Literature Books

Recently I bought Ed Emberley's Drawing Book of Animals for my five year old daughter who loves art, but wanted more formal training. This book is *perfect*! Everything about it is tailored for children who can draw some shapes and it progresses from simple animals to the lovely, elaborate dragon at the end. My daughter is learning how to draw better shapes (and animals) without getting frustrated. The step-by-step simple instructions capture a child's attention and makes them more focused on the process than the end result. Overall, a really wonderful book!

I had this book as a kid and loved it - no written instructions, just step by step pictures that are easy to follow. My 11-yr old and 7-yr old both like it. The final pictures are full of character and are really fun. This may not be a book for a kid who's really serious about drawing, but it's great fun for the average artist, adults included.

I bought this book for my 4 yr old son. He has learnt to draw many animals from this book. He is able to follow directions and draw all by himself. He has been doing a pretty good job too. This is a good book if you or your child need step by step instructions to draw animals.

I bought this book for my 4 1/2 year old but really for myself since I'm a horrible artist! This book allowed us to draw the animals together and he was able to follow the steps easily. If you can write the letter "D", "C" and stright and squiggly lines you can duplicate any animal is this book. Pretty cool since my son used to not like art of any sort but now he is in this drawing phase. I'm going to buy some other of these books in the series.

I love this book. I had this book as a child (in the 80's) and I was so excited to see that I could purchase one for my daughter. My child is in pre-school and has been practicing drawing basic shapes. Ed Emberley's book teaches children (and adults) how to draw animals by piecing together basic shapes such as squares, circles, triangles, etc. The directions are easy to follow, and show you step-by-step how to combine different shapes into a final product. I would recommend this book for any age group, from a child who is just learning to draw to an adult who loves to doodle.

H.P. Lovecraft is one of the favorite authors of The Fall's Mark E. Smith. He is also one of Smith's greatest lyrical influences. This is enough to recommend the book to me!Grotesque (After the Gramme)

HP Lovecraft possessed a twisted imagination, no doubt about it. I took the book out of curiosity mixed with the knowledge that any Library of America book I had ever read was an outstanding choice no matter what the subject; and I wasn't disappointed in this one either.

Macrbre isn't a word I use very often since I haven't focused my reading attention on tales in the category of Lovecraft's particular talent, even though I did read most of Poe; but it fits. It's a collection of short novels, each more gruesome than the last. They are also extremely well written, fascinating, spellbinding.

"The Outsider" starts off the reader's chilling journey which teams you up with something no longer alive - if it ever was - in it's tortured trip back up to the outside world; and in "Herbert West, Reanimator", the tale of two medical students grisly adventures in the obsessed quest to restore life to cadavers will bring perspiration to your brow if nothing else will.

It goes on from there - each and every one different yet borrowing from a theme of madness; as you read, the marvel at how anyone could continue to think up fresh material for something like this becomes a quest in itself.

If you're looking for something wayyyyyy out of the ordinary, and can stand being shocked witless, this is the author and the book for you. I thoroughly enjoyed it as a romp far off my own beaten literary path and thus am recommending it to others who have a wish to experience a similar hair-raising journey past the edge.

If you were to own only one volume of Lovecraft's works, then this is it. It is perfect for those new to Lovecraft. It has the most famous and essential tales including all of the "Arkham Cycle". Most other editions split his best stuff across several volumes with his lesser works as filler. Not only that, they are printed out of chronological order, revealing semi spoilers in the Arkham Cycle Mythos from one story to the next. Not so here. And it's a sleek durable volume printed on acid-free paper, a real treat for those who had to suffer through shoddy paperbacks over the years. Alot of talk has been made of Lovecraft's influence in horror but little has been stated how influential his works were to science fiction as well. Lovecraft pioneered sci-fi concepts as alien abduction, the ancient astronaut theory, and secret "aliens among us" conspiracies. He discarded many of the old terrors from gothic horror and gave us brand new ones. Lovecraft was to pulp horror what Chandler was to Hard-boiled fiction.

The Library of America has produced a handsome and affordable edition of a selection of H.P. Lovecraft's Tales chosen, edited and with notes by author Peter Straub. The twenty-two selections are from the years 1919 to 1935 and encompass the best of Lovecraft's extensive writings. In addition there is a chronology of the significant incidents of his life. The notes by Straub are detailed and are very helpful in both setting the context of the stories and explaining the sometimes obscure references that the very intellectual Lovecraft incorporated into his writings. This is an excellent collection and the beautifully bound hardcover will last for many years.

