Inkwater Press

The Non-Believer’s Bible

admin — Wed, 24 Jun 2009 17:15:00 +0000

The Non-Believers Bible was passed along to me for review by a colleague who found the writing style to be painful, thereby foreclosing the possibility of her writing a deliberate review. Rather than headache-inducing, I found the text to be perplexing. Both while in the midst of reading it and after finishing it, one question continuously echoed in my mind: How to read this text? The question posed is both one of style and of method, since the method makes or is materialized in the style just as the style manifests in the method.

Perhaps, then, it is more appropriate to say that a growing sense of perplexing grew within my mind as a result of the motley combination of methods (which varied according to the “facts, research, history and common-sense view” culled by St. John) and styles at work in the text. The primary method and style is critique. The five purposes outlined in the preface articulate the overarching aim of the text: a critique of prominent world religions, a critique of the effects of religious beliefs, and a concluding section that describes the ethics of a non-believer.

It is the mode of critique—both as style and as method—that proves indigestible, as if the text were so chewy that it renders it impossible to swallow with understanding. Critique is art—to be able to write a critique, then, is an acquired artistic skill. It seems that St. John recognizes the mode of critique as the art form par excellence of writing. The text’s generic blending is reciprocated by the stylistic blending—the effects, however, for this reader, are confusing. The text, in its blatant, rhetorical, mockery of religion, sometimes reads as thoughtful provocation, while at other times reads as solipsistic and uncritical.

Particularly problematic is the author’s egregious oversight in claiming “facticity” for his project while simultaneously criticizing various world religions for asserting the same claim. “The book is factual, non-fiction, and absolutely true.” On the other hand, religious texts “are not based on fact, only hearsay,” he emphasizes, “I cannot stress enough the concept that religions are based totally on hearsay, no facts, nothing measurable.” Herein lies the problem: What is fact? St. John reiterates that his book is factual, but the assertion that his text is completely factual is predicated upon the melding of these following “facts”: as he says, “concepts [that] come from my own head. I have about twenty years of formal education, public school, college, and postgraduate work in Biology and Education. I am over sixty years old. I am a husband, a father, a grandfather, and a cousin. I read a lot and I think a lot.”

What is “fact,” St. John? Not only is the author hypocritical, more important, he fails to distinguish how his facts are different—or, more “true”—than religion’s facts. The concept of “the fact” is a nebulous one; for those of us with “formal education,” and, in particular, training in philosophy and critical thinking, we know that the concept of the fact is predicated upon the institution in power that determines what is fact; we know that quantitative systems of measurement are arbitrary and artificial, such that measured facts exist within determinate, closed, systems; and we know that all thought and language inherently emerges from perspective, from individual or collective perspective(s), such that any claim of objectivity is fundamentally rendered moot.

St. John’s text is inspiring for its discussion of how one can make meaning of life outside of religion, but, otherwise, the text is undermined by its own logic and therefore lacks the necessary rigor and critical acumen to present an effective critique of religion in general.

Written by: Marcie Bianco, June 24th 2009

When Push Came to Shove: Mormon Martyrs in an Unrelenting Bible Belt 1821-1923

admin — Thu, 06 Sep 2007 23:21:00 +0000

By William Whitridge Hatch

Inkwater Press

William Whitridge Hatch originally started writing on Mormon relations in the South as a graduate student, and his work has become a life-long quest. In When Push Came to Shove, he studies the uneasy relationship and culture clash that Mormon missionaries working in the Southern states had with the local Southern “Gentiles” (the word used for any non-Mormons, including Jews).

Briefly, the book tells us that Mormons (particularly their pastors/leaders) were persecuted in the South after the Civil War. The author links this persecution to the “Mountain Meadows Massacre” – an attack by Native Americans led by Mormons on a wagon train from Arkansas headed to California where all men, women and children that could speak were killed. Part of the “Mountain Meadows Massacre” incident that was highlighted as particularly horrific was the killing of the women and children. It was the men who were at the front carrying the weapons and organizing the attack/defense, so the women and children were most likely unarmed.

The Church of Latter-Days Saints does not substantiate the claim that Mormons - including, most notably, Brigham Young - were involved is in the massacre. The author finds this denial suspect and points out other cases of violence. The largest incident involving a woman has to do with Parley P. Pratt. Pratt was a charismatic Mormon leader. A woman fell in love with him, left her husband and followed Pratt to the South. Her husband tracked her down and murdered her.

The book is thoroughly researched, and the author does a decent job in being unbiased since he places the massacre in a historical context where Mormons and “Gentiles” were by turn the persecutor and persecuted. While informative, the book is not particularly entertaining. It’s a bit of a dry read, and it was the first-person accounts that are occasionally used that were the most enjoyable. Women are given a backseat in most of the events that took place, as they likely were from 1821 to 1923. I would recommend it to scholars or historians, but few others.

