Amazing story telling, it was interesting reading a life and times so unlike the one I'm living. I enjoy historical novels and found "Moll Flanders," an enlightening source of courage in such hard times as the one she continued to find herself in. Loves gained and lost, children had and forsaken. Extremely interesting reading, especially, near the ending I couldn't put the book down, there was rhythm. To imagine such hard times and rough goings...I'm amazed that she continued to live so long. Happy reading!

I loved this novel, having read it for a classics book club. I probably would not have picked this up on my own, and I am thankful to the club for the selection. Moll was a sympathetic character in all aspects except for the abandonment of her numerous children. I especially enjoyed that she marked different periods of her life by the amount of money she had; money being the only safe form of love she knew. She reminded me of Tom Ripley in the Patricia Highsmith novels, extremely clever when extricating oneself out of touchy situations. I think this is a great choice for bookclubs as well, having sparked meaningful discussion in our group.

Daniel Defoe's 1722 novel, "Moll Flanders," remains a fascinating imaginative work, and is in many ways more interesting than his famous first effort, "Robinson Crusoe." Having seen bits of two recent film adaptations in the last couple of months on television, and being a budding 18th century scholar, I decided it was time I picked up my own copy of "Moll Flanders" and see the actual product on its own terms. A story no less about a castaway and delinquent than "Crusoe," in "Moll Flanders," Defoe attempts to set down the history of a woman with a wild and often desperate life. A character of infinitely more interiority and reflection than Crusoe, Moll gives us through a first person narrative, a look into various stations of life in 18th century England and America.

The novel begins with a tip of the hat to that fine progenitor of the novel, "Don Quixote," a Gines-like acknowledgment that Moll, as the author of her own story, cannot complete that story within the text of the novel, unless people can write when they are deceased. Amusements aside, Moll begins her story as Crusoe begins his, with an immediate acknowledgment of the instability of the modern self - the corruption of her own name. Born in Newgate prison, and having never known her mother, Moll finds herself among gypsies and landed gentry before settling in Colchester for the term of her youth. Here, she founds her sense of social ambition, unusual even for Jane Eyre in the 19th century, as one in which she figures to be a gentlewoman by earning her own living. Various mishaps and misadventures lead her through marriages, whoredom, and thievery as Moll attempts to find her place in the world as a woman of common birth. Early on she learns the lessons that will aid her on her journey, viz., the value of money, quick wit, and a sense of her own sexuality.

While Defoe certainly does not sugar-coat the wrongs of woman in the early 18th century - delving deeply into issues of feminine helplessness before the law, the difficulties of procuring stable employment, and various reproductive issues such as adoption, abortion, and infant mortality - yet he maintains a consistent character of Moll as an extremely strong, adaptive, and resilient female character. The most riveting facet of Moll throughout is her own sense of self-worth and importance, especially in her own history. For instance, while chronicling an encounter with a former lover, Moll tells us that while his adventures are worth their own narrative, this is "my story, not his." Moll's strength in the midst of doubt, desperation, and general loneliness keeps the reader's constant interest and admiration.

Defoe's exploration of inter-gender relationships are worthy of note themselves for the sheer variety of social, economic, and personal situations he includes in the novel. The economic theme stands out among these, and provides a link back to the preoccupations of "Robinson Crusoe." Like Crusoe, Moll is always aware of the value of her personal possessions, and conscious of how to exploit and husband her resources to best advantage. Also like Crusoe, "Moll Flanders" is keenly aware of the possibilities and drawbacks of English colonial ventures in America. Defoe's efforts to link all these themes to the lot of the English prison population, the family unit, and indentured servants and African slaves, are all managed extremely well within the text of the novel. For all this, "Moll Flanders" remains an entertaining, satisfying, relevant novel, and stands for me above "Crusoe" as a work of high literary value.

Yes, it's a great novel. Yes the language is rich, the story is subtle, and the psychology is complex. And yet, I didn't like it.

Of course, who am I to review Henry James? Granted, I read more books and watch less television than most of my peers, but still I think I might be too "late Twentieth Century" for this book. Maybe despite my strict avoidance of video games I just can't help detesting the millipede pace of this book. I've never had much affinity for drawing room conversations to begin with, and unlike my father I don't believe that wit must be meted out in tortuous sentences.

But it isn't my background or personal prejudices that make me recoil from "Wings of the Dove". There is something about the deliberate quality of Henry James that bothers me. He knows perfectly well what he's doing with his fat succulent sentences. He won't feed you a meal of lean pork and vegetables. He'll serve you tons of tiny truffles and oil-oozing, crispy skinned duck.

