Contemplative Inquiry

This blog is about contemplative inquiry

Tag: Paganism

LINES WRITTEN ON CONTEMPLATIVE RETREAT, WHEN THE BLUEBELLS APPEARED

BLUEBELL

Growing –

green growing

viriditas

virilitas

I have pushed up through the earth

nurtured by her nutrients

and her moistures,

fuelled by the fires of her core.

I have pushed up through the earth

and out of the earth

out of the earth

skywards

a green stalk

a green stalk in the joy of being

the potency of becoming.

I have pushed up

I have bathed in the sun rain and wind

In the light, open world

pushed up from the nurturing dark below

and am now, in my own being,

the grace of the blue flowers

a profusion …

some open

some opening

some yet to open

some never to open.

All mine. All me.

And in the heart of these abundant

reachings-out,

I am waiting.

BOOK REVIEW: CELEBRATING PLANET EARTH A PAGAN/CHRISTIAN CONVERSATION

61CwdX9mE3L__AA160_Highly recommended and available for pre-order via Amazon.  This blog is an enthusiastic early alert concerning Celebrating Planet Earth, edited by Denise Cush The book comes out of a weekend ‘conversation’ held at the Ammerdown Centre near Radstock, Somerset, England, from 31 January-2 February. Originally devised as a Druid/Christian event, it was widened to include other Pagans and was intended to generate “dialogue, reconciliation and renewal”. The hope was that the participants could explore their prejudices and preconceptions, learn more about each other, and find common ground in ‘Celebrating Planet Earth’, as the event was called. The book’s contributors were all involved in the conversation.

The book is aimed at Pagans and Christians interested in making connections; academics and undergraduate students in Study of Religions taking courses on inter-faith dialogue, Paganism and Christianity; and anyone with an interest in inter-faith activities. Some of the contributors are academics in the field, but as well as academic input, there is a practical emphasis on personal spirituality and ritual practice.

I’m part of the core audience. Whereas I experience the spiritual path as ultimately beyond names and forms, I stand in the world as a Pagan Druid. I had a Christian upbringing and in recent years I have learned from the Buddhist tradition, as well as Christian-based movements such as Sophian Gnosticism and the Ceile De. All of these have supported me in my own practice and in my personal concern with developing a stronger contemplative current within Druidry. So I’m at ease with what Philip Carr-Gomm, Chosen Chief of the Order of Bards, Ovates and Druids (OBOD), calls “fusion paths” in his chapter in this book.

From where I stand the ‘Celebrating Planet Earth’ more than meets its aims. It’s a feast. I felt that each contributor had thoroughly earned their place in it. It is divided into three parts, before moving on to editor’s reflections and conclusions. I want to say something about one chapter that spoke to me particularly strongly from each of the parts, as the best way in a short space of honouring the collection as a whole.

The first part is about ‘Addressing Our Fears and Prejudices’ and for this I pick out Graham Harvey’s chapter, ‘Fears and prejudices: a Pagan view’. For me, he has a very helpful analysis of what the task is and how to accomplish it. He makes it clear that “not everyone thinks alike” or should be expected to and that diversity has room for healthy opposition – properly handled, this can be a real gift. He makes the subtle point that the negotiation of difference is not just about fear and prejudice. It is also about avoiding the presupposition that “others are like us but not quite … that other people mean what we would mean when we say or do things”. Hence we need a refined quality of listening to avoid “talking past each other”.  On the question of fear and prejudice specifically, he suggests that the two things to remember are that we should indeed “resist and challenge the small visions and petty fantasies that are imposed on others” and that “when we talk about what people do, rather than what systems are alleged to do, we will keep diversity in clear view”. He usefully writes down polarised lists of what ‘Christians’ and ‘Pagans’ are contrastingly stereotyped as standing for – and invites us to make a reality check on the items in the list. It’s a very useful way of opening the reader up to the actual experiences of individuals and groups in later chapters.

