This book is indeed a masterpiece and it is great for someone who is studying to be an engineer or is interested in architecture. It is fantastic and has everything from the Lovely Louvre to the palace at Petra, from the Great Golden Gate to the construction of the Chrysler. It shows fine examples of art deco, modern, classical, Greek, Muslim etc. architectural wonders. It not only explains and shows the construction of these great buildings, but for certain buildings it also shows their plan, it's legends, along with information about who built it, why did they build it, whom did it build it for, when was it built, and where it is. It also has sections showing the greatest styles of architecture ever used along with a series of historic sites in the world. All in all this is a fantastic and very useful guide to the masterpieces of Architecture and Engineering.

-------------------------AHMED MASHHOOD--------------------------

See book description above.

I was not at all disappointed with this somewhat dark comedy, which one author described as having "real machine gun narrative". As mentioned by other reviewers, Smith is comparable to Hiaasen (but not quite at his level) and also, I think, Fitzhugh. For a first novel, Smith has written one heck of an entertaining story with an assortment of unusual characters.

Recommended.

When I began reading Moist, I flipped to the back of the book, and in all capital letters
it read: WHY YOU WILL LOVE MOIST... and now that I have I must agree with those who read & commented before me. I am the kind of reader who doesn't get trapped by trying to figure out where the writer is taking me, ie Agatha Christie--- I don't care to figure out who killed Colonel Mustard in the library with a machete and twelve people must provide an alibi and if I am smart enough to figure out which one is lying. What I care about is the journey the writer takes me on. I like to get lost in what I am reading, to just kick back, so to speak, and just enjoy the ride. And Moist is one hell of a damn good ride.

Bob, our hero, who works at United Pathology Labs is kidnapped by the Mexican Mafia
in the form of crazy Esteban and his colorful band of merry men gringo advisor Martin, Norberto and Amado. There is Maura the masturbation therapist, Bob's soon to be ex-girlfriend, Don the detective, and a severed arm with explicit sensual acts of sex tattooed all over it. To say anymore would give away too much

It is definitely a dark gritty sexy outrageously hilarious story and Mark Haskell Smith is a wonderfully talented storyteller keeping the pace breakneck! I put this book in the "page turner" category. His characters came to life jumping off the page making me laugh, smile, even feel sad and most importantly propelling me to keep turning the page. I was not surprised in the least bit when I had heard Smith was a screenwriter nor that DreamWorks owned this piece of entertainment, because that is exactly what Smith does, he entertains you non-stop. Sit back and enjoy!

An original and deftly written novel by Mark Haskell Smith, Moist is an outrageously sexual, shocking, and sometimes ludicrous adventure in which minimum-wage mortuary worker named Bob is in search of true love only to find a most unusual severed arm, and become entangled with a one-armed murderer obsessed with Mexican soap opera, a band of mobsters who share certain character traits with LAPD's finest, and other messed-up, drugged-out, or terminally oversexed individuals. Moist is lively and recommended reading as a sure-to-please, zesty satire with a flair for skirting the raw edge of life and love.

This well-written memoir is an opportunity to get a first-hand peek at a whole different culture, society and way of thinking. The author is not pretenuous at all in the almost matter-of-fact style that she uses to describe a privileged life where money was always available to provide the necessities and the luxuries. Here we see a glimpse of the reaction of the privileged class to the horrors of war when it made its way to the door steps of their salons.

The best part of the book though was the insight into the author's opinions about the philosophy of writing. Here the modern middle-class American is allowed into the thoughts and opinions of one who was raised with all the advantages of tutors, exposure to the best art in the world, and variety of influential and interesting characters who sailed through her life.

The book would have been much better had the author allowed her emotions to shine through when writing about the deaths of her loved ones. This is the only flaw in the book and this failure leaves the reader with a longing to have had more opportunity to learn the complexities of this intelligent lady.

Anyone who enjoys reading about the aristocracy will enjoy this small, spare book.