To read "Wings of the Dove" is like encountering a cookbook that decided to include as much of the delicious fatty foods as possible. Of course its a rare meal and quite wonderful in its way. But some how, it made me a little nauseous at the end.

First things first, it is a very nice novel, but very hard to follow. Personally speaking, sometimes I couldn't get very exactly what Henry James was trying to say, but I could understand the situation as a whole and be able to move on.

As everybody knows, Hery James is not an easy writer. His appeal is very difficult and complex although it doesn't read very old-fashioned. The story is very interesting and timeless, because it deals with passion, money and betrayal. The books follows Kate Croy and her beloved Merton Densher when then both get involved - in different degrees and with different interests- with the beautiful rich and sick American heiress Milly Theale.

Most of the time, the book kept me wondering what would come next and its result and the grand finale. But, that doesn't mean I was fully understand its words. As I said, I was just feeling what was going on. As a result, i don't think I was able to get all the complexity of Henry James. Maybe, if I read this book again in the futures, it will be clearer.

There is a film version of this novel made in 1997, and starring Helena Bonham Carter, Allison Elliot and Linus Roach, directed by Iain Softley. Carter is amazing as always! Kate is a bit different from the book, she is not only a manipulative soul, but, actually, she is a woman trying to find happiness. One character says of Kate, "There's something going on behind those beautiful lashes", and that's true for most female leads created by James. Watching this movie helped me a lot, after finishing reading the novel.

Two responses to previous reviews: it was written one hundred years ago, so it would of course be somewhat dated. Second, you should perhaps READ THE ENTIRE BOOK before you attempt to review the text.

The text follows the fascinating development of a manipulation: Milly Theale, an American woman, enters the London scene, endowed with prodigious wealth, youth, and beauty, and several characters vie for her affection. It's a standard James plot in that way. Much like Portrait of a Lady, the wealthy American is exploited by her European acquaintances. Kate Croy convinces her lover Merton Densher to take advantage of Milly's interest in him, and to go so far as to attempt to marry the young American for her money. She is, after all, fatally and tragically ill. James brilliantly depicts the struggle between Densher, Kate Croy, her powerful Aunt Maud, the piquant Susan Shepherd, Sir Luke, and Lord Mark, and his characteristically enigmatic ending does not disappoint. James manages to breathe life into these odd characters in a way that so few writers can: his genius is for complex character, and this book embodies that genius at its height.

The trouble with the book, however, is that it does not qualify as a "light read." The pace is incredibly slow - deliberately slow, of course. It is a novel about decisions, and the development of those decisions constitutes the bulk of the novel. James's prose does lack the terseness of a Hemingway, but the latter writer often fails to capture the nuances that James so elaborately evokes in his careful prose.

James, like Faulkner, is not for the faint of heart. Some of his work is more accessible; readers in search of a more palatable James should look to Washington Square, What Maisie Knew, or his popular masterpiece, The Turn of the Screw. This novel does not fit easily into a category, and its principal interest is that very quality of inscrutability. It's not really a "British" or an "American" novel but contains elements of both. It's not "Modern" or "Victorian" but both. Originally published in 1902, it's also not easy to include him in either the 19th or the 20th century. He appears to be writing in both.

In short, then, it's not a light-hearted novel and the prose can be challenging at times. But I believe that the effort of reading this book is well rewarded.

I have recently gotten into modern fiction, after years of reading Hemingway and others during his time and before. A writer whose work entertained me recommended David Foster Wallace in an interview, so I decided to get _Girl with Curious Hair_. Now I have another writer to admire. "Here and There" is a brilliant short story, and it appears in the 1989 edition of the O. Henry Awards. In this story, he takes a common theme (the breakup of a romantic relationship) and presents it in a beautifully original way. I also enjoyed "Little Expressionless Animals" and "Lyndon" -- though I'm not going to pretend to understand the ending to that one. The main problem I see with this book is the inconsistency of the stories. When Wallace is on, he's on; when he's not, he's not. I can't make any sense out of the title story. Plus, it's not as well written as many of the other stories are. The last story seemed like one big ramble, though there are humorous moments. Overall, though, this book is definitely worth buying. "Here and There" is a superb story.

