Prose Books

The Human Comedy is a saga of 92 novels that Balzac said was written by French society. Legend described him as the night-shirted social recorder working until dawn fueled by liters of coffee. Lost Illusions (1837-1843) is considered to be one of the best of the novels in the series in scope and structure. From the frenetic world of writers and booksellers in Paris to the grueling life of hard work and boredom in villages, Balzac traced the systematic destruction of illusions in his characters. No one could be trusted (friends, foes, or family) when the creative or inventive characters attempted to reach a goal. The flicker of hope and joy related to an artistic or business accomplishment was extinguished within days or hours. The enduring artists and producers were those who lived almost without hope, guided by a strict code of ethics protected only by their ability to keep their accomplishments secret. Ultimately, some of these survivors reached their goals. But by then, they no longer placed high value in them, much of the luster lost with their illusions. Lost Illusions set the standard for many of the wonderful French novels of the subsequent years of the 19th Century. The reader is immersed in French culture in a manner similar to the later writing of Gustav Flaubert.

Lost Illusions by Balzac is one of the most famous novels out of the ninety two he wrote in his lifetime and maybe also among a million his admirers have written in 175 years since his first novel was published.

Balzac choses Lucien as a romantic, good-looking dreamy poet. We are first thrust into his provincial life, with details about his ordinary life and extraordinary ambitions that he has no means of realizing. Except patronage by an older woman! She leads him to Paris, only to abandon him to fight his way into the high society. How Lucien rises and falls in the glamorous, amorous, corrupt and vicious life as a journalist in Paris is picturized through a narrative that is bathed in realism, and yet proceeds through both suspense and wit, in the spirit of the pace at which Balzac could conjure up such novels.

In the provinces, Lucien has a friend, David, who likewise is somewhat lacking in social and economic acumen, and is a hard working inventor. David own father ruins him by extracting an unreasonable price for the printing press that he leaves or sells to his own son. Crafty competitors take advantage of David's credulous character. David endures both provincial small mindedness and economic setbacks suffered to keep Lucien afloat. Balzac displays his knowledge of these disparate characters with remarkable attention to detail. He weaves an undercurrent, of what could have passes as a dissertation, on the art and science of paper making.

Balzac creates in his one book, a saga that unravels friendship, love, jealousy, lust, ambition, vanity, greed and absurdity that lurk in our beings and in our relationships. By using two main pillars, Lucien and David, Balzac erects a bridge into the two worlds of poetry and science. He shuns hint of any romance of either worlds, and shows how much character, how many hardships and set-backs, how much devotion and labor are required for a man to become a known poet or a scientist.

I am quoting an example from this translation (carried out by Katharine Prescott Wormeley):

"No one can be a great man cheaply," said d'Arthez in his gentle voice. "Genius waters her work with tears.Talent is a moral being which, like all other beings, is subject to the maladies of childhood. Society rejects undeveloped talent just as nature removes her feeble or deformed creations. Whoever wishes to rise above his fellows must be prepared to struggle, and not recoil at difficulty. A great writer is a martyr who does not die - that's the whole of it!"

Besides the two pillars, the book has an interesting array of characters. Actresses, society women, editors and publishers, lawyers, struggling writers, dandies - all appear with their human failings and foibles as part of a drama that unfolds with an enrapturing narrative. Be it history, economics, alchemy, or psychology, or any topic under the sun, Balzac ushers in his great knowledge, suspending and supporting the story with able and apt pointers, tresses and metaphors.

Balzac's Lost Illusions is undoubtedly a classic everyone can enjoy and must read at some point in their lives. Highly recommended.

I read this book during my latest visit to my favorite middle east country. I must admit that I didn't enjoy this book as much as others. I felt like it was slow to come around and I thought there was too much detail on (seemingly) unimportant things at times. I'm just a regular person, so that said if you are an accomplished reader you may love this, for neophytes such as myself, other titles are more likely to be properly enjoyed (see my reviews)...and keep me updated!

This is one of the best novels by Balzac, which is to say much, since he is still one of the best writers that have ever lived. Here, as in the rest of his work, the reader can appreciate Balzac's knowledge of worldly life, and especially the world of business, so alien to other writers. In this book he elaborates on the printing business as well as on journalism -vastly so-, back when it first began as a mercantilist activity. He contrasts the small life and intrigues of the province with the -no less petty but more gandiose- life and intrigues of the big city, Paris, and in particular of the faubourg Saint-Germain, the paradise of the Parisian jet-set.

David Sechard is a young man who inherits, at great cost, his cold and greedy father's printing business. Lucien Chardon (later "de Rubempre", after taking his impoversihed mother's more aristocratic last name) is his best friend. Both of them share a love for poetry, but it is Lucien who comes to shine as the young genius of province, the promise for whom it is worth it to sacrifice it all. Lucien gets the love of one Louise de Bargeton, the "queen of Angouleme", the most cultivated and refined woman in town. Louise promises to take Lucien to Paris, introduce him into the great society, and make him triumph as a poet. His family gives him all they can to get him started, and off he goes to Paris. But he happens to be arrogant, proud, and insecure, and soon he suffers the despise and insolence of aristocrats and other rich people. After what he believes to be an offense from Louise, he rejects her, earning her eternal hatred.

In the meantime, Lucien has been spending time with two very different circles of friends. The first is composed of a group of young intellectuals, hardworking guys sacrificing money and fun for the sake of science, art, and knowledge. They are there for him in times of need, and encourage him to keep up with his writing. The second group is a bunch of journalists, easy going but corrupt people who convince him to achieve quick fame and money. Lucien gets more and more trapped by this seemingly easy life, and after he conquers the love of the prettiest actress in Paris, his fate is decided. He achieves fame and fortune overnight, and so he jumps completely into the world of parties, frivolity and silly competition for status. At this point in the novel, Balzac introduces us to the sordid, decadent, and disgusting world of journalism understood as an unmerciful network of extortion and constant blackmailing. Lucien slides down that road, getting recognition and fame, oblivious to the growing net of envy that closes in around him every day.

What follows is the sad story of an unlikable character. Lucien has very little redeeming qualities about him, as opposed to some of his early friends, his young lover and his family. He is blind as blind can be, since his extreme selfishness builds a cloud in which he lives. He cares for nobody, except perhaps for the little Coralie, and he goes on leaving too many wounded bodies by the side of the road. Nevertheless, this character is the vehicle that allows Balzac to show us the real world out there. This writer never ever gives up to the temptation of sweetening things for the reader, he's brave and persists on his plan. Balzac is never a moralizing preacher, he is just a skillful painter of life as it is.