Daniel Phelan, Kingston, Ontario Canada

This collection of 22 of Lovecraft's most essential works is an must for anyone considering themselves a fan of science fiction, fantasy, horror, or just plain "weird tales". Beautifully bound and presented, this volume displays Lovecraft at his most imaginative and eloquent. Peter Straub has selected the most revered of Lovecraft's tales, and does as much justice as a one volume can do to so prolific an imagination. Truly, imagination lies at the very center of Lovecraft's best tales. A master at granting fleeting glimpses into the unknown and terrifying vistas of reality, Lovecraft has an uncanny ability to conjure terrifying alternate universes and realities, the full realizations of which are often enough to drive his protagonists to madness, or worse. Subject to some poorly conceived film adaptations over the years, Lovecraft's works continue to gain the attentions of Hollywood. The sheer imaginative power of Lovecraft, however, seemingly defies a visual representation capable of holding a candle to the images conjured by the imagination of his reader's minds. For a summary of the works of an essential American author, look no further than this volume.

I enjoyed this book very much. As other readers have commented, it really captures the WWII era, has beautifully written characters, and has a romanticism that is very reminiscent of F. Scott Fitzgerald. George Virdon is the sort that everyone would like to have as a friend.

My only real criticism of this book is the author's treatment of Chris and Nancy. Frankly, I became a bit nauseated by George's constant gushings about Chris's beauty, charm, etc. I realize that it adds to the books overall romanticism, but it got to be a bit much at times. This is only somewhat relieved at the end where she tells them all to stop putting her on a pedestal and treating her like the group's mascot. I also think the author's treatment of Nancy was a bit harsh. It seems like she does absolutely nothing right and while she and George aren't really right for each other, he could've been a little more even handed in his treatment of both characters. Nancy deserved kinder treatment and Chris needed a few flaws. It would not have robbed the books of its romantic flavor one bit. All of the other characters have a better balance of good and bad.

I also had to chuckle to myself when the younger generation tears into the older ones during the Harvard reunion. Boo-hoo for finding out the world is an imperfect place, kids. That generation, the Baby Boomers, is now running the show and is making a lot of the same mistakes that they used to rip on their elders about.

This is a great read, however, and it captures a generation that is quickly dying out.

I looked up this book because my dearly loved and tattered copy of the book I have read and reread over the years has finally gone missing, and I can treat myself to a crisp new copy to dive into again, read again, live again, love again.

I read "The Last Convertible" for the first time probably 20 years ago and I can still recite quotes, or passages, at any time. This book stuck with me.

Many other reviewers have stated very well what this book is about - 4 friends, Harvard, the War, the times they lived through. What I wanted to add is that this book truly stands out as a novel that you don't just read, you enter. The story shines a light on some remarkable people, but you feel that you know them, you are there. To some extent, like all remarkable works, you rethink your own life in context of the story, and it becomes part of you.

This story is a deep glowing ruby in my memory that still gives light and life to characters I know well. And I believe it always will.

I bought this book in hardcover form when I was 18 or 19. It sat on a bookshelf for a decade or more having never been read by me or anyone. Then it disappeared somehow through movings and such. Recently, some 25 years later, I found a used paperback copy at my local library and purchased it. This time I read it and kicked myself for days for having not read it so many years ago. I must agree with many of the other reviews. This is a wonderful book. Full of nostalgia and humor and so many other things. The characters become part of you and you don't want the book to end. I purposely did not read it quickly because I knew right away I was going to enjoy it. And I did. I love stories about nostalgia. I am nostalgic so I guess I identify with George. But all the characters are wonderfully illuminated by Mr Myrer and you feel like you know them personally. The use of the music of the 40's and 50's is great. A nice touch. Particularly if you love this kind of music. Which I do. A must read. Try it.

This book really encapsulates the experience of the World War II generation, and brings it alive for Boomers and Gen X readers. I would put this in the top twenty of the best novels I have ever read.