Why do so many reviews warn readers of the complexity of Infinte Jest? I found Infinite Jest to be a hundred times more readable than most of the stories in Girl with Curious Hair. The last story is ridicliously difficult to read and the ending makes no sense at all. Why would an author who deftly satirizes meta-fiction even in his first book (which some reviewers compared to the great metafictionists) purposefully try to be so difficult? Like the main character in Broom of the System tells Rick Vigorous: why don't you tell a real story instead of a story about a story? As a huge David Foster Wallace fan, I have to admit that I positively abhor Broom of the System and most of Girl With Curious Hair. They seem to be like cold, heartless exercises in how-avant-garde-can-I-be? and not at all pieces of writing that seemed like they were written by the author of Infinite Jest. But as my title eludes to, I am postively enamored with My Appearance. As an indictment of postmodern irony and its inability to truly accomplish anything, the story is flawless (well maybe the didactic dialogue can be a little off putting). More than any other living author, David Foster Wallace tackles the most important issues of the day to his generation and mine: drug abuse, depression, loneliness, irony, sex, and television. And, unlike other authors, he doesn't do it in a cute or ironic way. In an anthology of literary criticism from the 1950s, I read an article in which a critic expressed her feeling that writers of her decade had lost the ability to write about their culture and instead chose to focus on subjective explorations of individuals outside the bounds of society. I find current writers to be having the same difficulties, though instead of decadent novels about sex, drugs, and depression, todays writers write novels about mysterious byzantine paintings or soulless "satires" of the media in which the same sort of heartless humor and everyone's-a-whore philosophy found on late night TV is used to supposedly "skewer" that very phemenona. Those who are unafraid to face real, scary human realities like Wallace are the real heroes.

DFW is a phenomenal writer. This book is a good introduction to him for those that may not have the time or attention span for Infinite Jest.

The title piece is probably the weakest story, with a stream of conciousness that just doesn't quite work right. Most of the other stories and beautiful and exhilirating, though. Westward the Course of Empire Makes Its Way (I think I got the title right, it's been a while) is the best short story I've read in years. The Jeopary Story (I can't remember the name; you'll know it when you get to it) is insane and beautiful.

This is a must read.

By the way, I just don't understand the unfavourable comparisons to Pynchon. I like Pynchon, but Wallace is on a different level. Comparisons are inevitable, I suppose, but to me, the similiarities just aren't that striking.

Death in Venice has at times a spellbinding atmosphere. At times it is also displaying Mann's magnificent register of using the language, actually more often than rare, that alone enough to make the book worth reading. But I don't find the story strong and gripping enough. That the main character with the mind and soul of an artist is falling in love with a pretty boy is an interesting angle of approach, and would have been even more chocking to the reader in 1911 when Mann wrote the novella. To me the weakest parts seem to be the beginning of the book, before he is approaching Venice by sea, and the ending of it. On those crucial parts of the book I find Mann as the author and creator too much present, while the fifty pages in the middle are superb craftsmanship, where one is taken away by the atmosphere and his wonderful descriptions. Still, the book is a classic and well worth the reading.

Although by no means the most accessible of Mann's early fiction, Death in Venice is by far the greatest. Drawing heavily on mythology, Nietzsche's concept of art and his own perception of himself as an artist, Mann presents us with a well-respected, ordered author, Aschenbach, who has renounced the extreme introspection of his youth to concentrate on beauty of form. Yet, with a classic case of "writer's block", he decides to go to Venice, where he believes he has captured beauty itself in the form of a young Polish boy. He comes, however, to abandon his Appolline sense of order and gives himself up to the Dionysiac intoxication, hinted at even in the opening lines and mirrored in the sickly state of the city. The narrator's brilliantly ironic stance means that our perception of the protagonist can at no stage be certain. Is this a "moral tale" of an author who is at fault for renouncing his former life, is it the tragedy of any writer who in seeing through life must perforce descend ineluctably towards destruction, or is the ending in fact an apotheosis, where Aschenbach is actually reaching out to the infinite and to beauty itself? This is an incredibly personal text - the affinities between Mann and the protagonist are numerous - and one has the feeling in reading it that he is in fact saying, "There but for the grace of God go I." The artistic unity of the Visconti film is regrettably lost in portraying Aschenbach as a musician and in allowing him to be booed by the audience. One is merely left with striking scenes of the city and an ending which, though faithful to the text, fails to work within the film itself.

Is there a finer experience than reading Thomas Mann? Death in Venice is his masterpiece, in my view (and arguably, one might add, Britten's greatest opera!), and, though the Russians come to mind, its pages, soaked in the majesty of the greatest art, reveal probably the greatest writing artist of the modern age. Aschenbach's passion is our own dilemma, and no other artist but Thomas Mann could leave him so lean and broken in our arms, and capable by that condition to fill us with consuming humanness. The philosopher Mann takes a language of human wounds and shows us ourselves, giving witness thereby to the essential power of literature. I consider it an act of religion to read Death in Venice every couple years. Religion is where, perhaps, we meet our heart; at the very least, art of this solicitude prompts a kind of faith that we still have one, after the wearing of the years, and all our private griefs. I hope the high schools and colleges are yet keeping Mann near, our children must yet gather and collect the food necessary to feed them all their lives. To 'recommend' this books seems almost pseudo-messianic! but if one commends it, let it be called not the work of a great literary messiah, but the cry of one of our brothers- a cry inextinguishable and provident.

