds best on all levels.

Canadian actor Henry Czerny (

Clear and Present

Danger; Pink Panthe

r) offers an authentic,

emotionally organic, gut-wrenching portrayal of the

down and out Walsch. While living in a tented “city”

his character develops friendships with other

homeless men, notably Abdul Salaam El Razzac as

Chef, Jerry McGill as Oscar

and Bruce Page as

Fitch. Their sad little circle lends honest dignity to

grit and humiliation. How differently

a friendship is

forged between those who are discarded by society.

Their interaction rings true

here without heavy

handedness, thus avoiding the pitfall of the obvious

message and the sledge

hammer approach. Such

restraint is often lacking

in “message” films. But it

works here with great impact. (Hopefully other

inspirational film makers

will take note.)

Even after Walsch becomes successful, great pains

are taken to show us his many personal “warts.” His

continuing human frailties, his occasional uncertainty

and his wry bewilderment at the turn his life has

taken help keep the film anchored, lest it float into

the Saccharine Sea.

Production values are strong, and the on location

shooting in Oregon is effectively utilized. We watch

the seasons change, smell the fresh air. We feel

how chilled-to-the-bone Walsch gets in the drench-

ing rain with nowhere to go, and feel the warmth

when the sun comes out. Director Stephen Simon

keeps the camera work straightforward, focusing

on the story. But he also lays back here and there

for some of those lingering, philosophical shots of

nature’s beauty that remind us this is a film about

spirituality. And so it is. “Conversations with God”

uplifts, inspires and lends hope. There’s not a car

chase to be found, but this film can move you

without one.

Simon, who also produced “Conversations,” co-

founded The Spiritual Cinema Circle with Gay and

Kathlyn Hendricks. The Circle is actually a monthly

DVD subscription service that distributes spiritually-

oriented DVDs in more than 70 countries. With their

success in that business, they have branched out

into actually making inspiring films, of which

“Conversations” is their first. It’s a terrific break out

of the chute for them.

To appreciate the significance of this exhibit, a

glance back in history is necessary.

St. Catherine’s is the world’s oldest continuously

operating Christian monastery, monks having

resided at the base of Mt. Hebron since the 3rd

century. The monastery’s land is both hallowed

and historic. It is said the monastery sits on the

very spot at which Moses spoke to God before

the Burning Bush. Indeed, when the Spanish nun

Egeria visited Sinai in the fourth century, she

described the Burning Bush as flourishing right

in front of the monastery.

The bush still

grows

in the garden.

And above St.

Catherine’s is the place where Moses received

God’s Ten Commandments for the Israelites.

The buildings of the current monastery were

commissioned by the Byzantine emperor Justinian,

who ruled from 527-565. Today, over 1400 years

later, the monks of St. Catherine’s are

giving

Americans an intimate glimpse at these religious

expressions.

Icons are as central to Eastern Orthodox

Christian worship as they are misunder

stood

by most everyone else. Icons are

not religious

paintings the manner of

European Renaissance

religious paint

ings. They do not intend to

evoke emo

tional reaction. Instead, they utilize

color, proportion and gesture which are

“read”

by the viewer and incorporated

into prayer.

Icons are deeply and intensely

prayer-

centered, striving

to bring Jesus,

Mary,

or the saints into the personal

space of the

viewer, as opposed to

the

viewer into an

illusionistic space. Eikons,

Greek for “image,”

are not created to be

worshipped in and of

themselves; though

critics historically have

charged such. The

icon artist paints in a state

of prayerful

ness; that his work might inspire

the

viewer towards the spiritual nature his

image represents.

His

sacred intent

aspires

to eternity, not history

nor fame