I first read this book probably 15 years ago, and I still pick it up and re-read it once in a while. It's so well-written, it makes me nostalgic for a time I didn't even live through! While it's about a group of college friends starting out in the 1940s, I think the story and its emotions are timeless enough to appeal to anyone. I saw parallels to my own experiences in college during the late 1970s, minus the war. The characters are so real, and they stay with you long after you've finished the book.

this was a phenomenal story about struggle and rebirth. the story focuses on a transgendered guy through the eyes of his sister. and quite honestly i didn't go to sleep last night as i read it from start to finish.

the whole story is about how luna (liam's true self) is trapped within liam, and liam is a construction what the most acceptable way he can exist without revealing his true self turns out to be, which throughout the book we are told is like a shell of a person. regan, the sister, has known from a young age that her brother is really a sister and devotes her entire life to keeping up the facade of liam and dealing with luna's problems. as a result regan doesn't really have an identity. both she and luna are repressed 'liam' liam being society's rejection of transgendered individuals, and 'liam' stifles those who know the truth to the point where the death of the individual wouldn't matter because the spirit, their soul, is already dead, crushed by society's rigid rejection. as depressing as that sounds however, this book is a phoenix rising out of the ashes story. for most of the novel everyone rejects luna, even regan and liam as they are more embarrased and wanting to keep luna underground more than anything else. as the story progresses however, luna decides that she needs to make herself known, she needs to break free, so she hesitantly goes about doing this, at first just recognizing this fact, than taking ever growing steps toward freedom. people accept or reject her as this process takes shape, but the only viewpoints the readers focus in on are luna/ liam's and regans. we never hear the final conclusion the other characters come to, which is appropriate as we can fill in our own selves or those we know into those characters, because this is very much an unfinished story as sexism still exists in a huge way today.

for most of the book regan is just used as a lense through which the reader can learn about luna and has no personality or character of her own, but she along with luna, comes to the realization that she has no 'self' because of 'liam' and though she doesn't act on it the way luna does, she gets proddings from the outside world (in the shape of a new guy in school) to bring attention to her own life and not focus everything on luna.

i teared up a few times reading this. everyone has an inner self to let out, it's a struggle we all go through, some more so than others.

I enjoyed the vivid portrayals of the four family members -- mother, father, sister and Luna, the male-to-female transgender teenager. Luna is impatient and exercises poor judgment, just as one would expect of a teenage transgender individual. Luna's younger sister is actually the central character, as she finds herself conflicted, caught in the middle and consumed by Luna's needs, all of which is tough on a shy teenager trying to make her own way through school and relationships. The reader pulls for her every step of the way. Although the book's crisis scene is somewhat predictable, it is still entertaining as it impacts the well-characterized family members. There is even a twist or two at the end to make for a very satisfying read and a sense of completeness, even though Luna's life in many ways is just beginning.

Regan's brother, Liam, is one person by day and another by night. Literally. During the day, he is Liam but during the night, his inner-self comes out in the form of Luna, a girl. She spends the night in her sister's bed room, trying on wigs and clothes.

Regan is the only one who knows about Liam's true identity and she isn't exactly sure how to deal with it. Besides dealing with Liam, she struggles with normal teen problems - boys, grades, and her job.

When I picked up this book, I wasn't sure what to expect. For my local book club, we had to read a book about accepting people and another one of the girls suggested this book to me. I have absolutely no problem with the gay/lesbian/bisexual/transgender issue but I wasn't sure if I could handle reading about it in detail, especially not knowing what to expect. However, since I respect Julie Anne Peters as an author (Far From Xanadu is brilliant), I decided to give it a try. I wasn't let down.

This book is great and you should definitely read it as long as transgender doesn't bother you. It doesn't go into too much detail, but explains the struggles of Regan dealing with her older brother whom is truly a girl inside. The characters are believable, the dialogue is great, and the plot is amazing. It's definitely a book you won't want to put down once you start. I read it in less than five hours with a few breaks. Even if you aren't sure you'll like it, give this book a chance!

Mes not much of a book person. mes had copys buts was lost durings a moves. glad mes coud get a new copys. mes was toweds abouts this book by a friends. mes counds nots puts the books downs mes wub its.

This is a compassionate look at a family which includes a transgender (MTF) teenage 'son.' The first person view-point character isn't transgender, but is his supportive sister, for whom the burden of her brother's secret has become almost unbearable. The author has done her research well, and manages to make the story about as upbeat as is possible while remaining true to the difficult reality of the trans teen. Luna is fortunate, as a 'computer genius' she has the resources to make it on her own, without descending into a world of drugs and prostitution if rejected by her family. Strongly felt, sincere, with understanding and compassion even for those characters who can't wrap their mind around the reality of transgender, this is a story that should be read by anyone interested in trans people and their families.