This a charming and moving account of what on the surface appears to have been a very privileged life; however the author tells her story (which at times is very sad) without 'showing off' at all.

For those who have enjoyed this book, I recommend Kinta Beevor's A Tuscan Childhood and, also, although it is about an English childhood, James Lees-Milne's Another Self. Both manage to evoke the magic of childhood in the early 20th century in settings that are closer to, say the 17th century, than to today's world.

I turn to this memoir whenever I need perspective on what matters in life. Origo, despite her privilege and access to many of the great figures of the 20th century, never lost sight of what mattered: the people that she loved. This is how she introduces her memoir: "It has sometimes been pointed out to me that I have had a very varied and interesting life, have lived in some extremely beautiful places and have met some remarkable people. I suppose it is true, but now that I have reached `the end game', I do not find myself dwelling upon these pieces on the board. The figures that still stand out there now are the people to whom, in different ways and in different degrees, I have been bound by affection. Not only are they the people whom I most vividly remember, but I realise that it is only through them that I have learned anything about life at all. The brilliant talk that I heard at I Tatti in my youth, in Bloomsbury in the thirties, in New York and Rome in later years, has lost some of its glitter. All that is left to me of my past life that has not faded into mist has passed through the filter, not of my mind, but of my affections. What has not warmed by them is now for me as if it had never been."

While the text essays in this book are a bit dry, the photographic reproductions are of top notch quality. Kenna's photographs are beautifully elusive, sometimes printed quite dark, yet remain salient throughout. I found myself wondering how the images looked on the contact sheets, straight, with no darkroom manipulations. This book serves as a great example of what you can do in the darkroom to bring out a more poignant image than you actually shot at the location. It should be required for anyone who works with black and white photography in the darkroom; not because you will gleen any certain tips or techiques but because you will study the final results and perhaps wonder how they were achieved.

As a photographer, this book will remain in my photo book collection and it is Kenna's strongest work to date.

I am very lucky indeed to have been able to see many of Michael Kenna's photographs at live exhibitions, both in Washington, D.C. and in New York City. Any art book is a "poor" substitution for the real thing, but there are some books that can give you true, beautiful examples of specific art works that then, hopefully, can someday be seen live. Kenna is a British photographer, in his 50's, who now lives in San Francisco....and seems to concentrate, in large part, on landscapes as his subjects. His images in this book are of the gardens created by Andre Le Notre, "the most important garden designer of the court of Louis XIV." In approximately 6o plates on 80 pages, we are taken to 10 different locations in France including the Tuileries in Paris and Versailles and Fontainebleau. The photographs are nothing short of breathtaking, obviously taken at dawn or dusk when the natural light is almost unreal. These images evoke mysterious, art movie settings---one almost expects a stranger to appear from one of the designed paths or pools or from behind one of the symmetrical trees or shrubs. All of it: the photographs, the accompanying essay, the way the book is put together with obvious care and love is magnificent magic.

A beautiful book that is full of some of Michael Kenna's finest images. Truely beautiful black and white printing. Michael Kenna is a master in his own time. Some of the fimest landscape I have ever seen. A must have for photography lovers!!

OK, young fool falls in love with married girl. Becomes friend of the couple. Husband starts to get annoyed. Hero declares his love and then commits suicide. You can read that in the paper once in a while. So, why is this a great novel and a landmark of Romantic literature? Because it has a lot to make us think. A famous fact related to this book is that, short after it was published, a series of suicides took place in Europe, mostly by young guys in the same situation as Werther. That should set clear the influence and strenght of the novel. It is extremely well written; the scenery is gorgeous -rural, upper class Germany in the Eighteenth century. The book is written as a secret diary addressed to a trusted friend, and to any readers, young or old, it will strike a chord in their hearts. Tell me, who is there that never experienced dreams of punishing that insensible beloved from school by committing suicide and then have her cry and repent at the funeral? But most of us are still here, with her or, most likely, with someone else or alone. We survived love's infatuation; Werther did not, and he is now a prototype of unlimited love (or lack of maturity, depending on your point of view). I prefer to see it as a great story written, at an early stage, by one of the greatest geniuses of all time. "Werther"

I always find it sad that more people do not read Goethe for pleasure alone. Yes, he was a "scholarly" writer but his works, although profound, are written in an easily understandable style. I think too many people have been needlessly scared off by Goethe's monumental intelligence and his philosophy. This is too bad. His books revolve around themes that are universal, subjects to which all of us can relate: romantic love, nature, God, beauty.