Written by: Kristin Conard, September 6th 2007

Sesame Street Dad: Evolution of an Actor

admin — Sat, 30 Jun 2007 20:42:00 +0000

By Roscoe Orman

Inkwater Press

Ever since I can remember, I have loved Sesame Street. The muppet characters entertained and educated me as a young child, and the human characters became trustworthy friends and role models. Growing up in a small Midwestern town, the only non-white people I regularly encountered were on television, and fortunately for myself and others of my generation, the residents of Sesame Street were strong, positive, gentle, and ethnically diverse.

One of these residents, Gordon Robinson, has been expertly played by Roscoe Orman for over thirty years. As Susan’s husband and Miles’s adoptive father, Gordon is a model of a caring, confident family man. Before reading Sesame Street Dad, I knew that I loved Gordon. What I didn’t know was the incredible breadth and depth of the career of Roscoe Orman beyond Sesame Street.

Orman starts his memoirs at the beginning of his life, explaining significant events and people who led him to discover an interest in acting. This interest grew into a passion, and this passion grew into a long, varied, celebrated career. Orman’s career has included an amazing array of theater, film and television performances. Beyond his contributions to the overall world of acting, his triumphs and talents have opened doors for black Americans and have contributed to equal treatment and respect for performers of all races.

Readers will enjoy getting to know Roscoe Orman intimately, and having an up-close look at the realities of being a black actor starting out in the 1960s. Candid accounts of auditions and life and work as part of a performance company opens up a world unknown to most people. Orman honestly shares his feelings, thoughts, struggles and motivation throughout the shifting and growth of his career. Plenty of photos accompany the text, allowing us to see Roscoe Orman in babyhood, childhood and all stages of his career.

I am truly amazed by Roscoe Orman’s robust and diverse performance career. My eyes have been opened to his life beyond Sesame Street, leading me to question the limits I put on others based on the capacities in which I see them, as well as the limits I put on myself. Orman’s success, achieved by following passions and developing talents, will inspire readers to reach for their own stars and become more than they imagined they could.

Written by: Amanda Moss, June 30th 2007

June Rain

admin — Sat, 23 Jun 2007 20:20:00 +0000

By Brandon Knightley

Inkwater Press

This slim novel set in the 1960s concerns a quiet, studious Italian-American teenager, Dante, and his courtship and growing relationship with Helen, a fellow high school senior. The reserved Dante has silently admired Helen from across the classroom for several months when an unexpected rainstorm gives him the chance walk her home with his umbrella and get to know her.

Knightley makes it clear that this is not your typical boy-meets-girl story. Dante is attracted as much by Helen’s calm, assured demeanor and her sense of connection with her family as by her looks. Her small, tight-knit family is contrasted with Dante’s relationship with his emotionally distant parents. As Dante and Helen grow closer, he questions his habit of keeping people at a distance to maintain his independence, and begins a quest to achieve the interconnectedness and peace he sees in Helen.

The dialogue can be stilted, and some events stretch reality. (I can certainly envision classmates making jokes at the expense of their fellow students, but I doubt most teachers would sanction and take part in such juvenile displays.) Knightley also annoyingly references real people and ideas without identifying them, leaving the reader frustrated and bemused and disrupting the narrative flow.

Most supporting characters are not fleshed out, with the engaging exception of Maristella, Helen’s eleven-year-old sister. At first deeply suspicious of the boyfriend intruding upon her family, she gradually warms to Dante, and her scenes provide welcome comic relief in a sometimes too plaintive book. While the straightforward style does not immediately grab the reader, a wish to find out how Dante and Helen’s relationship culminates keeps the reader going.

Written by: Karen Duda, June 23rd 2007

Devine Color: When Color Sings

admin — Thu, 07 Jun 2007 23:55:00 +0000

By Gretchen Schauffler

Inkwater Press

What do you do when the taupe couch you loved in the store looks green when you combine it with the other furnishings in your living room? Before you return the couch to the store, read Devine Color: When Color Sings by Gretchen Schauffler.

In Devine Color, Schauffler educates readers about color and the effects it has on home décor. Her goal is to help her readers appreciate the beauty of their surroundings. She tackles common color myths, discusses color combinations and explains color associations.

Schauffler explains that every color in your home can fit into the six color categories (red, orange, yellow, green, blue, and purple). Another color problem that is discussed is neutral color. She also claims that neutrals are not really colors on their own. Rather, neutrals often pick up the colors around them and can end up looking quite different than what was expected in the paint store.

Furthermore, Schauffler encourages readers to be proactive about color, put the items in their homes into color categories, and then to try new paint colors that enhance their surroundings. She maintains a friendly and helpful tone throughout and provides plenty of tips and tricks for enhancing home décor with items that are already present in the home. Schauffler makes readers feel like they can go out and pick the right colors for their home. The advice in Devine Color can be applied to home décor, as well as art and fashion.

Written by: Rekesha Spellman, June 7th 2007