The second part is about ‘Possibilities for Co-operation’ and for this I pick out Tess Ward’s chapter, ‘Better together: transformation through encounter’. Early in her life as an ordained priest, Tess Ward went into her own version of Dante’s ‘dark wood’, a wilderness in which she needed to die to one life so as to be born into another. She lost her existing theological frameworks and says of that time: “in that wilderness, what sustained me was not theology, but poetry, silence and nature”. Without leaving her Church, she found pointers in Buddhist ideas (Anthony Gormley, Pema Chodron), Earth paths and feminist spirituality. She quotes Carol Christ as saying: “awakening suggests that the self needs to notice what is already there … the ability to know is within the self, once the sleeping draft is refused … for women, awakening is not so much a giving up as a gaining … a grounding of selfhood … rather than a surrender of self”. She also quotes Kenneth White’s poem ‘Labrador’ – “I was loathe to name it too soon – simply content to use my senses – feeling my way – step by step – into the new reality”. As, renewed, she moves back into the world and her role, she knows that interventions in the world only have value when they come from personal experience. She shares with Matthew Fox the view that the result of such a crisis is not to abandon one’s own tradition “but to demand more of it”. She now leads celebrations of the Celtic Wheel of the Year as an affirmation of her transmutation of faith within a Christian framework. Partly this is an enhanced appreciation of being grounded in the natural world and its cycles. Partly it is an appreciation of the place that resources outside her traditional faith have had in deepening her journey.

The third part is about ‘The role of ritual practice, myth, music and for poetry in each tradition and in inter-faith encounter’. For this I pick out Alison Eve-Cudby’s chapter: ‘Woven together: can Christians and Pagans engage in shared ritual?’ The author has a leading role in the Ancient Arden Forest Church in a burgeoning movement of Forest Churches. She describes this movement as “a small and growing number of Christians responding to the Call of the Earth”. Ancient Arden has an emphasis on ritual and her formal answer to the question she poses is a carefully contextualised ‘yes’. She says: “if we take earth celebration, care and connection as our basis for doing ritual together, to contribute towards re-enchanting the land in this time of ecological crisis then I think that shared ritual is possible”. She offers a fresh and energised discussion of ritual and its purpose. She describes ritual as an embodied event, and a process of framing in which dramaturgy, rather than theology, is the organising principle. Whereas logocentric approaches assume that the symbolic system expressed in ritual must be coherent, performance as an unfolding event lays out symbols in a way that reveals their inconsistencies and contradictions. The work therefore involves negotiating and holding these within the ritual container. We fashion rituals that enable liveable, regenerated worlds. Ritual is a transformative process, “the pattern of actions is designed to synchronise the awareness of the different participants – human, non-human and other than human”.

The book’s conclusions suggest that meeting itself was of great benefit, and make it clear that the people involved want to continue their work in some way (topic based subgroups are mentioned). I would simply add that this book is a gift to us all, and that I am grateful for it.

FUINN II: THE POETRY OF PRACTICE

I’m a Pagan Druid, happily placed in a tradition that values poetry and seership over dogma and system building. I experience my practice as a sort of poetry. In this poetry of practice, I am held in a compelling myth of origin, an ever-now origin, and I have found a new way of working with it.

My new collection of Fuinn (Ceile De chants in Scottish Gaelic) includes a very simple one which goes A Hu Thi (ah – hoo – hee) repeated over and over again. The Ceile De interpretation, a Celtic Christian one, is that this chant “represents the three stages of the unfolding of creation … A– the Great Mystery draws in its breath … Hu – that breath is breathed out, and creation is born from out of the Mystery … God becomes matter … Thi – the Divine nature, beingness and intention acts within the field of intention … Some Ceile De would say that this final stage represents Christ Consciousness.”

It’s a bit different for me. I’ve been working with this Fonn daily for a couple of weeks now.  I don’t chant. I use slow deep breathing with a silent awareness of the sounds. I find that for me, the A sets up a sense of latency, a subtle pulse and vibration on the brink of becoming. I feel it in the quality of my inbreath, as a kinaesthetic song. Hu the outbreath feels more vigorous and intentional; there’s a real sense of movement, expressed as exhalation – the breath moves out from my body, through my nostrils. Thi breathed in feels like the delighted expression of a new reality, one that I share in, distinct yet inseparable as a sentient being. This generally brings up feelings exhileration, gratitude and joy. It leads me on to the use of another Fonn as a contemplative and devotional prayer, which I wrote myself using my collection of Fuinn as a model.