Here, as in the rest of his work, you will find characters who also appear in other novels, an ingenious device intended to give us a feeling of reality. This book is never boring and builds up tension rapidly, even for its length. It is an encompassing ride through all the fancies of youth gone wrong, as well as an unrelenting depiction of all the falseness and emptiness of high society. Much recommended.

I love Balzac. At his best he soars above the rest of French literature and here he is definitely at his finest. Easy to see why Proust thought him the best, at his best. Vautrin/Collyn is at his most sinister and attractive. If you haven't read Balzac before, this is the best to start with.

Anyone who likes Larry Niven's work at all should be happy with this book.

From Tom Clancy's introduction, along with others by co-authors and editors, through all the stories - and this basically includes his best work of all (Inconstant Moon and All the Myriad Ways), along with some other good stories. In fact, even with the excerpt scores averaging almost 3.50.

Even the excerpts are well done, the fun scene from Ringworld a good choice, for example.

Throughout, Niven offers commentary, and non-fiction pieces include an extensive look at how they put together the setting for The Mote In God's Eye, and also a piece outlining plans to write something that would satirise Known Space as all a hoax.

Then at the end a few thoughts and an advice paper apparently that he and some other writers, including Pournell did for some political body or other.

I'd probably call this a 4.25 I think.

N-Space : excerpt from World of Ptavvs - Larry Niven
N-Space : Bordered in Black - Larry Niven
N-Space : Convergent Series [short story] - Larry Niven
N-Space : All the Myriad Ways [short story] - Larry Niven
N-Space : excerpt from A Gift from Earth - Larry Niven
N-Space : For a Foggy Night - Larry Niven
N-Space : The Meddler - Larry Niven
N-Space : Passerby - Larry Niven
N-Space : excerpt from Ringworld - Larry Niven
N-Space : The Fourth Profession - Larry Niven
N-Space : Inconstant Moon [short story] - Larry Niven
N-Space : What Can You Say about Chocolate Covered Manhole Covers? - Larry Niven
N-Space : Cloak of Anarchy - Larry Niven
N-Space : excerpt from Protector - Larry Niven
N-Space : The Hole Man [short story] - Larry Niven
N-Space : Night on Mispec Moor - Larry Niven
N-Space : Flare Time - Larry Niven
N-Space : The Locusts - Larry Niven and Steven Barnes
N-Space : excerpt from The Mote in God's Eye - Larry Niven and Jerry Pournelle
N-Space : Mote Lite - Larry Niven and Jerry Pournelle
N-Space : Brenda - Larry Niven
N-Space : The Return of William Proxmire - Larry Niven
N-Space : The Tale of the Jinni and the Sisters - Larry Niven
N-Space : Madness Has Its Place - Larry Niven
N-Space : The Kiteman - Larry Niven


She puffs on Pluto.

3 out of 5


Overcee project farm people find.

3 out of 5


Demon summoming time limit Atom solution.

3.5 out of 5


Murder maybe multiverse.

4.5 out of 5


Slowboat reservation.

3 out of 5


Vaguely lost.

3 out of 5


PI no Martian Manhunter.

3.5 out of 5


A specially adapted ramscoop ship pilot gets in trouble in space, when he sees a large golden alien humanoid. He finds himself rescued and transported 12 light years instantaneously back to Earth.

3.5 out of 5


Various biffo, with or without laser beams.

3.5 out of 5


Alien alcohol test case quad pill investigation.

3.5 out of 5


Really lunary weather we're having.

4.5 out of 5


Strange party alien trip.

3 out of 5


Free Park experiment not bright.

4 out of 5


Three stage dude adjustment.

3 out of 5


Quantum black hole is ridiculous overkill.

3.5 out of 5


Offworld mercenary Cabell nightwalker Spectrum Cure.

4 out of 5


Fuxed up entertainment production mission.

3.5 out of 5


Monkey kid form peak.

4 out of 5


Abandon ship, the little bastiches have weapons.

3.5 out of 5


Hey! That looks different.

3.5 out of 5


Sauron attacks Dagon City. Who'd like to see that?

3.5 out of 5


Heinlein time alteration.

3.5 out of 5


Harem sneaky story.

3 out of 5


ARM to schizo arm.

3.5 out of 5


Flying lessons.

3 out of 5

This book is at the top of my "If I were stranded on a desert island..." list. I don't love everything Niven's ever written, but this sampler has something for everyone. This isn't just the best of Niven, it's some of the best SF written in the last 40 years. What's also nice is the inclusion of hard-to-find stories like "For A Foggy Night" and the non-fiction slice of life stuff. NSpace, Playgrounds of the Mind, and the later Scatterbrain provide an unparalleled look at the career of one of SFs greats. If you read no other science fiction this decade, read these books.

I purchased "N-Space" and its sequel "Playgrounds Of The Mind" in summer of 1992, totally unaware of who Larry Niven was, or that he already had such a lengthy history in the science fiction community. At that point (my first year in college) I had not read a lot of SF beyond the confines of Star Trek novels; save the space opera of W. Michael Gear and the military SF of Chris Bunch & Allan Cole. I didn't even really know what 'hard' science fiction was, and picked up "N-Space" and "Playgrounds Of The Mind" because I was pining for something different--perhaps more challenging?

Oh boy, did I ever get my wish! I soon discovered that "N-Space" is not a straightforward science fiction novel, but rather a mega-compilation of short stories, novellas, and outtakes from novels, spanning Niven's (apparently) decades-spanning SF career. I spent the fall and winter of 1992 totally falling in love with Niven's various universes, and the characters that inhabit them. Moreover, I fell in love with the 'hard' aspect of Niven's work, which compared to the space opera I had been previously reading, was rigorously rooted in the realities of physics and science. I was enchanted by the idea that you could stick to real science (mostly) and still tell amazing and adventurous science fiction stories. In fact, much of Niven's hard SF ranks superior to a great deal of softer material precisely because of its 'realistic' flavor. The generic, and often rubbery gadgets and technology of softer fare is religiously replaced in Niven's work by concrete extrapolations, based on what we understand about the universe in the present time.

Now, with that in mind, I would caution younger or less experienced readers, where "N-Space" is concerned. Especially since the book is not a novel unto itself, it's easy to get lost or distracted in this book. So many different ideas, concepts, times, places, and characters, are all hurled at you at once. If you're not ready to hang on for the ride, you're liable to get thrown off! Thus, if you're brand new to science fiction, or if you were like I was, and only familiar with media SF or military/opera, you need to understand that "N-Space" is a very different kind of book that gives a very different kind of read.

