Book Review of Portraits of the Bison: An Illustrated Guide to Bison Society by Wes Olson

Thundering herds of bison have become synonymous with the pre-European colonization of the Great Plains. As such, they have captured the imagination of countless people, including Wes Olson, a 20-year warden for Parks Canada. Throughout Portraits of the Bison, based on both existing literature and the author's extensive experience observing and managing these animals, Olson's bison fascination is not only obvious but infectious. A remarkably talented artist as well, Olson's line drawings appear throughout the book, accompanied by Johane Janelle's photographs.

Portraits of Protestant Teens: A Report on Teenagers in Major U.S. Denominations

This report examines the religious beliefs and practices of American Protestant teenagers using new, nationally representative survey data from the National Study of Youth and Religion (NSYR). The NSYR is a major study of the religious and spiritual lives of contemporary American teens, which recently produced a book on its major findings entitled, Soul Searching: the Religious and Spiritual Lives of American Teenagers (by Christian Smith with Melinda Lundquist Denton, Oxford University Press, 2005). In addition to broadly describing the religious outlook of Protestant teenagers today — and as a more detailed, descriptive follow-up to that book — this report highlights several positive and negative experiences and evaluations of teenagers in different Protestant denominations and groupings of denominations. In brief, this report presents the following findings in these areas of interest: ♦ Religious Participation: Protestant teenagers are relatively active in religious organizations and activities, both within and beyond their churches. About one-half of all Protestant teens attend church weekly, participate in Sunday school or in a religious youth group, pray and attend a religious summer camp or retreat, though less than one-third read the Bible each week. This also means, however, that substantial numbers of Protestant teens are not actively participating in their religious traditions. Teens from conservative denominations such as Southern Baptist Convention and Assemblies of God are especially likely to regularly attend church and participate in other religious activities. ♦ Theological Beliefs: Protestant teenagers are likely to hold many traditional Christian religious beliefs. The majority of Protestant teens say they believe in God, the afterlife, angels, demons, miracles, judgment day and they view God as a personal being involved in the lives of people today. Sizable numbers of Protestant teens, on the other hand, do not hold these traditional Christian religious beliefs. Teens from conservative and black Protestant denominations are more likely than mainline Protestant teens to hold these religious beliefs. ♦ Importance of Faith: The majority of Protestant teenagers report that their religious faith is very important in their lives. Most of them also say that their families talk about religion together, that they have shared their faith with someone not of their faith and that they have had a powerful worship experience. A large minority of all Protestant teenagers, and in the case of some denominations a majority of teenagers, do not report that religious faith is very important in their lives. Teens from conservative and black Protestant denominations are particularly likely to report that faith is important in their lives. ♦ Evaluations of Churches: The majority of Protestant teenagers express relatively positive views of their churches and fellow church members. They typically report that they would continue to attend church if it were totally up to them, that they would attend a similar church if given the choice and that their current church is generally warm and welcoming. Protestant adolescents, however, do have some reservations about and problems with their churches and fellow church attendees, as spelled out in the following pages, particularly with other teenage attendees.

Pissing Glass and the Body Crass: Adaptations of the Scatological in Théophile

Examination of scatological motifs in Théophile de Viau’s (1590-1626) libertine, or ‘cabaret’ poetry is important in terms of how the scatological contributes to the depiction of the Early Modern body in the French lyric.1 This essay does not examine Théophile’s portrait of the body strictly in terms of the ‘Baroque’ or the ‘neo-Classical.’ Rather, it argues that the scatological context in which he situates the body (either his, or those of others), reflects a keen sensibility of the body representative of the transition between these two eras. Théophile reinforces what Bernard Beugnot terms the body’s inherent ‘eloquence’ (17), or what Patrick Dandrey describes as an innate ‘textuality’ in what the body ‘writes’ (31), and how it discloses meaning. The poet’s scatological lyric, much of which was published in the Pamasse Satyrique of 1622, projects a different view of the body’s ‘eloquence’ by depicting a certain realism and honesty about the body as well as the pleasure and suffering it experiences. This Baroque realism, which derives from a sense of the grotesque and the salacious, finds itself in conflict with the Classical body which is frequently characterized as elegant, adorned, and ‘domesticated’ (Beugnot 25). Théophile’s private body is completely exposed, and, unlike the public body of the court, does not rely on masking and pretension to define itself. Mitchell Greenberg contends that the body in late sixteenth-century and early seventeenth-century French literature is often depicted in a chaotic manner because, ‘the French body politic was rent by tumultuous religious and social upheavals’ (62).2 While one could argue that Théophile’s portraits of a syphilis-ridden narrators are more a reflection of his personal agony rather than that of France as a whole, what emerges in Théophile is an emphasis on the movement, if not decomposition of the body.3 Given Théophile’s public persona and the satirical dimension of his work, it is difficult to imagine that the degeneration he portrays is limited only to his individual experience. On a collective level, Théophile reflects what Greenberg calls ‘a continued, if skewed apprehension of the world in both its physical and metaphysical dimensions’(62–3) typical of the era. To a large extent, the body Théophile depicts is a scatological body, one whose deterioration takes the form of waste, disease, and evacuation as represented in both the private and public domain. Of course, one could cast aside any serious reading of Théophile’s libertine verse, and virtually all of scatological literature for that matter, as an immature indulgence in the prurient. Nonetheless, it was for his dissolute behavior and his scatological poetry that Théophile was imprisoned and condemned to death. Consequently, this part of his work merits serious consideration in terms of the personal and poetic (if not occasionally political) statement it represents. With the exception of Claire Gaudiani’s outstanding critical edition of Théophile’s cabaret lyric, there exist no extensive studies of the poet’s libertine œuvre.4 Clearly however, these poems should be taken seriously with respect to their philosophical and aesthetic import. As a consequence, the objective becomes that of enhancing the reader’s understanding of the lyric contexts in which Théophile’s scatological offerings situate themselves. Structurally, the reader sees how the poet’s libertine ceuvre is just that — an integrated work in which the various components correspond to one another to set forth a number of approaches from which the texts are to be read. These points of view are not always consistent, and Théophile cannot be thought of as writing in a sequential manner along the lines of devotional Baroque poets such as Jean de La Ceppède and Jean de Sponde. However, there is a tendency not to read these poems in their vulgar totality, and to overlook the formal and substantive unity in this category of Théophile’s work. The poet’s resistance to poetic and cultural standards takes a profane, if not pornographic form because it seeks to disgust and arouse while denigrating the self, the lyric other, and the reader. Théophile’s pornography makes no distinction between the erotic and scatological. The poet conflates sex and shit because they present a double form of protest to artistic and social decency while titillating and attacking the reader’s sensibilities. Examination of the repugnant gives way to a cathartic experience which yields an understanding of, if not ironic delight in, one’s own filthy nature.