A Brighde, A Brighde, solus an domhain; A Brighde, A Brigdhe, Brighde mo chridhe

A Vree-jah, A Vree-jah, solus an dowan; A Vree-jah, A Vree-jah, Bree-jah mo cree

Brighde, Brighde, light of the world; Brighde, Brighde, Brighde my heart

Brighde is the breath, the practice and the Fuinn. When writing my Fonn I wanted to build a felt sense of Brighde as cosmic birther, initiator into being, with a seat in my heart.  Her name evokes power and the prayer invokes relationship – identified as She is with primal generativity and the deep powers of life and land, and also One who inspires skill and accomplishment in those She supports and fosters. Through my experience of relationship and connection, deep levels of feeling and intuition are satisfied, in some way met. I feel empowered, with a sense of having more resources available to me. Why would this be? I don’t really know. What I do know is the value of practice as poetry, and the magic it holds.

The Ceile De can be found on http://www.ceilede.co.uk

LONDON, ANYBODYS BARN, DRUID CAMP

Elaine and I returned from London last week feeling pleased about our half-day introduction to Contemplative Druidry there. We were lucky (and grateful) for the colleagueship of Julie Bond and to be working with a supportive group. As people with different backgrounds and experiences, who generally didn’t know each other well, we worked together in an attentive and accepting atmosphere and were readily able to deepen into stillness. I for one was moved by this alone, as well as feeling confirmed in the belief that contemplative approaches have a role to play in Druidry and Paganism more widely.

Contemplative Druidry as we champion it doesn’t have a set of traditional teachings with which leaders nourish (or poison) their nestlings. We do talk about the book ‘Contemplative Druidry’ and the bones of what we do in our home group in Gloucestershire. But this is just to share the diverse perspectives of people who’ve been developing relevant ideas and practices in recent years. We describe our history and our practices not to impose them, but to seed possibilities, offer frameworks and then co-create new experiences with new people. I think that we managed this, in a promising way, in London.

I’ve recognised (or re-recognised) my personal preference for working in small, defined and intentional groups – however fleeting their life may be. It doesn’t take much to set the note for a small motivated group – culture-setting though the provision of some background, introductory sharing and a little lean ritual to provide definition and a safe container. In this work, I like an alternation between silence and speech. The process of deepening is supported by sharing and reflection. These define the context for our silence and stillness, as we gently move between narrative expression and simple being. Such a movement allows a group to co-create a collective moment in which all individuals can have a stake without surrendering their own existing understandings.  And for this I think that a small group (up to about a dozen or so) is best. Much beyond that, and the event has to be run a bit differently – tilting towards a more managerial approach or risking a relative loss of definition, or both.

We have two further ventures in the fairly near future. The first is our April retreat at Anybody’s Barn near Malvern. We have decided to reduce the numbers of available places both for the reasons above and to make the accommodation more spacious for those who attend. We already have enough bookings to go ahead, and at the time of writing have room for just 3 more people. I look forward to seeing how our way of working develops over a two day and two night period, and also to working with two other companions from our Gloucestershire home group (JJ Middleway and Karen Webb) as well as Elaine.

The second is Druid Camp 2015, which itself has a contemplative theme overall this year, including a dedicated working space co-ordinated by Nimue Brown, another member of the Gloucestershire group and also part of Contemplative Druid Events. Within this larger Druid Camp programme, Druid Contemplative Events will have a two hour session. Offering our session inside a bigger event (probably about 300 people) will be an opportunity to look at where ‘Contemplative Druidry’ may be going in the wider world (now that the meme is out there), and how our own approach fits in. Because the larger community will have already been created, we’ll be able to work with a larger than usual group in our session.

I see the Contemplative Druid Events journey as a continuous inquiry – a cycle of development, action and reflection followed by re-development, action, reflection … and so on, hoping thereby to improve Contemplative Druid Events’ ability to provide introductory sessions, workshops and retreats. These are still early days.

See http://contemplativedruidevents.tumblr.com for retreat information and http://anybodysbarn.co.uk/ for retreat accommodation. For Druid Camp information see www.druidcamp.org.uk and www.facebook.com/groups/druidcamp/

CONTEMPLATIVE DRUIDRY IN LONDON

This afternoon my partner Elaine and I are travelling to London, and tomorrow we will be joined by our colleague Julie Bond at the Bonnington Centre in Vauxhall, the venue for our Introduction to Contemplative Druidry. It’s a landmark occasion for us, because it’s our first outing under the banner of ‘Contemplative Druid Events’. We are fortunate to have a maturing and deepening local group in Gloucestershire. We have given talks before, based around the book ‘Contemplative Druidry’. But this is the first time we have offered other people an opportunity to share our practice as well as our ideas. We are expecting ten participants as well as ourselves, a good number for us!