Still, Niven has enormous talent, not just for telling hard SF stories, but for telling them with wit, insight into character, and not just a little humour. His imagination when it comes to world-creation is dazzling, and his alien races and places are some of the most memorable I have ever read. Like a smorgasbord, "N-Space" gives us a healthy portion from virtually all of Larry's playgrounds, both well known and obscure. By the time I was done with "N-Space" I launched voraciously into "Playgrounds Of The Mind", which is essentially the second half of "N-Space"; the two books serving as the first and second parts of one, giant collection.

I've since gone on to explore the majority of the works that "N-Space" touches upon, and after a decade of consuming Niven I consider him to be, perhaps, my all-time favorite SF writer. "N-Space" is not his best single work, it is the best from his best, and as such, makes an outstanding primer for anyone who has never read Niven, but wants to becoming broadly and deliciously acquainted with his work.

I am a lapsed Niven fan having discovered him in the late '70s as a kid. Something spurred me to buy N-Space as a way to rediscover what I cherished about his unique mix of hard sci-fi and realistic human emotion.
Thank goodness! When I was done I had to immediately start picking up where I left off with "The Mote in God's Eye" and I look forward to re-reading treasures like "Footfall." Perhaps I'll just start at the beginning and work my way up? :)

At one time the term "science fiction" caused eyebrows to raise. "Isn't that reading for losers who can't relate to others well?" Larry Niven is one of the authors who forever changed the way SF is perceived, one whose fiction emphasizes science without cutting short on any of the tools of your typical brilliant writer of fiction. This gives us well-sculpted characters, even in the shortest of stories, with eye-opening and theoretically sound scientific concepts, plot twists, and remarkable endings. Satisfying story after satisfying story.

What's unique about this collection isn't that it includes a foreward with comments by other authors and fans, or that the author comments on each piece within the collection. Those are commonplace. But in Niven's world, he likes to let you into his world in a special way, perhaps by dishing some dirt on an SF mag who rejected a story that turned out to win a Hugo, etc. He openly questions his finished product, saying that "Today I'd write this story differently," etc. As if we could lift the lid on his cranium and step inside for a moment, seeing how the stories are crafted. Very interesting.

Not as interesting as the work, however, another unique thing about this collection: Not only short stories are collected here, many of which only appeared in one issue of some now-defunct SF mag or other, dating back to the mid 1960s upward to 1990 when this book was first published. He also includes essays, such as an unforgettable commentary on the problems Superman would have if he tried to mate with Lois Lane, as well as excerpts from his published novels at the time. A terrific sampler of a terrific author, whose early-70s work "Ringworld" stands as one of the most brilliant works of speculative fiction of all time. Intelligentsia still debates the validity of its scientific assumptions, and while even Niven admits that most of these have been disproven, how many SF works do you know that sparked so much debate while still being so widely admired?

Niven is far, far beyond any alien shoot-em-up author. This ain't "Star Trek." This is real scientific fiction told by a natural storyteller who loves what he does. We readers love him for it.

For me--raised on Sherlock Holmes--this novel, first published 1968, is not a detective novel in which morality or heroism triumphs, or in which the hero is able to think his way out. When Conan Doyle invented his hero, he was writing within the context of a moral Victorian society in which Holmes's kind of detective work was able to triumph over perpetrators, or at least able to rationalize his own faults. But the world Sciascia shows us is one in which the police remain silent, and those who inquire and question are punished. Sciascia gives us an intelligent, inquisitive high school teacher, Professor Laurana--not a Sherlock Holmes--but, as a learned and well-meaning man, he is an engaging main character. What sort of society is it in which sensitive, inquisitive people are devalued and ignored?

Professor Laurana's questioning opens doors and others shut. And in a town in which people teach each other to keep quiet, we have to wonder what is being taught. It seems that this society is reduced to primitive survival instincts. Only someone like Laurana can break the vicious circle of crime, but Laurana's emotional vulnerability--his sensitivity to literature--is considered a fault. There are clearly characters who do not like anyone asking questions. And there are two characters who are philosophical and analytical, but their ability to understand human psychology disables Laurana's investigation. It's as though too much belief in moral ambiguity can stop a criminal investigation.

While this novel is a comment on Italian or Sicilian society and politics of the 1960s, this setting could be anywhere in the world. We all must be vigilant that through silence and acquiescence, our world does not become like the one Sciascia shows us.

This short novel (158 pages) has so much wonderful, nuanced writing that virtually every page is enjoyable in and of itself. One Amazon reviewer called "To Each His Own" postmodernist, but it also seems reminiscent at times of 19th Century writing that is more character insightful than plot driven. Sicilian master, Leonardo Sciascia, certainly does provide a plot in this novel - an inexplainable double homicide begins the story, followed by the slow accumulation of clues leading to the unlocking of the mystery by a hapless bystander, who reveals his revelations despite himself. The cautious innocent ultimately wanders into the killers' crosshairs betrayed by his own lust and the quiet complicity of the entire community. And it's lust that author Sciascia suggests is at the bottom of everything in the Sicilian town that is the novel's setting.

This is a highly literate and entertaining read that will encourage most readers to seek out other titles by this terrific author.

This book is a well written mystery. The author sets the crime out before you right at the beginning and gives many leads for you to try and draw your own conclusions. His style of writting is very different, but very interesting. It is the type of book that you must continue to read to find out what the ending is about.

The basic principles of right are: to live honorably, not to harm any other person, to render to each his own." Digest of the Emperor Justinian.

The Latin phrase "suum cuique tribuere" or "to each his own" is one of the three fundamental maxims of the law laid down by the Emperor Justinian. The peculiar interpretation of that phrase in Sciascia's native Sicily forms the emotional core of his brilliant "To Each His Own."

"To Each His Own" begins with a double-murder. A local pharmacist, Manno, receives a death threat in the mail, compiled with words and letters cut and pasted from a newspaper. The pharmacist laughs it off. He considers the letter to be a joke and although these threats are usually taken seriously in his town, Manno leads a blameless life and simply cannot believe anyone intends him harm. So he goes off hunting the next day with his friend Dr. Roscio and, without further ado, both Manno and Roscio are shot dead in the woods.