Have you wanted to read a book where the author decides to "rip out" one of the chapters, or leaves a blank page for you to 'draw' one of the characters? Would you enjoy a story which takes many chapters before the hero manages to be born? This 18th-Century tale is touchingly told. The characters are real, and fascinating. It's not their fault that their story is frequently and impishly interrupted by outlandish "digressions" on the part of an author so creative that his modern descendants are considered to be Joyce and Beckett, as well as many others. Would you enjoy a chapter on Chapters? About buttonholes? About whether parents and their children are kin to each other? A chapter on curses? Poor Laurence Sterne has so much trouble getting two of his characters down the stairs that he finally calls in a "critic" to help! Advice on reading such an unusual, even unique, book: read the first several chapters, then stop and reread them. Continue that process and soon the book will feel quite familiar, and that's when the fun really starts. The Oxford World's Classics edition follows the first edition of the book, and is preferred. Amazon also offers the fully-annotated edition, the "Florida" edition, in three volumes.

This is one of my favorites. It's not a book to rush through so that you can check it off on your lifetime reading plan. It's a profoundly human and wonderfully funny tale that needs to be savored. It was originally published in nine small volumes over a period of six years or so and no one at that time thought they had to sit down and read all nine volumes at once. This is a book you need to spend time with, pick up when it suits you or when you need to be refreshed and let one of the great writers in the language chat you up for awhile about the lovable Shandy family. Ignore the nonsense on the back of the Penguin edition about it being a novel about novel writing. This is a book about life. Two of its characters, Walter and Toby Shandy, rank with the best of Shakespeare, Fielding and Dickens. There are some truly great belly laughs, some really thoughtful philosophy and even a tear or two. Sterne's hobby horse theory is an extremely acute behavioral insight. If you give it a chance, you'll end up being very grateful to Laurence Sterne for adding such a beautiful piece to the literature of English speaking people.

I'm so glad I didn't do English Lit at college. I've just read the customer reviews of this wonderful book and seen how being forced to read something you wouldn't normally read makes you bitter, twisted and intent on ensuring no-one else gets pleasure out of it. It also makes you cemented in your opinion that if you don't like it, it must have no redeeming feature (after, all "I did a degree in Eng Lit, so I must know what I'm talking about"). All great difficult books suffer from this -- Ulysses, At Swim-Two-Birds, Lanark, The Trial, and that's just the 20th century. Oh well. People should read what they want, when they want: they should also accept that there is little out there with no value, it's taste that causes us to like different things.

That said, what do I think of it? I think it's one of the most fun reads there is, once you get yourself back into an 18thC mode of reading (MTV has so much to answer for with our attention spans). Also, forget all this bunk about it being postmodern or deliberately experimenting with the novel. When this was written, there WAS no novel, that came in the 19thC. Before this there was Don Quixote, Robinson Crusoe and little else that could be called a novel. All Sterne was doing was writing to entertain, and that he does marvelously. He had no boundaries to push - they weren't there - so he made his own (and they just happened to be a long way away from where he originally sat).

Anyway -- if you like the idea of a book that coined the phrase "cock and bull story", includes blank pages to show discretion when two characters make love, that draws wiggling lines indicating the authors impression of the amount of digression in the previous pages, you'll love it. But just stop if you don't like it, instead of perseveering and then taking it out on everyone.

When one finisheds "Casterbridge," one is immediately struck by its place in the development of the novel. Hardy came after Dickens and before James, and his style intrigues as you connect parts of it to the former, parts to the latter.

His plotting is sort of Dickens "lite." There are mysterious benefactors, sudden tragic deaths, reversals of fortune, paternity mysteries, ect. His prose is cleaner and easier to read than both Dickens and James; "Casterbridge" scans better than "Bleak House" or "The Wings of the Dove."

The story begins when a pastoral laborer, in a drunken rage, sells his wife and child one evening. When he wakes the next morning, abhorred at what he has done, he swears off liquor and decides to make something of his life. The novel truly begins eighteen years later, when his wife and daughter come back to present themselves to him. In the course of the rest of the novel, we witness the fall of the now Mayor of Casterbridge, brought about by his own character flaws and the interventions of fate.

Henchard, the main character, is a facinating combination of hot-spirited volition and turn-on-a-dime repentance. He is quick to do things which damn him but just as quick to admit his guilt. He is a wonderful character and a precursor to the later "psychological" novels of James and Forster. The satellite characters remind one of Dickens, but they are not nearly as startling and interesting, but of course, a character such as Henchard never existed in all of Dickens.