So many reviewers have described in such elegant terms this book I can only concur. I read this book in 1997 in French first (As far as I know Amin Maalouf writes all his books in both Arabic and French) and then I reread it in English. The translation is excellent. Like any poetry it is very difficult to translate Omar Khayyam's.
There is a rupture between the first part and the second. I do prefer the first half but the second half's end is remarkably incredible and full of hope.
Amin Maalouf is a master of "time travel" and takes you to exotic places like 15th century southern Spain during the Reconquista with Leo Africanus or the second century Persia with The Gardens of Light or the 19th century in the Otoman empire with The Rock of Tanios

Samarkand tells the story of Omar Khayyam and the writing of his Rubaiyaat. It crosses that biographical story with the story of an American scholar who discovers the real book later, in the midst of a journey to the Middle East.

Samarkand breaks nearly every rule that I have for myself about what kind of historical fiction I dislike. It name-drops famous people (characters sail on the Titanic. Khayyam is close to Hassan-i-Sabah and their stories intertwine, etc.). It makes historical characters modern. It indulges in fancy dress and exotic places. But still, that didn't really bother me. Perhaps that is because in the character of the student it seems Maalouf turns the camera back on himself. By giving a young, well-intentioned but ultimately callow character the role to interpret not only the past but the culture of the present, the reader is reminded that such things can not be so easily understood. Maalouf seems to remind us that their is no such thing as an omniscient narrative. And then somehow, just like that, I forgive him the rest of the devices in his book.

Samarkand is not perfect. The latter half, in particular is a little bit clunky. There is something not quite right about the structure. It may be the translation, but I am not completely sure. Still, a worthwhile read. A good use of time. (And now I have to run out and re-read the Rubaiyaat, which I will confess I did not take as seriously as I ought.)

This is the second book that I have read by Maalouf, the first being the magnificent Crusade Through Arab Eyes. I'm definitely going to keep reading in his body of work.

I only picked up the book because of FitzGerald's Rubaiyat and was happily surprised. The only two observations I would add to other reviews here are, first, that the novel was translated from French into English and so may lose some elegance and effect. Perhaps that's the origin of someone's remark, "surprisingly dry"? Second, I enjoyed the way the fictionalized characters were drawn from actual history, Medieval and modern, and how characters in the early history had thought provoking parallels in the modern story. So, I came away moved by the question of how different types of people influence history, or art, or the people around them. And the story opens a door into Persian history, including Islam, for those of us in the West who had little or no idea of it before.

This is easily Maaloufs best work. Totally different from all other writers, Maalouf never polarises. He writes with fine balance and invokes a deep respect for every culture and creed he writes of. No one , having read this, will finish it without having a deep understanding and respect for Iran and its people, its brutal history , its identity ,which it has had very little chance in creating due to constant invasions-Turks to Mongols- or tutelege-Britain and Tsarist Russia.
Using the verses of Omar Kayyams Samarkand Manuscript and the turn of the century constitutional and democratic revolts and its failure due to British and Russian interference (what would we give for the democratic Iranian state today-free of religious and political tyranny?!) Maalouf weaves a wonderful tale of -appropriately-Arabian Nights proportions and educates the reader on all the historical upheavals desires and missed opportunities of the region. The book divides into two main parts; 11th century Persia and the life of Kayyam, and the late 19th and early 20th century Persia; a nation trying to establish itself in the world.
A deep lesson lies here, of the importance of democracy freedom and justice to all people, and how fragile it is against vested interests.
This is a truly great novel. A wonderfully unifying novel that lifts the prejudices and fears between the east and west, and misconceptions of Iran and islamic cultures.
A masterpiece in humanitarian understanding.

Other reviewers have highlighted the charm of the book, with its evocation of Khayyam, the Rubiyyat and the fabled cities of the Silk Route. I would like to point out that it holds a frightening parallel to our present times. The book was published in 1988, so Maalouf could have had no idea how closely his book would mirror the early part of the twenty first century.

The book deals partly with the confict between the hidden leader of a violent sect and powerful empire. The second part of the book deals with the citizens of a country (ironically, today's Iran) striving for democracy and freedom from the oppressive rule of theocrats, but opposed by two great world powers of the time (Britain and Russia!) who wish to maintain the status quo for their economic benefit.