A police investigation follows but it is doomed to go nowhere. Sciascia paints a very explicit portrait of a society in which everyone knows (or suspects) everything but says nothing, certainly not to the local police. The general consensus (on the surface) seems to be that Manno was killed by a jealous husband and Roscio was an innocent bystander. The matter would have ended there but for the curious intercession of Professor Laurana. Laurana is a history and Italian teacher at the local liceo (high school). He walks into the pharmacy where the police are reading the anonymous letter and quickly spots a clue. The police dismiss his information out of hand. Laurana, however, driven by what appears to be no more than a desire to solve a puzzle, decides to follow up on the clue. In short order he seems to have solved the mystery. Laurana is oblivious to the fact that his musings on the crime pose more of a threat to the murderers than a typical local police investigation. Events play out to their natural conclusion, and in Sciascia's Sicily natural conclusions are not quite so neat and tidy as say in Agatha Christie's parlor room England.

The enjoyment to be found in reading "To Each His Own" is not the mystery itself. The fact of the matter is that, for Sciascia, solving a mystery doesn't require great insight. Rather, it simply requires a willingness to actually see that which is self-evident. As blind as Laurana may be to the danger he puts himself in, he can see well enough to understand why Manno and Roscio were murdered and who murdered them. Laurana's problem is not that he knows more than anyone else in town, Sciascia makes it clear that the actual events do not seem a surprise to anyone. No, Laurana's problem is that unlike everyone else in town, he doesn't bother to hide his knowledge.

Sciascia's writing is both precise and enjoyable. He seems to have a keen eye and affection for his native place, but that affection does not diminish, but likely enhances, the despair he feels for a culture in which silence is golden and in which "to each his own" does not bring to mind Roman traditions of equity but, rather, the critical importance of minding ones own business. "To Each His Own" is a cynical, but highly-entertaining piece or work.

Highly recommended. L. Fleisig

Having read "To Each His Own" (or rather, "Il ciascuno il suo") twice, once in Italian and once in English, I find that each time I found new interesting nuances.

Rich, ambiguous characters fill the novel and leaves one wondering who is considered intelligent and who is considered an idiot in Sicilian terms. It also leaves one wondering what exactly is the crime: the killer or the one that deems himself the investigator? Is it the one who deals in politics or the one breaking the law of "omerta"?The novel explores the mafiosi as an institution, as a family, what it is in the government, the church, the peasant village.

Sciascia's novel is a page-turner for both those who want an easy read detective thriller and also for those wanting to dig deeper into the story's message.

Just ordered this and awaiting it anxiously. I have just finished two later collections The Hill Bachelors and Cheating at Canasta (the title story in the latter is heartbreaking and just a perfect piece of writing). I also immediatley ran out and bought After Rain and A Bit on the Side. I had overlooked Trevor for years. I now fully acknowledge that in doing so; I deserve to be tried for crimes against humanity! Being from Ireland and living here, I also live with the constant knowledge that Trevor is a god and part of the literary furniture. Somehow, strangely, I just took him for granted and never read him. I had also wrongly assumed that Trevor belonged to that somewhat stuffy Irish "big house novel" literary tradition (if one can call it that). By chance, I picked up The Hill Bachelors and have found literary salvation! He is utterly brilliant and consistently so. 12 collections and counting. Nearly every collection consists of 12 stories, each about 20/22 pages long, divided in to 5 or 6 scenes. His structure is so simple and within it he performs miracles, over and over again. It is also wonderful how his stories alternate between a story set in Ireland and a story set in England, the country that he has lived in since his 30s. I adore short stories and all the great North American and Irish writers in the genre: Hemingway, Carver, Wolff, Munro, Joyce and McGahern. But I think Trevor is now my literary hero - plus he's a first rate gentleman (not always so with literary geniuses). Although now 80 let's hope for a new collection from the master in about 2010 and God help him, maybe more after that.

If you enjoy consummate skill in the written word you will treasure this book. It is the most beautifully crafted collection of short stories I have ever encountered. The characters are powerful, endearing, heartbreaking, loving, loathsome, self centered, generous, and sometimes frightening - the scope of this work is breathtaking. It is unfortunate that a book perfect for "dipping into" is so large and heavy - a reissue in rice paper would halve both (The Oxford Book of English Verse 1250-1918 has 1166 pages and fits quite comfortably in a coat pocket!) William Trevor is a genius - if you buy his book you will not be disappointed. Dr Peter J Kirby.

It took me a couple of months to make my way through these 85 stories and it was definitely worth the time I spent with them. Trevor's prose is always simple and clear, yet his range of characters and plots is astonishing because of their superbly captured detail and variety. Most of these stories deal with Irish and English characters, and many swirl around the realities or possibilities of extramarital affairs. "In Isfahan," one of Trevor's best stories, a married middle-aged man carries on an impromptu affair with a young woman he meets while in Iran; in "Lovers of Their Time," another top-notch story, a married man carries on a long-term affair with a shop girl by meeting her in a hotel's second-floor public bathroom. Trevor is also quite adept of presenting the romantic yearnings of women. In "The Ballroom of Romance," a country girl's dreams and consequences are highlighted in her trips to the local dance hall; in "Afternoon Dancing," a middle-aged married woman dallies with the idea of an affair with her dance partner after the death of her close friend. Like Chekhov, to whom Trevor is often compared, this writer also has an admirable sense of comedy. "Mulvhill's Memorial" finds an unlikely pornographic set-up within an office; "The Trinity" has a couple booking a vacation to Venice and ending up in Switzerland. Accidents spiral out of control in "The Penthouse Apartment," and in "A Complicated Nature," a man is forced to help his upstairs neighbor when her suitor unexpectedly dies. Another one of the best stories of this collection is "Broken Homes," where an elderly woman suffers the indignities of having her kitchen painted by a team of indifferent youths. Other first-rate stories include "The Smoke Trees of San Pietro," where a boy's sickness propels his mother into an affair, and "Death in Jerusalem" where a mother dies while on vacation.

Someone else here refers to the problems of 'star' hyperbole. He's right. The five stars Trevor deserves must be especially large and dazzling.
He goes wrong, just a little, once in a while. So did every truly great writer we know. Most of the time he opens a door on the world of two or three people, and shows us the universe in the process. He is a breathtaking artist. Witness 'Another Christmas' - in a dingy living room and armed with no one but an aging Irish couple, he brings home the Troubles in Ireland in epic, heartbreaking scope. And 'Torridge'...a girl said to me when this story first appeared in The New Yorker that it was like Beethoven's Fifth; you can't imagine it not having been around before. It's that good.
Readers! You can do no better than to get to know what this man can do with a pen.

Had never heard of the guy - got it at a bookstore because it had 1200 pages (I needed a lot to read) and because it was written by an old guy (well, he's old now, at least - well- wrinkled but kind looking). So far I'm about a third of the way through it, but like everyone else has said, this book is great. Some writers get lazy and write the same story over and over. Not this guy - every character, every situation is unique. For people who like movies, read the one about Istafan and compare it to "Lost in Translation". The story about the swingers party is indescribably great also, just in the way he describes a man kissing a woman's hair or them barely dancing at all.