The novel proceeds to its forgone conclusion inexorably, albiet with a few melodromatic touches, yet it sustains its tone and readibility due mostly to Henchard, and the dramatic situations Hardy puts him through.

Well worth a look.

I remember having read this book in high school. I immediately fell in love with Hardy. (I was also fond of Hardy Boys at that time, so in my opinion the name Hardy acquired a special significance.) Unfortunately, though, I never liked another book by him quite so much. I've read Tess of the d'Urbvilles, Under the Greenwood Tree, Far from the Madding Crowd(which was perhaps his second best novel, as others here have affirmed), and perhaps a few others. It is strange, or perhaps significant that I remember the exact circumstance when I was reading this book. It must have been about ten in the night. I had cleared my study desk, and unlike my common practice of lying on my stomach on my bed to enjoy a book into the night, I sat down on the straight-backed chair at the desk to read it. Very soon, I was overwhelmed by the narrative of Mr. Hardy. My father came in to see what I was up to, saw the tears streaming down my face as I turned the pages of my book, and quietly went away. I have never before owned any story books- my parents told me to read out of libraries. But now I am 22, and have started earning some money of my own, and I'm going to start a little collection of my most beloved books, to pass on to my children, perhaps? And this is among my very best.

Having never read Hardy before, I picked this book at random off a list provided by my Western Civilization teacher. I can't help but attribute my choice to destiny; this is quite possibly the best book I've ever read, written by the single greatest English author in history. While some other reviewers have classified his descriptive passages as somewhat dull, I thought they were rather intoxicating; I don't know how one could not enjoy the superbly vivid style Hardy employs. It's impossible to really describe his writing to one who hasn't read it.

The plot in Mayor of Casterbridge is compelling throughout. I read somewhere that the book was originally published a few chapters at a time in a literary magazine, and this is quite evident, as every many sections seem individually complete with rising action, climax, resolution, etc. Hardy still manages to integrate these individual sections without flaw and create a wonderful composition of the life of Henchard. As everyone else has testified, the conclusion of the book is moving beyond description- without a doubt the most affective book I've ever read. Be forewarned: this is a book that will surely leave the reader in a depressed and brooding state. Going by Kafka's standard, that a book should be "like a suicide... an axe for the frozen sea within us", The Mayor of Casterbridge is surely one of just a handful of the great books in English literature.

This is one of those books, you can read and get "aha's" from start to finish. It's not the touchy-feely stuff non-quality believers think when they hear quality and measurements. The authors provide a step by step roadmap that is very well described and visually enhanced with some of the most outstanding charts I've seen. Between the well organized thought and flow of the book--the connections between strategy, tactics, CEO level, worker level, financial, customer, internal business processes, and organizational learning aspects are crystal clear. If you want to change your organization--or just improve what's important in your organization--this one is a must. And, it is not just a balanced measurement program--it leads to a balance management program--with everyone connected.

Balanced Scorecard is an excellent book for prospective business managers because of some reasons. One of them is that the book clearly indicates the logical relationship between financial objectives and other non-financial objectives for the firms. Secondly, the book presents some very usable tools for translating strategy into action. For this aim, measurement tools for strategy are developed. These two priorities makes the book an important source in the field of strategic planning.

In this book, four dimensions of strategy thought are "Financial, Customer, Operations, and Learning and Development". Authors strongly believe that there should be a powerful connection among these four dimensions if organizations are to be successful in an environment in which stiff competition dominates. According to the authors, one of the most important cause of business failures is that some companies make an excess emphasis on financial objectives and so ignore the ways to realize these objectives. How to develop a system which makes an equal emphasis on four dimensions of strategy mentioned above is explained in the book. For managers who do not know but want to learn how to make a plan that will be functional and measurable, this book is a must.

The one of the most important contributions of this book is its approach to the Learning Process in strategic planning. According to the authors, strategy creating process is also a learning process and therefore should be exploited.

I strongly recommend.

I read this book when it was first published (1996) and recently re-read it. As Kaplan and Norton explain in their Preface, "the Balanced Scorecard evolved from an improved measurement system to an improved management system." The distinction is critically important to understanding this book as well as The Strategy-Focused Organization which they later wrote. Senior executives in various companies have used the Balanced Scorecard as the central organizing framework for important managerial processes such as individual and team goal setting, compensation, resource allocation, budgeting and planning, and strategic feedback and learning. When writing this book, it was the authors' hope that the observations they share would help more executives to launch and implement Balanced Scorecard programs in their organizations.

