Max Harris’ extremely well-researched book confronts the general understanding of Christ on a donkey "as a sign that he came neither as a warrior nor as one drawn to the trappings of power, but in peace and humility" (p. 2) with the various ways in which the image was used in medieval and early modern theatrical tradition. His findings are stunning. The book analyses both the development of Palm Sunday processions, and the use of Palm Sunday elements in other processions. [...] The book is extremely informed and informative; it collects enormous amounts of original documents, and in a very impressive way compares phenomena of different cultures and times. -- Cora Dietl
[P]rovides readers with a far-ranging exploration of various forms of processional entries between the first and twenty-first centuries. Donkeys (or the lack thereof), palmesels, monarchs, popes, bishops, and Quakers feature prominently in this narrative, as Harris weaves together seemingly disparate threads into a tapestry meant to give a clearer picture of how, where, when, and why processionals took place against the liturgical and political backdrop of medieval and early modern Europe in particular. Drawing on written records such as pontificals, chronicles, and descriptions of royal entries along with palmesels and other surviving material evidence, he shows that over time, Palm Sunday and related processions moved from elite performances that were almost completely at odds with the biblical account of the entry to processions that more clearly reflected the parodic intent of the original performance.
-- Lynneth Miller Renberg About the Author
Max Harris is the author of five previous books, including Sacred Folly: A New History of the Feast of Fools (2011) which won the Otto Grundler prize. He has served as Executive Director of the Wisconsin Humanities Council and has taught at Yale University and the University of Virginia