The book is written with great charm and makes the reader feel (s)he is there. Like a previous reviewer, I do not know enough to separate fact from fiction, but at the end of the book, one wishes with all one's heart that there IS such a book, written in Omar Khayyam's own hand, and that it is NOT at the bottom of the Atlantic.

An amazing and uplifting book.

"Silly Sally" is one of those especially-for-fun books that are really great to read to pre-schoolers! The love and bonding between adult and child and child and book that happens when reading and talking about good books is magic! And, the word play is an invaluable pre-reading skill that will enhance learning to read. Have fun with this story--no one needs to know you are "teaching." Older children also love the rhythm and rhyme and enjoy this story.

Great little book. Both my husband and I love reading this to our daughter who seems to really like it. Very quick, but entertaining. We have it memorized.

My daughter, Chloe, loves this book, and so do I. We have fun reading it together. She brings it up all the time. She will be hanging upside down off of the couch and she will say "Silly Chloe went to town, walking backwards upside down!" Silly Sally gets an A+ in my book!

My 5 year old loves this book. She has it memorized and "reads" it to us over and over again. It's very cute, building on the page before. The illustrations are great and silly and there is a definite resolution. A must read for all.

Great book as it plays on the the silly humor that we all share. Simple story line with colorful illustrations that my 3 year old could relate to. I sent this book to my daugher's daycare and her teacher commented how the other children loved the story too. That really made my day. Its a great book to make kids laugh.

So much serious stuff has been written about this famous novel that first-time readers may be surprised that the first of the two parts of the book is actually an easy read with a light touch and plenty of humour despite the utterly gloomy and sad premise: a group of cancer patients in a decrepit, impoverished cancer hospital. Not much action, but vivid and touching dialogues abound. The second half of the book is a bit more demanding, with lengthy philosophical reflections on life and humankind. But it's worth it: some of the most haunting and moving passages of modern writing are found here. When Solzhenitsyn lets his protagonist compare life to the rivers of Siberia "running into the sand", he may just have created the most beautiful metaphor of life ever put on paper. Please, do read this book.

This book is written in the true Russian style. It's poignant and shocking and hard to put down.

The forward explains how the writer was treated in Tashkent for cancer while serving a sentence of forced labor exile. Post World War II Tashkent was cosmopolitan. The story takes place in February and March 1955 in a city like Tashkent. By then Stalin had died, Beria had been executed, and Malenkov had fallen from office.

The number of the cancer ward is thirteen. An official is to be treated for a tumor at the hospital. He resents the squalor of his surroundings. He consents, nonetheless, to undergo treatments. Dr. Dontsova has three residents. They call her Mama.

The bureaucracy insists that Dontsova dismiss indeterminate cases, cases where there is no improvement. Dontsova is troubled herself by stomach pains. Guilt she feels, though, is triggered by the existence of radiation sickness since she is an oncologist and radiologist. She cleans and shops and cooks for her family consisting of her husband and son.

One evening the male patients have an argument about moral perfectionism. It is claimed that Gorky, Stalin, and Lenin all thought that Tolstoy's doctrine was dangerous. Continuing their discussion, the male cancer patients are happy to think of traditional peasant remedies. Illness levels. The functionary and the exile are similarly situated.

Sickness provides respite from work and citizenly duties. Centers for treatment draw a cosmopolitan mix of people. Many people had lives interrupted in war service. Fairly detailed descriptions of the soviet medical system are given. Shortages of cleaning rags and other dysfunctions are common. Attempts to rationalize procedures and safeguard limited resources slow progress and create inefficiencies.

Oleg Filimonovich Kostoglotov, one of the points through which consciousness flows in the novel, resides in Ush-Terek, a virgin lands territory, and is a topographer but works as a land surveyor. The Ministry of Internal Affairs required that he live there. He was administratively exiled.

Pavel Nikolayevich Rusanov, the official being treated, strives to be optimistic as Gorky couseled. He looks forward to the visits of his wife, Kapitolina Matveyena. At first a geologist, Vadim, thought that Oleg Kostoglotov was a rude loud-mouth. (Vadim was collected, proud, and polite.) He saw that Rusanov was a standard sort of bureaucrat. Later Vadim discovered that Oleg was not arrogant. In fact, he was even generous.

Oleg discovered that after the world of the camps, exile could not be cruel. He was thirty-four and now too old too obtain a university education. He felt he could be content in exile if only he had his health. Oleg's good friends in Ush-Terek were a pediatrician and his wife. Oleg admired the chief surgeon at the facility. He had worked in the camps. Oleg picked up this piece of biography through the surgeon's choice of words. Oleg accused Rusanov of not being patriotic, of not having a love for country, but rather of wanting a fat pension.