The material is organized within two Parts, preceded by the excellent Preface and then two introductory chapters: "Measurement and Management in the Information Age" and "Why Does Business Need a Balanced Scorecard?" Logically, Part One examines measurement of business strategy; Part Two examines management of business strategy. Having read all of the 12 chapters, each concluded with a Summary of key points, readers are then provided with an Appendix: "Building a Balanced Scorecard." That process consists of a series of specific "tasks": (1) selection of the appropriate organizational unit, (2) identification of the SBU/corporate linkages, (3) completion of the first round of interviews during which key executives are briefed on the Balanced Scorecard program, (4) evaluation by the program's "architect" and other members of design team of feedback from various interviews, (5) conducting a "first round" workshop for the top management team, (6) conducting meetings during which the "architect" works with several subgroups, (7) conducting a "second round" workshop for members of the top management team, their direct subordinates, and an appropriate number of middle managers, (8) formulating the implementation plan, (9) conducting the "third round" workshop, and finally (10) Finalizing the implementation plan. Kaplan and Norton guide their reader through each stage of the process, suggesting all manner of strategies and tactics for consideration without inhibiting their reader from determining what is most appropriate for her or his own organization.

Although decision-makers in larger organizations will derive substantial benefit from this book, it would be a mistake to assume that the Balanced Scorecard would not be appropriate to small-to-midsize organizations. On the contrary, it may be even more valuable to them because they have relatively fewer resources available; therefore, the consequences of a failed strategy have greater (in some instances fatal) impact. The two concepts of "balance" and "scorecard" are critically important. All organizations must formulate and then effectively manage those strategies which enable them to achieve an appropriate balance of various resources while taking full advantage of measurement devices by which to obtain relevant as well as accurate and timely data for their strategies' scoreboard. Kaplan and Norton obviously have all this in mind when suggesting, in the Appendix, "core" measures for finance (e.g. ROI/EVA), customer relationships (e.g. customer retention), and learning and growth (e.g. employee satisfaction). Those who share my high regard for this book are urged to read Kaplan and Norton's sequel to it, The Strategy-Focused Organization. It continues their rigorous excamination of what a Balanced Scoreboard can help all organizations to accomplish with effective management of a correct strategy.

This regency/alternate earth collaboration by Norton and Edghill, which looks to be the first of a series, is a winner! Is it perfect? No. The last half of the book is a bit rushed and the use of magic is uneven. Even so, I believed in the characters; their dilemmas are real and not easily resolved. The dialogue is appropriate to the setting and I loved Sarah taking over the rifle and shooting down the French troops, to the amazement of her so-reluctant husband - right before they fly away in a hot-air balloon! This is a merry-go-round of a book with pretensions to be a carousel.

Playing in an alternate earth is always fun: lots of name dropping occurs as real historical figures turn up in new walks of life. Beau Brummell finally finds his proper niche as a valet, while John Adams still loves his wife! This book deserves a sequel - there's lots of room for more intrigue, romance and magic in this world - or in an alternate Carolinian earth! I'm looking forward to our English Prince meeting his Danish bride; Wessex and Sarah consummating their marriage (I don't believe they got that far at the end of this book) and Wessex getting over the "honor" and spying question...Let's enjoy all the benefits of a Regency/Scarlett Pimpernel romance and alternate history scifi whirlygig next time.

If you're a Regency romance fan, this book is for you. It's a great introduction to the alternate history/fantasy genre that combines the familiar aspects of Regency society with the imaginative what-if's of a world where the American Revolutionary War never happened.

It tells the story of Sarah Cunningham, an American from Baltimore, who in 1805 is on her way to England. Unbeknownst to her, in an alternate dimension, her exact physical counterpart, Sarah the Marchioness of Roxbury, is about to die, leaving an important promise unfulfilled. Servants who are practioners of the magical arts manage to switch the Sarahs' personalities at the moment of the Marchioness' death. An added twist is that Roxbury has for years been betrothed (though not in love with) the Duke of Wessex, who is secretly a spy for the King.

This all takes place in an England where the Stuarts still retain the throne, and King George never existed. It is also a world where the American colonies are still proud parts of the English empire, the Louisiana Purchase never happened, the faerie's existence is acknowledged, and John Adams is an English ambassador. It's an excellent blend of the familiar and the unknown, of missing heirs, magic, treason, history, romance, treachery, and adventure.

For Regency fans, this gives you a taste of a new genre, that has a whole new world of reading possibilities. For alternate history fans, the depiction of Regency society explains why that genre is so beloved by its fans. This is a book that is the best of both worlds.

And now, as the Monty Python intro says, for something completely different.