While the read was enjoyable and well paced, I'm confused as to the abundance of 5-star ratings for this book. I felt the plot and identity of the Falcon was far too easy to pick out from very early on. Had I been younger and less apt to figure it out, I might have enjoyed it better. I give it a four-star rating though because Stefano was pure deliciousness. I do agree that this book would be excellent as a movie, and will nurse an unlikely hope that a talented filmaker will take it up as his next project.

This book is fantastic. I bought it about a year ago, and I have read it a million times. I loved the mystery behind the "falcon", and the touch of romance all around. The characters are fascinating and keep you hooked. READ THIS BOOK! YOU WILL LOVE IT!

Oh yesss! Dreams of handsome, heroic, brave, strong, romantic, dashing, yummy, etc. etc. guys! I think I'd better reread it right now; maybe I'll get some more nice dreams. Ladies, you need this book even if you have to put up with a cruddy used copy from Amazon resales. (I'll bet someone's stolen the copy from your local library!)

I have collected and read many of Barbara Michaels' Books and this one is My favorite. Set during the Italian Revolution, it gives you a different perspective of Italian History, through English eyes. It was very well written, so much so, that you feel as if the excitement in the book, is very real!! The main characters are intelligent, witty, and daring. You cheer for them throughout the book. I wish this were made into a movie, so visual people, like myself, could indulge in it further. Whether you're a closet romantic, history student, or mystery buff --- you'll want to read it twice....like I did!!!

This historical romance by 'Barbara Michaels' aka Elizabeth Peters, is set during the Italian Risorgimento of the mid nineteenth century. Francesca Fairbourn is the daughter of an impoverished English father and an aristocratic Italian mother. Her parents had eloped to England in a most romantic fashion, causing her to be disowned by her family. In true romance fashion the young woman died in childbirth leaving Francesca to be raised by her most impractical father. Shortly after leaving school at 18 Francesca's father dies leaving her totally alone in the world. At that dire moment a dashing young man comes to rescue her from a 'fate worst than death'. He turns out to be her half-cousin and has come to take her back to the family home in Italy. Once there Francesca finds herself embroiled in the Italian revolution, surrounded by anarchists, mercenary soldiers, spies, traitors and dashing romantic hero.

The novel has all the standard cliches of historical fiction and could have easily been just one of the numerous trashy examples of the genre well deserving the title of 'bodice ripper', but for the skillful hand of Michaels. The characters transcend the usual two dimensional character found in romances, the twists and turns of the plot are clever even though the reader will quite possibly solve at least some of the mysteries before the last few pages. The historical background is well researched and presented in an entertaining manner. It is, however, lacking the wry humor found in other works by this author (the Amelia Peabody and Vicky Bliss series).

For even an occasional reader of this type of fiction this one is a great find.

Mr. Yagoda presents the results of his exhaustive research with clarity and style. It's a compelling story and makes a great companion to the Kunkel books on Ross. I particularly enjoyed learning more about Shawn and the Shawn years at the NYer, since many of my favorite writers were nurtured under his watch. The best one-book history of the NYer I know of.

Disclaimer: I love The New Yorker. I have been a dedicated subscriber for ten years (and I am only twenty-six), and I read the magazine for years before subscribing under my own name.

Given my disclaimer, perhaps my five-star rating is self-evident. But not necessarily: As a lover of the magazine, I approached this text skeptically. I was interested in an unbiased review, yes, but likely I would have been wounded by a wholeheartedly negative portrayal.

Yagoda loves TNY even more than I do, if that's possible, yet he truthfully approaches his biography of the magazine. The ugliest facts are laid bare, but in a sympathetic whole.

TNY writers, editors, and staff members are lovingly recreated; Yagoda writes so well that I felt I knew these people, I understood these people, and I physically missed them after turning the last page. Like others who have reviewed this book, I wanted more--more, more, more. I felt astonished and sad to have finished the book. Were it a novel, I'd beg for a sequel, even knowing that sequels rarely live up to the original. Even a second-best second-tome would be better than missing the people and the institution that this book brings to life.

Admittedly, TNY readers will love this book vastly more than those unacquainted with its pages. However, if you are even beginning to approach the magazine, you must read this book. You will understand the weekly journal better than you do now, and you will appreciate it far more. I certainly do.

Bravo, Yagoda!

There are at least two ways to view Ben Yagoda's book ABOUT TOWN: 1) as the history of The New Yorker Magazine, how it was conceived and developed and changed over time, and 2) as a social document reflecting its times. The subtitle of the book "and the World it Made" does not seem quite as accurate unless one considers that "world" to be the corporate culture created by the staff led by Ross and Shawn, the two longtime editors who built the magazine. The New Yorker certainly has influenced the world within which it existed along with many other magazines.

Harold Ross, the founder and first editor of the magazine, with the help of Katherine and E.B.White, Thurber, Dorothy Parker, and many other fine editors and writers launched the magazine in the 1920s. The sophisticated and literary focus of the magazine soon captured the fancy of New Yorkers. During the hard days of the depression the magazine actually gained subscribers as readers enjoyed the humorous repartee and cartoons that helped them laugh at their troubles. Many new readers learned of the magazine during WWII as it was handed around the barracks. The GI bill produced many educated readers who remembering their wartime contact with the magazine now subscibed to it. Following WWII, the magazine included more and more "social conscience" articles, for example, John Hershey's essay on "Hiroshima."

Ross died in the early 1950s, and during the fifties under the editorship of William Shawn, the magazine became relatively banal according to Yagoda who says it appealed to stay-at-home wives who enjoyed articles that reminded them of their college days (among other pieces, Mary McCarthy's tales of her Italian travels were featured). In the 1960s, the magazine once again became more vocal about social issues and the environment.

Yagoda says the best years of the magazine came in the 1970s when writers like Woody Allen wrote wonderful wacky pieces and investigative journalists covered the scandals in
Washington. Following a downturn in subscriptions in 1980s, the magazine was purchased by a media mogul and William Shawn departed. With Tina Brown's arrival, the magazine metamorphed into a Conde Nast publication. Garrison Keillor's comments about Brown's arrival (as he left) are amusing.

