This unusual work examines the roles of art and religion in relationship to each other from both historical and contemporary perspectives. Until the Renaissance, art was visibly influenced by religion. Yet in modern eras, states Nelson (On Writer's Block), the roles have been reversed, with art, entertainment, and literature responding to a universal human need for religious meaning and even influencing New Age and other spiritual approaches. Nelson studies many expansive facets of such provocative topics as the grotto as representative of the underworld; puppets and dolls in art and literature and their deeper contexts (e.g., as reflected in the writings of Rainer Maria Rilke and E.T.A. Hoffmann, among others); the macabre works of H.P. Lovecraft and Edgar Allan Poe and their subliminal reach into repressed religious impulses; and the symbolism of expressionistic film genres and sf. She draws upon varied examples and sets her findings against frameworks of scientific, artistic, and philosophical thought. This book will yield rewards to serious readers and is most suited to scholarly and academic collections. Carol J. Binkowski, Bloomfield, NJ
Copyright 2001 Reed Business Information, Inc.
Nelson plots an illuminating journey through a carnival funhouse...Unlike many similar, wide-ranging culture studies, Nelson's book arrives with no agenda, blaming no one; instead, she offers a learned, exciting ride through a phantasmagoric landscape filled with dark mysteries. (
Publishers Weekly 20021206)
From
Harry Potter and
Lord of the Rings,
A. I., and
X-Files, to the genre grotesqueries of
Child's Play and
The Puppet Master, so much of our popular storytelling concerns forces and phenomena our culture firmly insists aren't real and cannot exist...In a dizzying and fascinating alternate history scored with subterranean connections, Nelson presents alchemists, Platonists, Gnostics and magi in their own terms and contexts...In this rich work of erudite charms, Nelson convincingly argues that the cultural pendulum is swinging back to the platonic side. But because our rigid scientific materialism doesn't allow us to take any of this seriously, we are left with mostly unconscious expressions that overemphasize the sensational and horrific dark side, with a little sentimental New Age nod to the latent good. (William S. Kowinski
San Francisco Chronicle 20041128)
In the opening chapter, Victoria Nelson issues a caveat that deliberately echoes the warnings that preface tales of horror. Do not expect to emerge unchanged. To read this book is akin to entering an ancient grotto, the ante-chamber of the otherworld. Since the Enlightenment, says Nelson,, Western culture has dismissed the supernatural as mere superstition and displaced these religious impulses into popular entertainments such as fantasy and science fiction. The emergence of new grottos such as cyberspace are signs that we are entering a new era of sensibility, in which the Platonic and Aristotelian world view can coexist. As a diagnosis of the role of the supernatural in modern secular society, this is a work of extraordinary originality, erudition and flair. Read it and be transformed. (Fiona Capp
The Age )
Freud theorized that modern civilization (the one in which he lived, anyway) repressed our sexual instincts. In her provocative new book,
The Secret Life of Puppets, Victoria Nelson contends that modern civilization has repressed our spiritual instincts. And these, she argues, like all repressed instincts, have come back to surprise us in strange new forms. (Merle Rubin
Christian Science Monitor )
Translating ancient thought systems into contemporary terms, finding equivalents of the old in the new, Nelson skillfully manages to thrust the sphere of academic research headlong into popular culture, making this both accessible and erudite...In a dizzying journey that opens with a Renaissance grotto and concludes with
The Truman Show and virtual reality, we are taken on a rollercoaster ride through the underside of western mysticism. As Nelson herself warns the reader, when crawling out from the "hole of this book", whatever emerges "will not be the same as what went in." (Aura Satz
Financial Times )
This is no ordinary work of intellectual history...This is New Age prophecy at its most verbally sexy and literarily savvy. It is fun, enticing, and chockfull of brilliance. (Laura Bass
Washington Times )
Some books are fated and fêted for cult status. They have a particular feel and fervency about them.
The Secret Life of Puppets by Victoria Nelson, a writer on writing...seems like one of those uncanny, unclassifiable books that break the mould and promise to have a market appeal across disciplines and hobbies, among sober seekers after enlightenment as well as cranks...Nelson's breathtaking jaunt through the underground of Western culture is certainly illuminating and sometimes intoxicating...Expertly researched, forcefully written, magnificently produced,
The Secret Life of Puppets is a haunting, highly charged book that leaves a strong after-image of worlds within worlds. (William Keenan
Journal of Contemporary Religion )
The Secret Life of Puppets explores the hauntings, possessions, and other uncanny phenomena proliferating in literature and entertainment (and by no means only on the margins); she argues strongly, through vivid and original readings of H. P. Lovecraft, Edgar Allan Poe and many artifacts in a variety of media, for a new approach to the uses of fantasy and to the relationship between material and immaterial phenomena. (Marina Warner
Times Literary Supplement )
In a remarkable scholarly book,
The Secret Life of Puppets, Victoria Nelson argues that our sense of the supernatural and yearning for immortality has been displaced from religion to such expressions of popular culture as superheroes, robots and cyborgs. (Francisco Goldman
New York Times Magazine )