I have just finished 'The Shadow of Albion' by Andre Norton and Rosemary Edghill (TOR) and I am absolutely enchanted. I hope there is going to be a sequel. It's an alternative world fantasy set in a world where the Stuarts retained the throne of England, there was no American Revolt and where there are still vestiges of the Arts Magickal. The year is 1805 and Bonaparte threatens to engulf the world. England stands against him.

The young Lady Sarah Roxbury is dying due to her own folly and with a important task unfinished. She summons from our mundane world her double, Sarah Cunningham, to take her place and finish what needs to be done, including marriage to the Duke of Wessex, a secret agent in the service of the Stuart throne.

The authors obviously had a lovely time with this book. Beau Brummell in this world is a valet to the young, impetuous Prince James Stuart, heir to the throne of England. There's a nod to "The Scarlet Pimpernel" in the pseudonym of Citizen Orczy used by the Duke in one of his trips across France-- "The Scarlet Pimpernel" was written by Baroness Orczy, and one of the members of a dinner party given by Madame de Stael in the prison town of Verdun is 'a Belgian Devine named Poirot'. Let us know forget another dinner guest, Sir John Adams from the northern colonies of America who misses his wife Abby very much!

Add the missing Dauphin, the wonderfully villainous Marquis de Sade, a missing Danish Princess, a dungeon and loads of hair raising escapes.

No sex, but some strong emotion. Unfortunately it's not in paperback yet but if you like alternative world fantasy with a nice ironic touch I cannot recommend this book too highly

This is the central question explored by Conrad in Lord Jim. Jim is ultimately a character who inspires our sympathy due to his inability to find reconcilliation for his one tragic moment of weakness. In him we find a person of tremendous potential that remains unrealized as the tragic circumstances of his abandoning his post aboard the Patna continually haunt him and the associated guilt drives him to isolation.
Conrad successfully explores the concepts of bravery, cowardice,guilt and the alternative destinies that an individual may be driven to by these qualities.
The narrative can be a bit confusing at times as Marlowe relates the tale by recalling his encounters with Jim. The book reminded very much of Somerset Maugham's THE RAZOR"S EDGE" in style. However I believe that Maugham did a much better job of incorporating the narrator into the flow of the story. Overall LORD JIM is a wonderful classic novel that I highly recommend.

This is the fifth book I have read by Conrad, and through these readings I have come to deeply appreciate his literary power and the perfection of his stories. Conrad has the skill to border about several similar subjects, without repeating himself. "Lord Jim" is truly a Shakespearean tragedy, mainly because of the Shakespearean nature of the main character. Jim is a young naval officer with high hopes of heroism and moral superiority, but when he faces his first test of courage, he miserably fails. While 800 Muslim pilgrims are asleep aboard the ship "Patna", Jim discovers that the boat is about to sink. There are not sufficient lifeboats for everybody. Should he wake them up or not? He gets paralyzed with fear and then sudenly jumps into a boat being set up by the rest of the officers. He is taken to trial and disposessed of his working licence.

Ashamed and humiliated, Jim dedicates the rest of his life to two things: escape the memory of that fateful night, and redeem himself. This agonizing quest to recover his dignity in front of his own eyes leads him to hide in a very remote point in the Malayan peninsula, where he will become the hero, the strong man, the wise protector of underdeveloped, humble and ignorant people. Jim finds not only the love of his people, but also the love of a woman who admires him and fears the day when he might leave for good. The narrator, Captain Marlow (the same of "Heart of Darkness") talks to Jim for the last time in his remote refuge, and then Jim tells him that he has redeemed himself by becoming the people's protector. Oh, but these things are never easy and Jim will face again the specter of failure.

Conrad has achieved a great thing by transforming the "novel of adventures" into the setting for profound and interesting reflections on the moral stature of Man, on courage, guilt, responsibility, and redemption.

Just as in "Heart of Darkness" the question is what kinds of beings we are stripped of cultural, moral and religious conventions; just as in "Nostromo" the trustworthiness of a supposedly honest man is tested by temptation, in "Lord Jim" the central subject is dignity and redemption after failure.

A great book by one of the best writers.

After reading this book (along with several other of Conrad's books) I am under the impression that Joseph Conrad may very well be my favorite author. Here is another masterpiece, a deeply incisive study of character of the motivation and the ultimate failure of all high-minded ideals. Granted my own personal world view falls directly in line with this realization and therefore prejudices me towards anything the man might write, but, when considering such a lofty title as 'favorite author' one must regard other aspects of the novelist's creation. As with the others, Conrad wins by the power of his stories.