Someone cites a writing of Lenin that an official should be paid a wage equal to the amount paid to a good worker. An older man tells Oleg that with his history he is fortunate since he has had to lie less. The man, a scientist, had been forced to follow the faulty teachings of Lysenko.

Dontsova had dealt with the ailments of other for thirty years. Now she has been diagnosed. She is to take sick leave and proceed to the Moscow Institute She makes her final rounds. Rusanov is released. He believes that he is cured. Oleg is discharged to recover from the treatment and to return to Ush-Terek. This is a masterpiece.

No one writes a fat, sprawling, old-fashioned Russian novel quite like a Russian. To the ranks of Dostoyevsky and Tolstoy, you can add Solzhenitsyn and to novels like *The Brothers Karamazov* and *Anna Karenina* you can add *Cancer Ward.* In fact, *Cancer Ward,* like Tolstoy's slim but immensely profound *The Death of Ivan Illych* begins in much the same fashion: a married, middle-aged career man is suddenly confronted with the most immediate and terrifying thing of all: his own mortality.

Although in *Cancer Ward* instead of the self-absorption of bourgeoisie society, the setting is Soviet Russia in the two years after Stalin's demise. It's still a world of repression, imprisonment, suspicion, fear, lies, exile--and, most of all, the ever-lurking presence of death. These conditions are allegorized in the cancer ward itself, in the doctor's who must have faith in their largely ineffective treatment and--all appearances to the contrary--who never tell their patients the truth about their condition...which leads to the absurdity that Solzhenitsyn uses as the title of the first chapter of *Cancer Ward*: a patient sent to the cancer ward assured by his doctor that he has "no cancer whatsoever."

What is allegorized is a people who've been systematically brutalized into the deepest self-denial, terrorized into ignoring the cancer destroying their society.

But for all the allusions--evident or oblique--to the secret police, the Gulag, and the totalitarian state, as well as the impassioned outcries against Stalinism, *Cancer Ward* is about the universal and timeless problems of death, of faith, of freedom, and of how we should live our lives and what might give them meaning.

Like all the greatest Russian novelists, Solzhenitsyn tackles the biggest questions. *Cancer Ward* is a philosophical novel in the best Dostoyevskian sense of the term. Filled with passion, pathos, humor, and heart, as well as a vivid cast of memorable characters to embody every idea, every human emotion, *Cancer Ward* is a masterpiece and Solzhenitsyn a writer rare in our age who still dares to deal with serious things seriously and compels you, by the sheer unquestionable moral force of his conviction, to take them seriously, too.

This is perhaps the best book I've read in recent memory. Don't miss it.

It is almost unbelievable how the liberal elite in America covered Stalin's crimes until Solzhenitsyn's prophetic writings emerged. And not to be outdone, President Ford and Henry Kissinger refused to welcome the greatest writer of the 20th Century in order to placate the Soviets. May Solzhenitsyn rest peacefully in the assurance that one honest man changed the world. And may his literary works live forever.

This is a wonderful popup book on the history of sharks and other fish. It is interesting to read, and the popups - wow! Highly recommended.

He's in an ocean creature stage and loves this book. The main and side pop-ups entertain him for long periods of time. It's a nice addition to any "underwater library".

This is a brilliant pop-up book, ideal for young kids to learn something about the past but be thoroughly entertained too..

My sons got this book along with The Jungle Book for Christmas. These books are works of art. They combine amazing pop-up art with a good story. My kids love these books. I plan to give away copies of Robert Sabuda and Matthew Reinhart's work to other folks in the future. Makes really memorable gifts.

I'm an avid pop up collector (or my little boy is, but I get as excited as he does when we get another one) and this is as wonderful as the other Sabuda books. It's holding up well even though I have to pretend to attack my son whenever we get to the huge set of shark jaws; these books are not as fragile as you'd think.

I believe there are many books that will haunt our lives. They stand out amongst the piles of tomes we have read, our memories of them weighted with joy and longing. Sometimes we want to read them again for the first time.

Les Miserables is such a book. It is vast, intimidating in scope but the pages are alive, they breathe with passion, sympathy and philosophy. The characters are alive and remain so long after one finishes reading it. Hugo was a master poet/playwright/novelist. He saw all sides of the political spectrum. He was a Romantic in the greatest sense and he loved women, bedding, some might argue, half the female population of Paris.