This is happening just as I’m experiencing significant shifts in my own spirituality, partly as a result of my personal work, and partly as a result of important moments with others in the course of this month, especially in Imbolc related activities.. I’m not yet sure where it’s going, in precise terms, but it feels rich and fecund. I find myself quite open and sensitive at this time, balancing this out with the demands of a presenter and facilitation role. The result is that I’m feeling a kind of nervous yet deep confidence about engaging with new people in this work.

Our next venture out will be our retreat from 17-19 April, described in http://contemplativedruidevents.tumblr.com/ and on the ‘Contemplative Druid Events’ Facebook page. That will be a further step up, and a focus in coming weeks.

Elaine and I are returning from London on Tuesday, so I won’t be posting again before Wednesday next week.

 

BOOK REVIEW: ENCHANTING THE SHADOWLANDS

product_thumbnailIn formal terms, this is a five star review of Enchanting the Shadowlands, a book of numinous poems and short stories by Lorna Smithers. She describes it as “gathered from my local landscape in response to an imperative from a Brythonic god called Gwyn ap Nudd”. If you have any interest in the lingering subtle resonance of the old Celtic and pre-Celtic world in parts of England like the poet’s native northwest, you will appreciate this volume. If you have any interest in ‘awen’ as an inspirational force or creative current, and what it is to be ‘awenydd’, you will appreciate this volume. If you have any interest in poetry and landscape, or what is now called psycho-geography, you are likely to appreciate this volume. I strongly recommend this book.

More deeply, I am hoping in a small way to share something of the magic of the work as I have experienced it. I find that the best way in is to say that, for me, the resonance of the project, its feeling-tone, can be found in the first two verses of ‘A Journeying Song’, one of the later poems in the collection.

1: Horse and Hound

She will carry me

down invisible horse paths.

He will lead us

to invisible lands.

She will carry me

beyond the stolen skyline.

He will lead us

to where horizons end.

2: The Dreaming Land

The dream is not a dream

it is the life force of the land.

A living memory,

it is the dawn. It is the damned.

The dream is not a sleep.

It is a wakefulness

of past people and their dreams.

It is mistakes and shining laughter.

When I read these lines, I can feel myself riding the mare who will “carry me down invisible horse paths”, led (in my mind’s eye) by a large and shaggy hound. I can easily accept that, surrendering to the instinctive wisdom of these animal powers, I might find myself beyond a “broken skyline” at a place where “horizons end”.  I can settle into the felt apprehension of a Dreaming Land where the dream is not a dream, but “the life force of the land, a living memory” and a “wakefulness of past people and their dreams”. The words are a portal to the living reality of the experience itself. In that sense, these two brief verses stand as a microcosm of the whole book.

Peneverdant/Penwortham, the locality described, is a watery place. Its first human inhabitants are called “The Dwellers in the Water Country”, drawn by the obvious attractions of auroch and deer and also by destiny and “the dream of a bard”.

They came with the splash of oars

and the steady splash of feet

drawn by auroch, deer and destiny,

the dream of a bard

who saw the green hill rising

from a wilderness of carr and marsh.

The awenydd poet’s own seership, her own process of inspired and connected reaching back, is caught in her ‘Prayer for Netholme’.

I write this prayer for the White One

Who loaned to me a mare of mist,

Led me across the marsh of time

And granted me the seer’s gift.

For later periods, the poetry is sometimes dialogical with older texts – such as the Domesday Survey of 1086, or James Flockhart’s ‘De Mowbray:A legend of Penwortham’. The latter is referenced in in ‘St. Mary’s Well, Twilight’ – a poem that also includes finely wrought observation of nature and the meaning it makes for the observer/the observer makes for it.

The setting sun is casting his vast aura

With a majesty I never dreamt him capable of

Enflaming clouds in luminescent orange and red,

Purple like mountains behind the trees.

The birds are singing as if it is their last dusk song.

I enlist bold robin, blackbird and little wren …

As if this is the evening of all evenings

And will be their last so better make it their best.