Eighteenth-century German literature was propelled by a revolution in romanticism, and writers such as Goethe celebrated their most cherished ideals in as ornate and eloquent a manner as possible. While the tendency of American and British writers to ignore the sublime and the romantic in favor of stark realism does have its place, that does not mean that the sublime and the romantic should be casually tossed aside.

The Sorrows of Young Werther is not Goethe at this best (you need to read Wilhelm Meister's Apprenticeship for that) but it the best introduction to Goethe anyone could find and a lovely novella in its own right. The Sorrows of Young Werther opens more amazingly than any book I have ever read and it is not overstating things a bit to say that Goethe gives us something profound and beautiful on each and every page.

The Sorrows of Young Werther is comprised, for the most part, of letters written by a hopelessly romantic young man named Werther to a friend named Wilhelm. These letters not only detail Werther's doomed love for the beautiful Charlotte, they also contain the most beautiful meditations on just about everything important in life: love, beauty, nature, philosophy, art, religion.

In Werther, Goethe clearly shows us the problems inherent in loving and idealizing something a bit too much. I think many readers will have a problem with the character of Werther. He is simply too romantic to be real. And then there will be those who will wonder how a man who is capable of uttering the most gorgeous and flowing words about beauty, art and nature can fall so hopelessly in love with one woman that he seems to forget all else that he holds dear. Well, Werther, in the best romantic tradition, has invested all the emotion he feels for art, beauty, religion, etc. in Charlotte. Once readers realize this, I think the ending of this novella will make sense to them. Yes, Werther is an extreme but once you come to understand him, he does make perfect sense.

As I said, this isn't Goethe at this best or his most sublime or even, believe it not, his most romantic, but this is certainly the best place to begin if you are just beginning your study of this monumental author or of German romanticism in general.

The Sorrows of Werther is a book, that doesn't really need any introduction. However, in addition to the other reviews I would like to point out that Goethe's book is not be seemn only as a great love story (as such I, at least, find it rather commonsome), but a deep, accurate and insightful study of the mechanisms of love. Despite the sentimentalism and the emotional turmoils of the narrator, its language and composition are of the utmost clarity. Reading the book often - passage or two at the time - I find it most amusing. Many are the pleasures it brings to the disentangled and ironic reader. A great companion to the book is Roland Barthes's Fragments däun discours amoreux. A book akin in spirit to Werther, but with a more interesting plot, is de Laclos's Dangerous Liasons.

With the witty title, strong opening and some occasionally inspired dialogue, I really expected the best from my first chapter or two of this cozy mystery. But the tale quickly disintegrates into a soup with too many contrasting ingredients, way too much seasoning, and not enough simmering. Too many characters are introduced but never fully developed, the lovely British setting is not fully integrated, the gardens and interesting or fabulous homes are barely sketched in - but the action can only be described as willy nilly and inplausible. This would have been a lovely book for a location map, and some charming English country scenes, and a lot more characterization. I was disappointed and wondered if this book had been rushed to publication.