In his old age, he was still grandiose, words flowed from him and he stood up for his beliefs, putting them into ink, irritating the ruling class and his fellow literary peers. Les Miserables was his ode to the common man, a love letter to his former selves and to the dignity of humankind. His work is medicinal, setting out to offer cures for the ailments of society.

I read this book when I was sixteen and I still carry it with me, twelve years later. Someday I'll learn French and read the original.

I believe this translation by Normany Denny to be one of the best. It is a bit of an abridgement but only in respect to the modern reader. Hugo had the "superlative" knack, everything was big and meaningful to him. His sentences and paragraphs sprawl out, his focus becomes erratic. Denny lets Hugo span out within reason. He is a translator aware of his duties, his obligations to both the author and the reader. The reading is less of a challenge with Denny reigning in the master.

This is a great read and worth all the effort and devotion. It will haunt you.

Reading Les Miserable takes you back to the 19th century, not just in the content, but as a reader. You can't enjoy the book unless you allow yourself to amble along with Victor Hugo as he digresses from his plot and then digresses from his digressions. It's hard to imagine this book being published today, as marvelous as it truly is.

That's more a reflection on the nature of publishing in 2007, and our impatient reading habits, than Hugo's writing, which is superb. His descriptions of places and characters are all masterful.

Nevertheless, I find that I'm by-passing huge sections where Hugo takes a wide tangent that has nothing to do with the story, even though these are well written - actually, very well written. The section on Waterloo, for instance, is something I plan to return to when I'm reading French history, but it has nothing to do with the travails of Jean Valjean and Cosette, and I've skipped it for now.

When Hugo remembers he is telling a story, the writing is exciting, dramatic, full of unlikely coincidences that you just accept because it's fun. It's a 19th century soap opera for readers who had little else to read and far fewer distractions than a modern reader, and his perceptively drawn characters entertain us even today.

But be prepared to enjoy Les Miserable over an extended period of time, like you do "The Young and the Restless," with a multitude of story lines, often unconnected.

By the way, in contrast to other readers, I'm enjoying Norman Denny's translation, although not having read the other versions, I can't make comparisons.

Having now published two novels --- A Good Conviction, a NYC-based legal thriller which tells the story of a young man wrongly imprisoned in Sing Sing for a murder he did not commit by a Manhattan ADA who may have known he was innocent ... and The Heretic (Library of American Fiction), a historical novel describing the persecution of a family of secret Jews by the Catholic Church on the eve of the Spanish Inquisition --- I have devised a self-education project to help me learn the techniques and styles of other authors, and thus (hopefully) become a better novelist myself.

"Les Miserable" is one of the novels I've read as part of this self-education project.

I'm organizing my thoughts into various categories relevant to writing, such as ... "beginnings" ... "conflict" ... "characters" ... and others, and I'm posting my observations as a blog, which turns out to be a wonderful way for me to organize and retrieve my notes.

This also puts my thinking in the public domain. So if you'd like to see my evolving comments about writing novels, I invite you to take a look at my "Education of a Novelist" blog.

You can reach my blog by searching the web for "weinstein education of a novelist."

LEW WEINSTEIN

Hugo weaves his tale for the ages in and around his personal, social and political history of 19th-Century France. His accomplishment is stunning to the extent that he keeps the reader interested during the long, seemingly-disconnected framing passages and intently riveted when the connections come together and the reader is enriched and the story enveloped in Hugo's masterwork. For example a 50-page aside on the Battle of Waterloo has no bearing on the story--until the last few pages when a dying soldier on the battlefield forms a connection that provides a strong driving element of the action hundreds of pages later. The passage not only informs the reader of the historical and political context of Waterloo, but frames the intense action following later fully within the context so that it means more at the macro-historical level and is more meaningful at the personal level. It left me crying tears of joy and sorrow at story's end.

The translator, in his introduction, makes much of efforts of many past translations to abridge these long passages, and explains his reasoning for leaving them intact except for two, which amount to only 32 pages of the 1232-page edition. Seems like unnecessary--and harmful--twaddling. For example, I wrote this review before finishing the two appended sections, in which I found this statement by Hugo exactly confirming my review:

"One cannot be a good historian of the outward, visible world without giving some thought to the hidden, private life of ordinary people; and on the other hand one cannot be a good historian of this inner life without taking into account outward events when these are relevant. They are two orders of fact which reflect each other, which are always linked and which sometimes provoke each other. All the features traced by providence on the surface of a nation have their sombre but distinct counterpart in the depths, and every stirring in the depths produces a tremor on the surface. True history being a composite of all things, the true historian must concern himself with all things."

