In "This Side of Paradise," Fitzgerald recounts Amory Blaine's journey from childhood to adulthood, a journey that he himself was just starting in the writing arena. "This Side of Paradise" has moments of brilliance that rival some seen in his later works but it is missing something that makes the later works truly memorable and classic. I recomend this book if you are trying to gain a complete understanding of F. Scott Fitzgerald and his life, but if you only read occasionally, one of his other books or his short stories would be more enjoyable.

Written when F. Scott was a mere 23 years of age, This Side of Paradise elevates itself as a seminal and ground-breaking semi-autobiographical novel that inexplicably remains vastly underappreciated as of today. Amory Blaine manifests himself as a veritable study of egotism, romanticism, idealism, and intense disillusionment. Amory proves to be an endearing and highly affable young protagonist. The prep school and Princeton years of supercilious and pretentious egotist hedonism abound immensely in energy, innocence, and vitality.

Through the despair of his failed love with Rosalind et al, his disenchantment with his advertsing job, and the inseparable gloom and despair of WWI, Amory enters into a reproachful state of disillusionment and cynicism subsequent to "The Great War". Fitzgerald, the acclaimed golden boy of his aptly named Jazz Age, emodies in Amory "a new generation grown up to find all Gods dead, all wars fought, all faiths in man shaken."

Amory undergoes a catharsis of sorts in purging his tragic loss of innocence due to the war with his heavy drinking and nihilistic behavior. Nonetheless, he regains a semblance of his former confidence and intensity at the conclusion of the book, "yet the waters of disillusion had left a deposit on his soul." Is Amory the same romantic egotist that we witnessed at the onset of this powerful work? Not by any stretch of the imagination. However, through his despondent adversity, his intellectualism survives as well as his somewhat frayed, yet repaired sense of hopeful idealisism for the future - whatever it may bring. A strikingly similar ending to Hemingway's later masterpiece The Sun Also Rises, n'est-ce pas?

Okay, so I didn't even want to read it, but I picked Fitzgerald for my major paper at the end of my AP lit class, and Tender is the Night was checked out of the library. So I picked this as a substitute, I read it really fast, and I tried to analyze while I was reading. I didn't get it until I stopped trying to figure it out. Amory is such a great character, a work of genius in my mind. Fitgerald has such a talent for wrapping his books up in one last line, something that summarizes the entire novel and reveals to the reader the true purpose of the story. Amory's last line, "I know myself, but that is all" is perfect for a story about a man's growth and maturing in every way. Amory Blaine, I love you even if you are an egotist. I would recommend this book to anyone with a love for literature or just a love for a good story. It is a book that can be seen on a million different levels, one is never too uneducated or too intelligent for it, I believe that it can speak to anyone and everyone.

Pygmalion is a brilliant success by George Bernard Shaw to modernize the legendary Greek tale of a sculptor who falls in love with his artsitic creation and wishes to bring her to life. The rags-to-riches tale of Eliza Doolittle captivates the reader with its fast paced storyline, and witty dialogue. Shaw fascinates the reader with complicated characters such as Henry Higgins, Doolittle, and Colonel Pickering. Set in England, during a period of sophistication and elegance, Higgins and Pickering were faced with the seemingly impossible task of transforming a filthy flower girl (Eliza) into a beautiful duchess. The outrageous antics that ensue are both humorous and entertaining. Shaw's playful dialogue and timeless plot have been updated to fit the social and cultural standards of our time. For example, Alan Jay Lerner's My Fair Lady is an internationally acclaimed musical adaptation of Shaw's classic play. 1999 brought yet another adaptation of Pygmalion, in the form of the film She's All That, penned by R. Lee Fleming Jr. This teen comedy brings a new twist to the classic characters of Shaw's play. Pygmalion is a quick read and an enjoyable way to spend the day, and the characters in the story will remain with you forever.