It is hard to write freshly about sunsets, though I do think this is well-managed even in the first four lines, especially through bringing in a delighted shift in the observer’s perception, and then going on to dare purple poetry. But what makes this section of the poem for me is the succeeding lines, which create a foreground for the majestic sunset background through the activity of the birds and their commitment to Being while it lasts.

Throughout the book we are aware of the interweaving of two worlds. This is done particularly well in the stories, which are every bit as inspired as the poetry. I was especially moved by the last, called ‘The Brown-Eared Hound: Rivington, October 31st. 1917’. It concerns sudden, shocking bereavement and also a direct experience of Gwyn’s wild hunt. I could almost see a novel, or at any rate novella, in this story – bringing together the world of Wilfrid Owen, D.H Lawrence and Virginia Wolf with that of living Brythonic myth. At the same time the piece as written did everything it needed to.

I don’t think it is possible to do this volume justice in a single review. It’s hard, with poetry. So I’m suggesting that readers also have a look at Crychydd’s review in https://barddos.wordpress.com/2015/02/04 and the author’s own discussions about her work and its continuing development at: http://lornasmithers.wordpress.com/

Lorna Smithers Enchanting the Shadowlands Lulu, 2015

CALLING PAGAN BLOGGERS

Nimue Brown’s Pagan Bloggers – for those interested in book reviewing.

Nimue Brown's avatarDruid Life

I know a lot of you who read and comment here have blogs – I see the links for the wordpress ones whenever you interact with my stuff. (WordPress would like me to stalk all of you.) Others of you are places wordpress prefers to pretend don’t exist, on tumblr and blogspot and the such. And if you aren’t a blogger, I’m prepared to bet you have friends who are, or blogs you like, so, no slinking off just yet, this could still be relevant!

As you may be aware, one of the things I do is write Pagan books for www.moon-books.net . Last year I started looking after the blog http://moon-books.net/blogs/moonbooks/ (and if you have community related content then talk to me, if I can use that space to support the Pagan community, I will). In the last couple of weeks, I also took on doing book promotion for…

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NATURE ALIVE

“A cry went through late antiquity: ‘Great Pan is dead!’. Plutarch reported it in his On the failure of the oracles, yet the saying has itself become oracular, meaning many things to many people in many ages. One thing was announced: nature had become deprived of its creative voice. It was no longer an independent voice of generativity. What had had soul, lost it: or lost was the psychic connection with nature.

“With Pan dead, so to was Echo; we could no longer capture consciousness through reflecting within our instincts. They had lost their light and fell easily into asceticism, following sheepishly without instinctual rebellion their new shepherd, Christ, with his new means of management. Nature no longer spoke to us – or we could no longer hear. The person of Pan the mediator, like an ether who invisibly enveloped all natural things with personal meaning, with brightness, had vanished. Stones became only stones – trees, trees; things, places and animals no longer were this god or that, but became ‘symbols’, or were said to ‘belong’ to one god or another.

“When Pan is alive then nature is too and it is filled with gods, so that the owl’s hoot is Athena and the mollusc on the shore is Aphrodite. These bits of nature are not merely attributes or belongings. They are gods in their biological forms. And where better to find the gods than in the things, places and animals that they inhabit, and how better to participate in them through their concrete, natural presentations. Whatever was eaten, smelled, walked upon or watched, all were sensuous presences of archetypal significance.” (1)

The above is an extract from a piece by James Hillman, one time director of studies at the Jung Institute in Zurich. Hillman later went on to develop his own variant form of archetypal psychology. Here he is a strong proponent of panpsychism, a world view very similar to the forms of animism being articulated today. Panpsychism literally means the ensoulment of everything (from the Greek), though the word ‘pan’ also cues in a reference to the Roman god of that name. I find his approach both passionate and liberating as a stance to take towards ‘nature alive’.

(1) Hillman, James (1989) The essential James Hillman: a blue fire London: Routledge (Introduced and edited by Thomas Moore in collaboration with the author)

IMBOLC LIGHTS

I’m reflecting on the difference between ‘Light’ and ‘lights’.  Yesterday evening my partner Elaine and I had an Imbolc ritual. We’ve decided to move through the seasonal festivals in this way, customising a joint practice as we go.

I reflect now on our time in the festive circle as in part a feast of lights. Not ‘Light’, but lights. We can have Light at the throw of a switch, one easy taken-for-granted ‘Let there be Light’ gesture. It’s very powerful and very useful – and effortlessly normal in our culture, at least for the time being.