Over the years, I have read John Updike, Alice Munro, Jamaica Kincaid, Katherine White, and many of the writers who once wrote for the New Yorker. When I was a child, my mother used to quote Dorothy Parker regularly ("Rivers are damp..."), but I had no idea Parker wrote for The New Yorker until years later (we lived in a rural area and subscribed to the Progressive Farmer!!). When I read Rachel Carson's SILENT SPRING, it changed my life, but I read it in book form when it was first published as a Book of the Month Club selection. I only became aware of The New Yorker magazine when I was in my thirties and a college writing instructor suggested it. Yagoda says many people discovered the magazine when they were students.

As a social document, The New Yorker articles very much reflect the times, and to some extent, at least under Ross, the magazine seemed to be ahead of the times. In reading this book, I was reminded of National Public Radio, which seems to be the main innovator in broadcast journalism these days--though I am told there are all sorts of happenings on the Internet. The in-depth news stories, the essays by various knowledgeable citizens, the political commentaries and Garrison Keilor are all comparable to The New Yorker magazine.

If you are interested in a snapshot of the 20th Century from an educated New Yorker magazine perspective, or in writing and magazine development in general, you will find much of interest in this book. The tales concerning the origins of many innovative features of the magazine are quite good.

Yagoda suggests the magazine pretty much ended with Shawn's departure in the late 1980s. He devotes eight pages at the end of the book to the three editors who followed Shawn. He says the median age of the readership grows older every year (not replacing subscribers) and most of current readership as such is owing to the retention of loyal readers. He quotes some of these readers who no longer actually read the magazine but have not given up their subscriptions. His book goes a long way toward explaining to me why I dropped my subscription a few years ago.

There are two types of writers: those who aspire, no, dream of being published in the "New Yorker", and those who, after several rejections, bitterly deride the very institution they hoped to conquer. I am solidly of the first camp, though give it a few years and I might be a latter-day grouch.

The work of Ben Yagoda brings the magazine alive, from the heyday of such luminaries as Thurber and White to the tough war years, right up through the Shawn era and even right up to (for 1999) the present. Through it all, Yagoda examines the many lives who devoted themselves to this literary exercise in humor and good faith. The most compelling character studies, however, are the two main editors throughout the magazine's history, Harold Ross and William Shawn.

Ross, who founded the magazine in 1925 and managed it through its first twenty-six years, comes across as a gruff, thoroughly Western man who nonetheless saw the need for a magazine like "The New Yorker", and brought it to being through sheer will and fortitude. He also happened to publish significant works by James Thurber, E.B. White, and J.D. Salinger among others. Shawn, taking the reins after Ross's death in 1951, saw the magazine through 30+ years of challange and triumph, only to be forced out in 1987. Throughout the book, Yagoda makes these men the central focus of his tale, but he includes brief looks at literary and other lights of the twentieth century, some who did get published (like Donald Barthleme, Veronica Geng, and John Updike) and some who didn't (Tom Wolfe, whose scandelous expose on the magazine shook it out of its fuddiness).

Overall, the book looks fondly back at the magazine's past, with a hint that it might never reach the same heights of importance it once had. That may very well be, but there's still something to be said for a magazine that is such an institution no one could imagine starting a writing career without considering the possibility of submitting to it.

"The New Yorker" is still the premier magazine in America, and this book explains why, after almost a century, it still carries the weight it does.

"About Town", by Ben Yagoda chronicles the majority of the 80+ years, "The New Yorker", has been contributing its unique journalistic culture to everyone, including, "The old lady in Debuque". Mr. Yagoda's book stands out from many books that have been offered to readers about the magazine for while he certainly is aware of the contributions the magazine has made for over 8 decades; he does not seem to be in awe of it or the people to the point it affects his writing. He clearly admires the magazine, but this does not stop his including a wealth of information that documents the eccentric personalities that shaped the magazine. Some may not find the notes flattering, but he objectively shows some of the magazines famous quirks without committing the blasphemy of a young Thomas Wolfe.

The list of writers who either became major or occasional contributors, reads like an amalgam of winners of the highest literary awards that have been offered. The list of those names repeatedly rejected expands the list even further. The book contains dozens of examples of the famous rejection letters that often are almost apologetic about turning down a piece of work while always writing in the first person plural. Having a piece selected by, "The New Yorker", was often considered the ultimate indicator that a new writer had arrived, that he or she had entered the pantheon of the magazine's literary legends. This was true even if the work accepted for publication may not have appeared for months, or even several years. The reception of the envelope stating a writer's work had been admitted was all many authors needed to have their work given unique value and cachet, publication was a bonus.

Mr. Yagoda also spends a good amount of his book on the cartoons, their artists, and the painful process that started with an idea only to have to run a gauntlet to be published. As hard as this path may have been, the scrutinizing that a written piece received is almost beyond imagining. It is understandable that first time contributors would have their worked scoured and polished, but when some of the 20th Century's finest writers nearly drew blood over commas the action within the building must have been spectacular. There is a story of one writer who sat outside the editor's office for almost 5 hours over the issue of a single comma. This World War I trench warfare standoff continued until the early hours of the next morning. The editor capitulated, but noted to the writer, "you are still wrong".

The story of this fascinating magazine could fill many volumes. If your starting place for gathering an overview of this institution, its editors, staff and writers, is this book, you will have chosen very well. Mr. Yagoda has written a great tribute to those he has chronicled.

I concur with most of the points addressed by earlier reviewers, and found this book to be one of the best about history that I've read. Many of the letters were eye-opening, detailing facets of America's history of which I was unaware. As an example, I found the letter detailing the My Lai Massacre both illuminating and horrifying. The letter from Roosevelt to 'The President of The United States in 1956' honoring the first American soldier to give his life in WWII is one of my favorites, along with the letter to the Warner Brothers from Groucho Marx that an earlier reviewer mentioned. A few additional thoughts:

1. The choices of letters from the 1990s were the weakest of any decade. I suppose that's to be expected in the days of e-mail, chatrooms, and the demise of the letter writer, but I'm sure there were better selections than one detailing the results of testing performed on the stained blue dress worn by Monica Lewinsky, or the letter to a Star Trek fan.

2. The majority of the letters related to negative aspects of the century, which while powerful to read made it a bit depressing to read more than 30-50 pages at a sitting. As the various forms of media have always realized, bad news makes for better stories than good news. I wish, however, that there would have been more letters evincing triumphs, humor, and/or optimism. Such letters were in evidence, but not in abundance.

3. I agree with an earlier reviewer that noted the liberal bias of the letters selected. There appeared to be an inordinate amount of 'coming out' selections and letters voicing disapproval of the System. They were important letters, however, that gave me a different view of the country's past.

4. One of my favorite history-related books is A People's History of The United States by Zinn. This book of letters reminded me of that text, required in a college history class.