Although I seldom read Gothics anymore, I read my share of them when I was young. Ms. Cannell serves up the standards: deep dark family secrets (one was easy to guess, but the others took me completely by surprise), great wrongs from the past that need to be set right, people being killed because they either KNOW TOO MUCH or could unwittingly REVEAL ALL. She didn't leave out the less-than-warm welcome the villagers give the innocent heroine. There's a seance! There's a governess who wanted her master who had the invalid wife. Ellie's life is mysteriously threatened. There's even a certain architectural feature no Gothic romance should be without. Of course, Ellie isn't the usual Gothic heroine because she's a wife and mother, but our author handles this trifling problem by packing Bentley and the kiddies off to camp. Mrs. Malloy and the faithful Tobias are similarly disposed of, leaving poor Ellie on her own. To trust or not to trust? Not only is that the question, but the answer could mean life or death to Ellie. I don't know if I'd go so far as to say that it's the best spoof of Gothics since Jane Austen's NORTHANGER ABBEY, but it's certainly a lot of fun. RANDOM COMMENTS: If you take 100 years as the human life span, then ages 34 through 65 are the middle, so yes, you are middle aged if you're in your forties (I will be 46 this year). Laughed at Mrs. Malloy's reaction to the reason Ellie has never spoken of her maternal grandmother. The chapter decorations are pretty. For someone who reads Gothics, Ellie took a bit long to become suspicious. I'd never heard the phrase "a friend of Dorothy" before -- what a polite way to explain. My instinctive reaction to the mentions of meat puddings and fish pie was YUCK! Then I remembered the teasing I gave a friend who refused to try chicken pot pie because "pies are dessert!" and decided to keep an open mind. With all the revelations in this book, Ellie and her kin are going to have to rethink their precise degree of relationship. I, for one, hope that Ms. Cannell doesn't fail to give us vain Vanessa's reaction in the next book. I'm sorry that Yan Nascimbene chose to give us a dustjacket illustration that's in keeping with the punny title. This book cries out for a traditional Gothic cover, preferably a nightgowned Ellie fleeing the Old Rectory in the pitch dark; with one window mysteriously lit in the forbidding house.

In the latest Dorothy Cannell mystery, Ellie Haskell is summoned by 3 of her grandmother's old friends to solve another family mystery. Another trio of bizarre characters join the cast, as each of the bridesmaids is just a little bit off. Cannell's mysteries are always alot of fun in addition to the mystery,and this one is no exception. Hopefully, the next novel will bring back the Flowers Detection Agency. I miss them.

This text is nicely produced and has some interesting examples of Haskell programming. However, the book is mainly examples of Haskell and functional programming rather than explanations of Haskell and FP. The exposition is spotty and assumes a lot. It would best be considered a second book for those learning Haskell.

I already knew Haskell when I started reading this book, but it held my interest right through to the end. This is largely due to Hudak's choice of interesting application domains (graphics, animation, robotics, music) and how neatly applications in these domains can be expressed in Haskell. (As an advanced reader, I was particularly interested in the treatment of the design and implementation of his functional animation language.) More than just that, though, the book's success derives from a very nice blending of theory and practice. I especially liked his use of calculational reasoning as a approachable form of program proof. I highly recommend this book if you want to learn functional programming--tastefully--and have fun while doing it.

An excelent book on programming. Every programmer that wants to go beyond just the syntax of a programming language, no matter which one, should read this text. You will not only learn Haskell syntax but you will actually master *thinking functionaly*.
After reading the first half of the book , I find myself much more comfortable with 2nd order programming and , as I use mostly C++ and Java in my professional carrier, I start to miss the elegance and high level of abstraction supported by functional languages.
A book that will help you to master Haskell and change the way you think about programms.

First off, this review is of "The Legend of Sleepy Hollow and Rip Van Winkle" published by Dover Children's Thrift Classics, $.... While most reviews might concentrate on the merits of the stories themselves, this review is meant to support the benefits of purchasing this particular edition over others.

That said, the first thing I would like to comment on is the price. You can't ask for more of a bargain that to pay less than a ... of America's most popular and well known Revolutionary War era stories. Great for anyone on a budget, or parents who want to expand their child's library but don't want to break the bank on something they may only read once. ....

Secondly, I would like to mention that this book contains BOTH "The Legend of Sleepy Hollow" AND "Rip Van Winkle" in their respective unabridged entirety. Both are relatively short, entertaining, and easy-to-read stories that supply a great introduction to period literature, beliefs, and storytelling for children and adults alike. While these are not Washington Irving's only writings, they are perhaps the most well-known.