It started out as a play by George Bernard Shaw based on the Greek myth of a man who created a statue and then fell in love with it. The play, which was a spoof on the British upper class, was an immediate success and several movie versions followed. This 1938 version, in black and white, was nominated for four academy awards in 1939 and won an Oscar for best screenplay. Later, it was adapted to the musical hit, "My Fair Lady." The rest, as they say, is history. But Pygmalion should certainly not be forgotten.

The cast is excellent. Leslie Howard is perfect as Henry Higgins, the professor of dialects who transforms a flower girl into a lady. And Wendy Hiller is sensational as Eliza Doolittle. There's a certain regal freshness and her British authenticity comes across beautifully. Even though "the rain in Spain" is spoken, rather than sung, it still keeps the same quality. And there is music throughout as background, lively original music created especially for the film. The supporting cast was excellent too. I particularly loved the performance by Wilfrid Larson as Eliza's father. The film moved fast and kept me totally captivated. The costumes were wonderful and the timing for the comedic moments perfect. I found myself laughing out loud in places and smiling to myself throughout. Certainly, this film has stood the test of time and even though it will always be compared to the musical we all know and love, I must say that Pygmalion can definitely stand on its own. Give yourself a treat and check it out. Highly recommended.

This is an enchanting film for which George Bernard Shaw won an Oscar (which I believe he displayed proudly) for best screenplay after adapting the play "Pygmalion." It is true that the movie lacks the grand production values of "My Fair Lady," but it is much closer to the drama that Shaw had in mind. The dialogue is much richer than "My Fair Lady," which still managed to keep much of the language of the play and some of the movie.

Like many of Shaw's plays, it is built around his pet ideas -- here (in a simple form) the notion that class distinctions are not genuine and could be overcome through education. Unlike some of Shaw's plays which read like socialist tracts, this one has very human characters who keep your interest throughout (in contrast to "Major Barabara" which was a rather tedious movie).

For me, Wendy Hiller make a marvelous Eliza Doolittle. Although Leslie Howard is very good (and presumably what Shaw had in mind), it is hard to forget the bluster Rex Harrison -- a great actor himself -- brought to the role of Professor Higgins. Hiller brings a wonderful dignity and pathos to the role of Eliza Doolittle. The rest of the cast is very good and the sets are very authentically set in Edwardian England.

This is definite buy if you like Shaw, theatre in general, good movies from the 30s, or want to see a richer version of "My Fair Lady."

Cather published her second novel, O Pioneers, in 1913 at the age of 40. Together with My Antonia it is the novel for which she is best known. Years after writing the book, Cather wrote of it " Since I wrote this book for myself, I ignored all the situations and accents that were then thought to be necessary."

The book takes place on the plains of Nebraska in the late 19th Century as the Prairie is settled be Swedish, Bohemian, and French immigrants trying to eke out a living from what appears to be a harsh, inhospitable land. The heroine of the book is Alexandra Bergson who inherits her father's farm as a young woman, raises his three sons and stays with the farm through the harsh times to become a successful landowner and farmer.

The books speaks of being wedded to the land and to place. In this sense it is an instance of the American dream of a home. It also speaks of a strong woman, not in cliched, late 20th Century terms but with a sense of ambiguity, difficulty and loss.

This is a story as well of thwarted love, of the difficult nature of sexualtiy, and of human passion. There is also the beginning of what in Cather's works will become an increased sense of religion, Catholicism in particular, as a haven and a solace for the sorrow she finds at the heart of human endeavor. Above all it is a picuure of stark life in the midwest.

There is almost as much blood-letting in this short book as in an Elizabethan tragedy. Cather's picture of American life on the plains, even in her earliest books, is not an easy or simple one. Some readers may quarrel with the seemingly happy ending of the book. I don't think any will deny that Alexandra's happiness is dearly bought or that it is bittersweet.

I tendend to shy away from this book in favor of Cather's later novels. I feared that it would be conventional and trite. The stereotyping was mine,however. This is a thoughtful, well written story of immigrant life on the plains and of the sorrow pain, and strength of the American experience.

In "O Pioneers!", her classic novel first published in 1913, Willa Cather wrote, "The history of every country begins in the heart of a man or a woman." By revealing to us the hearts of those pioneer immigrants in this book, Cather offers a moving meditation on United States culture and history.