The first time that I read this book I was about 18 years old. This is the only book in my life that I have ever read where I can say that "I couldn't put it down". I read this book and I balled like a baby. I remember that I had to go and get a handkerchief and blow my nose while wiping the tears away so that I could continue reading. When I finished the book - and I only read the abridged edition, I said to myself; "If I could ever write a book that could cause the reaction that this book has put onto me, my life will have not been spent in vain. I am still trying to write that book. I have since read the book two or three more times and I'm about to read it again. How a man with just words on a page could create such a reaction is really beyond my wildest estimations.

Les Miserables is justifiably known as a great literary masterpiece. However, I had hitherto neither read the book nor seen the show. I am now so pleased that I have read the book before seeing the show and I am sure that I will enjoy the latter so much more through having enjoyed so greatly the former. This edition, translated by Norman Denny, runs to more than 1,200 pages and Mr Denny makes the point in his introduction that Victor Hugo's original contains 'digressions,' meaning that, to some readers at least, certain sections of the book, maybe some 100 pages or more in total, may appear to 'digress' from the principal 'plot.' But even the 'digressions' are valuable, for they give to the less knowledgeable - such as myself - a fine lesson in French history, as does the 'plot' itself. Victor Hugo takes the reader through some of France's most turbulent times, from before the Revolution of 1789, through the Empire of the first Napoleon, and to and beyond the further Revolution of 1848. If one were wanting to be flippant, it would appear that the French were for ever revolting and for ever at the barricades. I do not wish to be flippant, however, and this great tome charts the progress or otherwise of French affairs through the late eighteenth and early to mid-nineteenth centuries with inimitable flair and profound knowledge, for the author lived through most of it, even suffering temporary exile from France when he crossed the authorities of Napoleon III. It is against the background of such ongoing turbulence (which explains so much of later French history) that the immensely moving and complicated tales of Jean Valjean and Cosette and Marius and all of the other larger-than-life characters are told. To those readers with the willingness to spend more than the average time on a tremendous and unforgettable work, this is for you. Read it and then see the show!

I grew up (in the 1940's and 1950's) about 50 miles from where Silas House now lives, and I can vouch for the authenticity of his picture of life in these mountains. He's an excellent writer, and I highly recommend his work to anyone interested in the people of the southern Appalachians.
In addition, I highly recommend his work to anyone interested in the relationships among people. House's narratives aren't about the region - they're about people (as any good literature must be).

I read this book along time ago, but I can still remember it. It is an awesome story about the struggles of life years ago in the appalachian mountains. This story left me on the edge of the bed every night until I finished it. I want to read it again soon.

Silas House has written a beautiful book that is so descriptive that you'd swear you could smell the wet leaves as the characters walk through the woods after a spring rain. This love story between Irish Saul Sullivan and Cherokee Vine is not to be missed. Wonderfully drawn characters, (my favorite is Serena, the wild midwife who befriends Vine), and lyrical, evocative writing make this a story not to be missed. If you enjoy this as much as I did, read House's The Coal Tattoo next, followed by Clay's Quilt. This will follow the whole family's saga from start to finish. All of these are wonderful stories, but this is the best of the batch, followed closely by Clay's Quilt.

This is a beautifully written, beautifully told story of Vine, a young Cherokee woman in Kentucky of the early 1900's. Vine is a three dimensional character, well-defined and very real.

While the story is slowly paced, it does not lag in any way. House does a great job of describing what "Holler" life was like during that period of time, and especially what life was like for Native Americans. Esme, Aidia and Serena are also well written characters and add a great dynamic to the story.

I did find that the characters of Saul and Aaron needed a little bit more defining for me. Why did Aaron become the type of person that he did? Other than Saul being described as a man of few words, I never got a good sense of him. I'm not sure it was an entirely good idea to have written him out of so much of the book. I would have liked to have read more about the relationship between him and Vine. Regardless, this is still a great book that I highly recommend.

Silas House writes beautiful novels. He teaches rich American History many of us would never learn if not for his books. I love to read about the Appalachians.