As a former teacher, I have the following suggestion: If you live in the New York metro area, this book would be an excellent jumping off point for a trip to Washington Irving's homestead, "Sunnyside", in Tarrytown, NY, for which you can find plenty of information online. There are several other "living history" sites in the area as well.

"The Legend of Sleepy Hollow and Rip Van Winkle" brings together these two classic stories by Washington Irving. The text of this Dover Children's Thrift Classic is accompanied by the whimsical illustrations of Thea Kliros. Both tales are set in the Dutch-American communities of rural New York State.

"Legend" tells the story of Ichabod Crane, a schoolteacher who lives in an area purportedly haunted by a terrifying spectre: a headless horseman. "Rip" tells the story of a farmer who has a remarkable paranormal experience while wandering in the mountains.

Each story explores the intersection of the supernatural with everyday life. The stories are full of vividly drawn characters and are rich with the local color of rural Dutch American communities. Issues such as folk beliefs, geography, history and oral tradition are well handled by Irving.

Irving's playful, earthy prose style is a delight to read. Passages such as a description of a Dutch-American feast are memorable. Funny, ironic, and poignant, these tales are true classics by one of the most enduring figures in American literature.

Will Moses' illustrated retelling of Washington Irving's The Legend of Sleepy Hollow rivals Arthur Rackham's near century-old version as the best edition of the book ever published. The Rackham version, with its moody, archetypal illustrations, has the slight edge, as it contains Irving's full original text in addition to Rackham's spectacular artwork.

However, Moses's simplification of the narrative is masterfully executed, and the colorful, playful, and numerous paintings which adorn the book have a warm period charm of genuine Americana. Moses portrays the Hudson River Valley as a lush expansive valley not unlike the Garden of Eden on the first day of creation. Happy farmers, their wives and children, cows, geese, ducks and pigs frolic together amid fields of wheat and corn; galleons approach dramatically from the river; and the Catskill Mountains, sun, and sky suggested an infinite panorama and endless horizon full of promise.

The story tells us that the Dutch colonists were a superstitious lot, and that the Sleepy Hollow region itself was or seemed to be under a spell of some kind. The farmers and their wives suspected witchcraft; strange music was heard in the air; visions were seen; and the inhabitants themselves lived their lives in a kind of continuous dreamy revery. These tales and superstitions give rise to the legend of the headless horseman, said to be the ghost of a Hessian soldier who lost his head to a canon ball in the war, and now nightly prowling the region in search of it. Moses' nocturnal landscapes of the swamps, hills and the Old Dutch Cemetery under a bright harvest moon are particularly effective. Significantly, these stark, haunted landscapes do not violate the spirit of the book, but enrich its sense of wonder.

Moses' Ichabod is a cheerful but somewhat hapless fellow, confident and foolish in equal parts. His Katrina is a strong but innocent blond beauty, and a friend to children. Brom Bones is an appropriately square-shouldered, square-jawed hooligan, rowdy and full of mischief, if not absolute spite.

Anyone familiar with the tale knows that it is not a horror story but a folktale, a fireside spook story, and a 'legend' as Irving, writing here as Diedrich Knickerbocker, himself called it. This edition of the book is appropriate for children but is equally suitable for adults. Highly recommended.

If you are led by your ego, and afraid to trust Jesus as he teaches you in the Course, you will find this book interesting I guess? Personnally when I hunger for the Course, I read the Course, and when I thirst for water I drink water. I admit that I am not looking for a hodge-podge spirituality, so I may be a bit biased. But please understand what you are saying when you say that the words and meanings of Jesus need clarification. Who would do that-The Holy Spirit, or the ego? Peace.

