- The World We Live In
"The World We Live In" appeared in the pages of LIFE magazine from December 8, 1952, to December 20, 1954. A science series, it comprised 13 chapters published on an average of every eight months.Written by
Lincoln Barnett , "The World We Live In" spanned a diverse range of topics concerning planet Earth and universe, and employed the talents of countless artists and photographers. These included, among others, cameramenAlfred Eisenstaedt andFritz Goro , and artists Rudolph Zallinger andChesley Bonestell .The issues of "The World We Live In" were arranged as follows:
* I. The Earth is Born - the story of primitive Earth as it formed and shaped into the planet we know today.
* II. The Miracle of the Sea - the ocean, ocean currents, and undersea geography.
* III. The Face of the Land - surface geology, including mountain building and erosion.
* IV. The Canopy of the Air - the atmosphere, the weather, and the clouds.
* V. The Pageant of Life - the story of life, from its single-celled origins to the dinosaurs, passing by trilobites, nautiloids and sea scorpions.
* VI. The Age of Mammals - the tale of how mammals inherited the earth, starting from small shrew-like creatures and culminating in the great woolly mammoth.
* VII. The Creatures of the Sea - concerning the wide variety of fish and other sea creatures.
* VIII. The Coral Reef - the colorful world of the barrier reef.
* IX. The Land of the Sun - the arid world of the desert.
* X. The Arctic Barrens - inhabitants of the bitterly cold tundra.
* XI. The Rain Forest - the lush, verdant Amazon rainforest.
* XII. The Woods of Home - seasonal temperate woodland.
* XIII. The Starry Universe - the cosmos, comprising stars, planets, galaxies, and comets.Each of the chapters sported art and photos, often presented in large
gatefold s. The Face of the Land, for example, had a foldout representing a landscape without erosion, followed by the same landscape scarred by erosion. The Land of the Sun featured a double painting: the desert by day, and the desert by night. Rudolph Zallinger's Peabody murals of prehistoric life (chapters V and VI) and Chesley Bonestell's space art (chapters I and XIII) were also prominent features.After a successful run at LIFE magazine, "The World we Live in" was re-released in book form in 1955, and abridged in 1956 for younger readers by Jane Werner Watson.
By modern standards, "The World we Live In" is highly inaccurate. Chapters I through III, V, VI, and XIII are almost entirely obsolete, reflecting the tremendous advances in scientific knowledge that have taken place since the 1950s. Lincoln Barnett's text can also be criticized of being florid, sometimes to a ludicrous degree, and being sometimes overtly biased. For instance, the rationale for mammalian dominance of the Earth from Ch. VI:
There is also excessive personification, which is no longer favored in objective, encyclopedic work. Prehistoric mammals, for instance, are variously described as being "awkward" or "witless". A good example of this form of writing is Barnett's passage on Tyrannosaurus rex in Ch. V:
Nevertheless, "The World We Live In", in its several incarnations, succeeded in bringing the intricacies of science to a wide public. Paleontologist
Bob Bakker mentions Zallinger's dinosaurs as the spark that ignited his passion for prehistory; it is ironic that Bakker, with hiswarm-blooded dinosaurs, would later prove Zallinger's rendition wrong."The World We Live In" was followed by "The Epic of Man", another science series, this time focusing on the development and history of human civilization.
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