Overall, I strongly recommend this collection to anyone interested in the history of 20th century America.

This is a collection of over 400 letters that attempts to summarize the century using such. It's a fool's errand, of course, but this is a valiant and fascinating effort.

Some of the letters are famous ones: Einstein alerting Roosevelt to the possibility of developing a nuclear bomb, Martin Luther King writing from the Birmingham jail, and Nixon's terse letter resigning the presidency. Others are less-known but still from famous people: Mark Twain complaining caustically about the inefficiency of telegrams, Charlie Chaplin ecstatic about his first movie contract, Bill Gates trying to discourage early software piracy.

And others are from and to obscure people while still being remarkably telling: an immigrant writing to his relatives about his new life in America, a Jewish woman writing of her experiences being captured and interrogated by the Nazis, a letter left at the Vietnam War Memorial, an erstwhile Compuserve user giving up on his connection problems when confronted with technobabble in response to his request for help. It's really a fascinating read, a hodge-podge of life across the century, from mundane domestic problems to the key issues of the day. My only complaint is that there's a bit of a liberal bias, with plenty of letters describing the hardships of the downtrodden masses and not a whole lot celebrating human ingenuity and accomplishment. But perhaps that is a telling point as well, considering it's a bias that has dominated this century.

This book is a wonderful collection of stories from every year of the 20th century. The authors of the letters are famous people and ordinary citizens. These letters express every human emotion love, loss, triumph, joy, and hope. This book is a pleasure to read.

My favorite story is about a young woman writing to her best friend about her bad marriage. Her husband is physically abusive to her and her son. She yearns for the courage to escape and become an independant woman which she eventually does. Another story by a young man who actually survived the sinking of the Titanic He writes his girlfriend about his experience of getting off the ship and waiting to be rescued.

There is a letter by a woman in Hawaii to her brother in Ohio. She recounted witnessing the bombing of Pearl Harbor during World War 2. She recounts going to a bomb shelter and depicts the commaraderie among the people of the time.

There is a Dear John letter addressed to Ernest Hemmingway from a nurse who cared for him while he was wounded in World War 1 He loved her but their relationship was a mere fling to her. She lets him down gently. This relationship inspired Hemingway to write the novel The Sun Also Rises. There is another letter written by a young unwed pregnant woman in the 1930's seeking advice from a doctor. Her father has no knowledge of the pregnancy and her mother is dead. She has nobody to turn to and her desperate plea for guidance is very touching.

There is another poignant letter written by the sister of a Vietnam Vet who died from lymphnoma as a result of exposure to Agent Orange. She expresses her disbelief, loss and sorrow to an anti war group. There are several stories written by expectant parents to their unborn children. Each letter is filled with anticipation and hope. Buy this book. You will never be able to put it down.

I did not expect to like this book. I had avoided reading it for some time, thinking it would be dull, pedantic, not worth the effort it might take to read it, and generally unpleasant.

I am so glad I found out I was wrong.

It's actually enthralling, well-done, and a worthwhile addition to anyone's library. I am not generally fond of ultra-personal non-fiction, or of the twentieth century in general, but _Letters of the Century_ overcame all of my doubts. The explanatory paragraphs and notes are extremely helpful; the letters are generally of medium length, diverse in subject matter, and uniformly fascinating. I thoroughly enjoyed this book, and highly recommend it.

Every library should have this treasure. I can't think of any book that is as immediately accessible or as fascinating to anyone who reads it. It's a fun way for anyone to learn about America's last 100 years. It's a great gift for a teenager who may consider American history a sleeper subject; it can help put all the facts into context. I wish I had this book when I was in high school!

Due to ever degrading literary taste of our post-war generation, Stefan Zweig has been forgotten for few decades,in spite of the fact that the first half of the 20th century , Zweig was perhaps one of the most famous and popular authors in the world. He and compatriot Hugo von Hofmannsthal had almost pararell lives.They were both some sort of literary prodigies(Hofmannsthal and Zweig earned their fame in their teens).They began their literary careers as poets and ended up writing various kind of literary genres,including libretto for Strauss. Also both ended up committing suicide. Zweig wrote many memorable fictions ,but only one novel.And, this is "Beware of Pity".
The novel is a kaleidoscope of the Habsburg dual monarchy.Zweig's talent lays on his superb description of human psyche of each character and the representation of comtemporary time. this work well represents decaying , both morally and physically , Habsburg dual monarchy. It shows how anarchoronistic system of mores( of K.u.K) that led otherwise good natured and a bit simple minded Leutenant Hoffmiler conered to the desperate situation. Does Hoffmiler deserve his fate? read book and decide that by yourself. what amazed me was how well Zweig synchronized and symbolized tragic denoument of kekeskalva family with the outbreak of" the war to end all wars". This is both pcychological and historical drama par excellence.One of forgotten masterpiece that recently rediscovered. Thank you NYRB to bring Zweig back.

This is an intense, psychological drama, and a page-turner to boot! What's so great is the wonderful language, the "lofty" writing. I just loved every page, and our poor, tortured hero.

In the introduction to this book Joan Acocella tells Zweig's story as a writer. One of her claims is that despite his enormous popularity as biographer, essayist, writer of great novellas and stories, this novel is his masterpience. The novel is in essence the story of a feeling, of 'pity' of how it becoming the obsession and duty of the main character turns self- serving and destructive. Briefly , the book revolves around the relationship between a poor Austrian officer Hoffstein and a crippled seventeen year old daughter of a wealthy family Edith Kekesfalvas. After he has inadvertently insulted her by having asked her to dance he becomes bound into a relationship with her, in which she falls deeply in love with him without his truly reciprocating. This is how Acocella reads the protagonist's reasoning and its result after her doctor informs him that it would be disastrous for him to abandon her.

"So he descends ever deeper into hypocrisy. In the process, Zweig gives us a piercing analysis of the motives underlying pity. Gradually Hofmiller realizes how much he enjoys the courtesies paid to him for his emotional services, how it pleases him that when he arrives at the Schloss his favorite cigarettes--and also the novel (its pages already cut) that he had said in passing that he wanted to read--are laid out on the tea table. Nor is it lost on him that his own sense of strength is magnified by Edith's weakness and, above all, by his growing power over the Kekesfalvas, the fact that if he, a poor soldier, does not present himself at teatime, this great, rich household is thrown into a panic, and the chauffeur is dispatched to town to spy him out and see what he is doing in preference to waiting on Edith. Beyond the matter of power, however, Hofmiller finds that the emotion of pity is a pleasure just in itself. It exalts him, takes him to a new place. Before, as an officer, he was required only to obey orders and be a good fellow. Now he is a moral being, a soul."