Since this book was initially intended to be a study guide for "A Course In Miracles", there is a tendency think that to buy this book would require an involvment with the Course. On the cover it is clearly labled as "A Companion to The Workbook of The Course" and is also designated as "A Miracles Studies Book". As a result I feel that this book has not yet reached a wide enough audience. This book and one that came after "The Other Voice" are more than just adjuncts to the Course.
The speaker of these teachings, Jeshua (Jesus), uses the word "extension" to denote the difference between the true Creation of God and the world that we experience, which he says comes from projection, an activity of the ego, and therefore not true creation. Extension is God's expression of His Love. The word informs us of the profoundly important fact that True Creation can in no way be anything that is outside of God. All creation must be simply God extending Him/Herself. That means that if all True Creation is simply God, and God is omnipotent and omnipresent, then all True Creation must be the extension of That. And God's Will, by definition, must be perfect, so there can be NO will in Creation that is separate or opposed to That Will. Think about the implications of that. Then get this book.
My life and intention has been irreversibly changed by this material. It is more than just a clarification of previous material. I believe that it can be thought of as an "extension" of the Course, in the larger meaning of that word. It is the profound Love of the Course extended in Love. The words are very clear and straightforward and easy to understand from the point of view of language, but these lessons live up to the title, "Journey Beyond Words". It may be 1,000 years or more before we can really begin to understand everything that is trying to come through here, but I strongly suggest that if you live with these words, rather than just read them, your journey to perfect joy and peace, where death is merely a transition, will be much more direct. There are many paths to that, but I feel that this is perhaps the most profound. The importance of this book and all of the words of Jeshua cannot, in my estimation, be overstated.

There are many spiritual books in the market today, most of which contain contradictory information about the nature of the universe, the nature of man, and the nature of God. However, this book is perhaps the most hopeful and truthful message I have come across in my spiritual journey so far. The language is clear, simple, and easy to understand -- enough to get a layperson such as myself started on the inner journey very quickly. The message itself is one of hope and promise -- that we are all one and that the universe, including ourselves, is a single undivided whole that we can experience with the help of God. This book is refreshingly free of the cultural and gender bias that is present in many "new age" books today.

This book is highly recommended for those looking for a positive path to daily living.

I thought that "Candide" was a very enjoyable read. It's much more than a satire, it's a reflective novel in which Voltaire opens up various timeless issues for discussion. The central theme is whether or not the optimism (or naivity) of Dr Pangloss's views hold up when faced with the bleak realities of everyday existence. It doesn't really matter that much of the satirical bite of the novel must have been lost due to the passage of time, when it can still deal with issues such as theodisy in an entertaining way.

Voltaire sends the innocent and impressionable Candide on what amounts to a world tour (or as near to it as makes no difference). The reader has to put up with outrageous coincidences and improbabilities: I felt that Voltaire was using such devices deliberately to amuse the reader. Candide experiences various adventures and meets (often more than once) a collection of exotic characters. His travails eventually cause him to question his teacher Pangloss's value system. But really, Voltaire throws various philosophical problems at the reader and invites a reaction - often this is done with a fine wit.

All in all, a pleasure - the more so because it's a surprising one.

Ever since philosophers began thinking about the meaning of life, a favorite question has been "Why do bad things happen to good people?". In Voltaire's day, this issue was primarily pursued either from the perspective of faith (everything that happens is God's will and must be for Divine purpose) or of reason (What do these events mean to you, as you interpret them subjectively?). Infuriated by the reaction by some members of the church to a horrible loss of life from an earthquake in Lisbon, Voltaire wrote this hard-biting satire of the human condition to explore these questions.

Before reading further, let me share a word of caution. This book is filled with human atrocities of the most gruesome sort. Anything that you can imagine could occur in war, an Inquisition, or during piracy happens in this book. If you find such matters distressing (as many will, and more should), this book will be unpleasant reading. You should find another book to read.

The book begins as Candide is raised in the household of a minor noble family in Westphalia, where he is educated by Dr. Pangloss, a student of metaphysical questions. Pangloss believes that this is the best of all possible worlds and deeply ingrains that view into his pupil. Candide is buoyed by that thought as he encounters many setbacks in the course of the book as he travels through many parts of Europe, Turkey, and South America.