But it isn’t a feast of lights. A feast of lights requires multiple, small sources. It requires the co-presence of darkness and shadow. It requires variation, degrees of light and darkness. It requires change and play.

We had two basic light sources, during the ritual. The one that attracted my attention most was an array of night lights positioned around the room in various ways. We had nine on the altar (one at the centre, eight at the circumference – with one at each station of the eightfold wheel of the year). And there were others around the room, grouped in threes. Very simple. Very traditional. Very minimal. Very meaningful. Very beautiful. These lights tended to be bright and a high yellow, glinting in some moments, softer and more diffuse at others. Each had its own aura. All tended to flicker in even the smallest current of air. And each had its sphere of influence, fading porously into the surrounding dusk, with no clearly defined or specific boundary – the transitions being so gradual, so gentle. Thus light and darkness were differentiated without being polarised and they cheerfully shared their debatable lands. The play of ambiguity was part of the feast.

The second source was the fire, a wood burner, well-established by the time we began the ritual and happily placed in a north-easterly hearth. Also very traditional. Very simple. Very minimal. Very meaningful. Very beautiful. And for the most part, in this mature phase, a deep red, in a way a dull red, though the word isn’t right. A potent light, a subliminal light, almost a kinaesthetic light. Not a very light sort of light at all. Its presence radiated through the room, bringing our centre of gravity, even in terms of luminosity, closer to the earth.

And that is a feast of lights. It was almost a shock, in the tidying up aftermath of the ritual, to return to the Light.

BOOK REVIEW: FOLLOWING THE DEER TRODS

jhp5423fc87b679cThe full title of this book is Following the Deer Trods: a practical guide to working with Elen of the Ways. It is written as part of Moon Book’s Shaman Pathways series, and is positioned as a stand-alone introduction to its topic, which includes working methods for the aspiring practitioner. As such this book certainly meets its criteria.

I personally think it works best in tandem with Elen Sentier’s other book on the topic, also a Shaman Pathways book, Elen of the Ways; following the deer trods – the ancient Shamanism of Britain, which I reviewed in July 2014. This earlier book establishes the overall context much better and for me they belong together.

Following the Deer Trods begins with a summary of the ideas offered in Elen of the Ways. This works well, even magically, in the opening pages – but I was saddened by a seeming loss of perspective when we get to the Romans and beyond. The author shows no recognition of Christianity as a diverse, complex and internally contested path, not least in the Celtic lands; or of the effects which holding political power can have on religious traditions, regardless of the actual faith. There’s also no clear flagging of the extent to which the positive, Pagan side of the story is necessarily reliant on intuitive reconstruction, relevant records being sparse and problematic, oral traditions highly mutable over time, and material remains providing only limited insight into hearts and minds. There is so much we don’t know, and will never know, about our ancestors, their traditions and what it was like to be them. When talking about them, we do best to avoid the language of certainty.

For me the book picks up from that point, providing the promised guide to working in a series of well-organised practice chapters. The main areas covered (in my language) are meditation, energy work, service, shamanic journeying, relationships with familiar spirits (power animals), and working with trickster figures. The author also discusses the ‘journey horse’ or method of trance induction – and the relative merits for this purpose of drumming, the sound of waves, rain, or a flowing stream; the steady roaring of wind; the recorded purring of cats. That bit of the discussion is a true gem, reflecting a lot of playful trial and experience.

These chapters also lay out a basic cosmology for the work – a cosmology of three worlds (middle, lower, and upper) on the vertical axis and four elements radiating out from the middle world on the horizontal, with the nigh universal notion of the world tree/tree of life very much in mind. Elen describes the image of the six armed cross as a means of bringing them together. She talks about her understanding of the inner world of the journey as a place of ‘interface’, the portal which she, as awenydd, and the Otherworld co-create as a meeting place between them.

The instructions for practice are highly specific and directive and therefore best-suited to people who are new to this kind of work, who don’t have access to hands-on teaching or established learning communities, and who need nonetheless to be strongly held as they begin their exploration. Other readers will look to the offerings provided as a source of new or variant ideas, or information about a specific way of working.

My heart didn’t sing, when I read this book, as it had when I read its predecessor. But it makes its contribution and, with the one significant reservation about the presentation of history, I’m happy to recommend it.

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