Lord Jim is my least favorite of the the four books I have read by Conrad. The story is rather scattered: a righteous young man does something wrong that he holds himself far too accountable for and the public shame the action brought him exaggerates the reality of his failure and makes him believe the rumors swirling around about his so-called cowardice. He spends the remainder of his life trying to reclaim his self-regard, mostly exaggerating his own importance in matters he hardly understands. His goal is to liberate the primitive people of the jungle paradise he inadvertantly finds himself in (due to an effort to escape every particle of the world he once inhabited) and his once high-minded ideals and regard for himself lead him to allow those people to consider him almost a God.

Jim likes being a God and considers himself a just and fair one. He treats everyone equally and gives to his people the knowledge of modern science and medicine as well as the everyday archetecture and understanding of trade that those primitive folks would otherwise be years from comprehending.

Of course everything ends in failure and misery and of course Jim's restored name will be returned to its demonic status, but the whole point of the novel seems to me that one can not escape their past. Jim, for all his courage in the line of fire has tried to avoid all memory of the once shameful act of his former life and by doing so becomes destined to repeat his mistakes.

Lord Jim is far more expansive than the story it sets out to tell, ultimately giving a warning on the nature of history and general humanity that only a writer of Conrad's statue could hope to help us understand.

If there is a flaw it is not one to be taken literally. Conrad was a master of structural experimentation and with Lord Jim he starts with a standard third person narrative to relate the background and personalities of his characters and then somehow merges this into a second person narrative of a man, years from the events he is relating, telling of the legend of Jim. It is a brilliant innovation that starts off a little awkward and might lead to confusion in spots as the story verges into its most important parts under the uncertain guidence of a narrator who, for all his insight into others, seems unwilling to relate his personal relevence to the story he is relating.

Nevertheless (with a heartfelt refrain), one of the best books I have ever read.

if you've taken remedial english classes all through school (or the parts of which you finished, at least), then you shouldnt be surprised when you're confused by words longer than 6 letters or those which havent been used for a couple hundred years or so. The plot's only boring if you don't pay attention, and hey- don't get mad 'cause kim went to school in the middle of the book- it's supposed to be somewhat like kiplings life ( read the short story Baa Baa Black sheep, you'll see ). it's not about a little british boy overcoming India either. there's nothing british about kim but his blood, and if you can't see past that, you're more racist than you accuse kipling of being. I loved the book. I found the plot adventurous, the protagonist easily likeable, and the vernacular not too confusing- for what it was (and I read it in my junior year of public high school). I also thought the characters weren't just stereotypes. (by the way, you shouldn't presume to know more about a culture you've never experienced than a writer who had spent his life immersed in it.) in short, if you have any sense of adventure, you'll be in love with this book. if, however, your eyes rarely leave the confines of this computer screen, the entire book may be a wholly foreign and confusing thing to you.

I first read this book-or tied to-when I was 10. Having already read "Nicholas Nickleby" and enjoyed it I hadn't expected "Kim" to be too hard. Halfway through the book I had to give up in disgust- it was too deep for me. Later on I came to love the book.It flung me into colonial India with all its native intrigue and wonder. We follow the journeys of an eleven year old boy,Kim or "Friend of all the World", a white brought up among the natives. We watch him travel around India with an old lama who becomes something like a fatherto KIm. The book is jam-packed with characters that will dazle you but that are still believable. People complain of the jargon Kipling uses; to me it was an added beauty, it made the atmosphere more tangible. Another thing I loved was the habit Kipling has of inserting verses before some chapters.At first you might not understand the relevance of the verse but the time you've finished the chapter you'll get it. This is a book that deserves to be respected, but also to be actally thought about, too.You have to have a certain amount of patience. Once you get over that, this book will enthrall you.

Other reviewers are correct when they complain that this book is extremely difficult to read; it is however brilliant.

You need a map of India and some knowledge of the Indian caste system to truly understand it. I had the map but admit that Kipling's use of slang when referring to certain characters was maddenning.

The odd assortment of charcters are great but Kim is the star of the show. Kim, an orphaned son of Anglo parents, is raised on the streets of Lahore where he befriends an old Tibetan Lama. Kim accompanies the Lama on his serach for a mystical river.

Along the way they come across the regiment in which Kim's Father served. Kim is adopted by the regiments two chaplains who turn Kim over to Colonel Creighton who runs a sophisticated spy system. Kim is sent to an English speaking Catholic school.The allure of the road to Kim is too enticing and during school holidays Kim goes on adventures with the likes of his friend the part time Afgahn horse trader and part time spy for the British.

Kim completes his education both in the school and on the road and he becomes an important member of the spy system.

Kim seems to benefit from the experience of everyone he touches and in turn evereyone Kim encounters seem to be better off by the experience.

His relationship with the lama is truly special and transforms Kim from street urchin into a compassionate young man whose strength keeps the Lama alive as they travel the Himalayas.

Kim is a truly delightful book if you are up to the challenge.