All is well for Candide until he falls in love with the Baron's daughter and is caught kissing her hand by the Baron. The Baron immediately kicks Candide out of the castle (literally on the backside), and Candide's wanderings begin. Think of this as being like expulsion from the Garden of Eden for Adam. Soon the penniless Candide finds himself in the Bulgarian army, and receiving lots of beatings while he learns to drill.

The story grows more far-fetched with each subsequent incident. To the casual reader, this exaggeration can seem unnecessary and annoying. It will remind you of the most extreme parts of Swift in Gulliver's Travels and Rabelais in Gargantua and Pantagruel. But subtly, Voltaire is using the exaggeration to lure the reader into making complacent judgments about complacency itself that Voltaire wants to challenge. The result is a deliciously ironical work that undermines complacency at a more fundamental level than I have seen done elsewhere. Basically, Candide challenges any view you have about complacency that is defined in terms of the world-view of those who are complacent.

Significant changes of circumstances (good and ill) occur to all of the members of the Baron's household over the course of the story. Throughout, there is much comparing of who has had the worst luck, with much feeling sorry for oneself.

That is the surface story. Voltaire is, however, a master of misdirection. Beneath the surface, Voltaire has another purpose for the book. He also wants to expose the reader to questioning the many bad habits that people have that make matters worse for everyone. The major themes of these undercurrents are (1) competing rather than to cooperating, (2) employing inhumane means to accomplish worldly (and many spiritual) ends, (3) following expected rules of behavior to show one's superiority over others that harm and degrade others, (4) focusing on money and power rather than creating rich human relationships, (5) hypocritical behavior, and (6) pursuing ends that society approves of rather than ends that please oneself.

By the end of the story, the focus shifts again to a totally different question: How can humans achieve happiness? Then, you have to reassess what you thought about the book and what was going on in Voltaire's story. Many readers will choose to reread the book to better capture Voltaire's perspective on that final question, having been surprised by it.

Candide is one of my favorite books because it treats important philosophical questions in such an unusual way. Such unaccustomed matching of treatment and subject matters leaves an indelible impression that normal philosophical arguments can never match. Voltaire also has an amazing imagination. Few could concoct such a story (even by using illegal substances to stimulate the subconscious mind). I constantly find myself wondering what he will come up with next. The story is so absurd that it penetrates the consciousness at a very fundamental level, almost like doing improvisation. In so doing, Voltaire taps into that feeling of "what else can happen?" that overcomes us when we are at our most pessimistic. So, gradually you will find yourself identifying with the story -- even though nothing like this could ever happen to you. Like a good horror story, you are also relieved that you can read about others' troubles and can put your own into perspective. This last point is the fundamental humanity of the story. You see what a wonderful thing a kind word, a meal, or a helping hand can be. That will probably inspire you to offer those empathic actions more often.

After you have finished Candide, I suggest that you ask yourself where complacency about your life and circumstances is costing you and those you care about the potential for more health, happiness, peace, and prosperity. Then take Voltaire's solution, and look around you for those who enjoy the most of those four wonderful attributes. What do those people think and do differently from you?

I must be the only college student that wasnt forced to read this for a class. Anyway,this was an interesting book that really made me think. I didnt find it so much as funny as sad at depicting the horrors of the world but it does so in such a light, outragous way.Some of the best parts are at the end, like when they go visit the rich man who doesnt enjoy anything.The plot is over the top and outragous but this is still one of the most realistic books Ive read. I found it kind of bleak and depressing but I also found it intriguing.Voltaire exaggerates everything in Candide, all of the misfortunes everyone has to go through are too horrible to be even realistic. At least I hope no ones had quite as bad time of it as candide. Even if you dont agree with Voltire and even if you share views with Dr. Pangloss you should still read this book.One final thing, dont mourn overmuch for any of the characters when they die, theyll turn up again later.