This end in destruction is somehow a foreshadowing of what would happen to Zweig.Having been betrayed with the rise of the Nazis by the Europe he loves, tried to make a new home and life with his second wife in Brazil. But it does not work out and the both of them are found after having taken fatal overdoes of drugs hands intertwined.

It's a fabulously written book about love instigated by pitty, which can be very dangerous. Worth reading as this kind of thing still happens every day.

...no, not the book by Dave Eggers, but this masterpiece by Stefan Zweig. I came upon this by accident, and bought it, intrigued by the story outline and the reviews below. Only very, very rarely does a book have the power to draw me into the lives of the characters, probably because they're usually just that - characters. Not so here. Here we have flesh and blood and all that entails. I'm still amazed at Zweig's story telling. He's the kind of writer who could make a shopping list fascinating. I lived and breathed every single word in this incredibly beautiful book, and, as has been said elsewhere, the tension becomes almost unendurable. I can hardly do justice to it in a few words. Weirdly, I often found myself smiling, not because it's a funny book, far from it, but just through an appreciation of Zweig's supreme mastery of his art. This is one of those books appearing only a few times in your life that wring emotion out of you whether you like it or not. A heart-breaking, unforgettable and life-enriching experience.

I'd also like to praise the translation, by Trevor and Phyllis Blewitt. At no time is there even a hint that you're reading a translation - something that occurred to me only after finishing the book. On the contrary, it seems to me that the elegance of the language and all the magnificent virtues that contribute to Zweig's humanity and genius have been faithfully rendered. The proof is in my twin disappointments; coming to the end, and learning that there are no further full-length novels by Zweig. I'll definitely be reading all his other works, though.

"Birdy" is a novel with a shared narrative; on the one hand there is Al, and on the other there is Birdy himself. This is one of the specificities of the book. Birdy as a character is quite interesting in his weirdo/loner/genius/freak kind of personality, and because of the divided narration, you get both the outer and inner approach on his obsession, birds, and flying.

On the whole, this is a very readable book, and quite enjoyable. Not a page is a bore and one cannot get enough of Birdy's featherly obsession and how far it will go.

However, the ending left me rather unsatisfied. I thought it starkly contrasted with the rest of the novel and didn't live up to everything that came before; as if something deep was ended on a joke.

Another critic concerns the back of the book, where you find the following words: "While fighting in World War II, they find their dreams become all too real - and their lives are changed forever." Well, that gave me the idea that these two friends would end up fighting together in Europe or something and the birdness of Birdy would come into play. Contrary to those lines, there is very little concerning World War II - although there are a few pages of Al's warring, there is almost nothing of Birdy's. So do not put too many hopes there. I never really trust blurbs, but I still find it stunning that so many of them tell things that are just wrong.

This being said, and excluding the ending (of which I'm not too hot but in general, not the final lines, which aren't so bad), this is a good read. I never was all that crazy about birds, but this novel was very informative as far as canaries are concerned; and bird life in general. The psychological aspects of Birdy (whose real name I don't think ever comes up, which I like because it's as if his birdness erased his human identity) are also of interest; for instance, Birdy prefers birds to people, he even fantasises sexually about birds rather than girls. It's fantastically weird.

"Birdy" has been often compared to such novels as Heller's Catch-22, the tendency for the book to be read as a war novel was strengthened by the movie based on the novel in 1985, directed by Alan Parker, which moved the time of its action to the days of the Vietnam War. The book, however, concentrates on the issues of adolescence, growing up, and reaching maturity.
"Birdy" tells a story of two friends Al and Birdy who met in pre-war Philadelphia and who friendship survives the war when Al is invited to a mental ward where Birdy is kept after his traumatic war-time experiences which which brought about his mental-breakdown. The reader becomes gradually acquainted with their adventures in flash-backs and witnesses Birdy re-awakening.
The book rings true both a nostalgic description of the pre-war working class US which no longer exists, a chronicle of friendship and a description of mental disorder. Must read - you can follow the reading with the movie and there is Peter Gabriel's CD to accompany the novel!

The book is best described as "bird-y", like it's title. Whoever reads it will understand what I mean. In the center of the story stands an eccentric, introverted boy called Birdy, who's entire life is driven by an obsession with birds, and a dream - to fly and be free. The book opens with Birdy in a military mental hospital, traumatized by his experiences in WWII. His childhood friend, Al, has been called over to try and bring Birdy back to reality. At a loss of what to do, Al begins telling Birdy stories from their childhood, and recounting all the adventures they lived through together. Through Al's narrations and the remembrances they trigger in Birdy, the fascinating story of a most unlikely friendship unfolds. Al is a handsome, athletic Italian girl-chaser, with an abusive father and an obsessive need to prove himself. Birdy on the other hand, is a wild spirit. You can sense throughout the story how he feels caged, and reveres the birds he sees to be free. He constucts an aviary and raises canaries in his bedroom, studying them, learning their language, getting to know each one personally, and losing himself in their world. The descriptions of the canaries are so intense that the reader himself feels as though they are human, or he is a bird. Birdy is an amazing character - brave, self confident, a mechanical genius, who struggles to fit himself into human life, but who's mind works in a completely different way than anyone else's. The book tells the extraordinary story of the two friends, and is simply a pleasure to read and a refreshing change from the conventional.

I've read a lot of books in my day, but Birdy is easily one of the most memorable. A traumatized World War II veteran trapped in a VA hospital stays sane solely through his preternaturally detailed recollections of raising canaries as a teenager--and through the perfect loyalty of his closest friend.

Wharton's better known World War II novel, A Midnight Clear, comes nowhere near this one in terms of originality and emotional truth.

Birdy is a beautifully written, most unclassifiable story, unsentimental, sometimes painful, but extraordinarily life-affirming and imagination-affirming. Some day it will be recognized as a genuine classic of American fiction.

Thats right. One of the best books I have ever read. I have already purchased some 5 copies for my friends - to share the beauty of the book with them too. Its a masterpiece.

The depth of description about a bird, and its daily life, is described here in a way I have come across before. But thats not what its all about. There are many concepts discovered here, and it makes the reader ponder. Issues such as war, friendship, love, dreams, insanity and sanity.

I especially got involved in Birdy's dream. I am a bit of a dreamer too. He goes onto explore the fact that maybe we living now, is a dream. And the dream that both you and I will have tonight, is actually our real life. I liked this view.

Buy the book, its very much out of the ordinary, and I hope you really enjoy it as much as I did! Happy Reading!