"O Pioneers!" tells the story of a community in Nebraska farm country. Her main character, Alexandra Bergson, is a Swedish immigrant. Cather creates a marvelous portrait of the community and its rich mix of European ethnic groups: Norwegian, Swedish, French, etc. It is especially fascinating to see the multicultural, multiethnic world they created in the United States. Cather also depicts the cultural and linguistic "shift" that takes place along generational lines.

Cather's story deals with issues of economics, gender roles, and sexuality. In addition to the formidable Alexandra, she creates a cast of compelling characters. And her luminous prose style evokes all of the sensations of Alexandra's world: the smell of ripe wheat, the chirping of insects in the long grass, the golden play of light in an apple orchard.

But this is Alexandra's book. She is a great American heroine who reminds me of such beloved characters as Zora Neale Hurston's Janie (from "Their Eyes Were Watching God") or Alice Walker's Celie (from "The Color Purple"). Like those great characters, Alexandra will break your heart, deeply touch your soul, and ultimately leave you feeling richer for having known her.

Finally, as an interesting companion text to "O Pioneers!" try "Anna Christie," the 1922 play by U.S. writer Eugene O'Neill. O'Neill's life and career were contemporary with Cather's, and "Anna Christie," like "O Pioneers!", deals with a Swedish immigrant woman in the United States.

Before I review the novel, I want to point out that most of the reviews that have given it one star seem to be coming from, perhaps, immature audiences..."it was totally uncoool!" Now, this book is not the best thing you'll ever read, but it IS very worthy of reading. Don't be discouraged by the title, as I once was. Basically, the story talks about Alexandra, a Swedish woman who has to take care of the family once her father dies at the beginning of the book. I didn't really admire her character or was interested too much in it, but that's okay because a lot of the plot involves her brother Emil and her neighbor Marie and their clandestine type of love...it's a heartwarming novel and a very entertaining read. I read the book in one night. The setting was very well depicted and had a sense of magic, evethough there's nothing of a supernatural nature in the book. The characters were very lively and realistic. I wasn't really too satisfied with the ending, but I enjoyed it greatly nonetheless. It is an excellent work ; I recommend it.

Personally, I think that Sense and Senibility was a good book, but lacks the wit that was constantly present in Pride and Predjudice.

While there was conflict in Sense and Sensibility (both in the sister's jealousy and the the scorn from their lovers later), Austen didn't allow her characters to really address the conflict directly. (For example, why didn't Willoughby explain himself to Marianne, as opposed to using Elinor as a go-between?)

While this may be the subtle temper which reflects Austen's style, it also makes it more difficult for the reader to discern any true sense of feeling.

The plot is "okay" - boy meets girl, boy and girl fall in love, boy scorns girl. In Sense and Sensibility, it's done twice, in parallel. The only difference between one and the other is how each girl copes with it. But, from reading several of Austen's books, I've found that plot development wasn't the author's strong suit.

Jane Austen's real strength lies in character development. Her major characters are well developed and dynamic. An interesting aspect of Sense and Sensibility is how Elinor, the logical and practical sister became more emotional, while the ever-feeling Marianne developed a more practical view of her situation by the end of the book.

This isn't one I would recommend for folks that have never read Jane Austen before (read Pride and Predjudice first), but it is a book I would recommend it to anybody who likes Jane Austen's style.

Did anyone else feel a distinct sense of disappointment at the revelation of the mercenary, materialistic nature of the otherwise handsome and dashing Mr Willoughby's character? However, I think Marianne's heart-break was eased by the stead-fast and loving Colonel Brandon. I love this novel. I had been forever avoiding experiencing any other Jane Austen novels for fear they would not live up to the high expectations created by the fabulous "Pride and Prejudice", however, when hearing of the imminent arrival of the fabulous Emma Thompson's adapted version at local cinemas, I decided to take the chance and read this book. I'm glad I did! This is another Austen gem. Elinor and Marianne are wonderful characters, as are all the others. If you are like I was and are afraid of spoiling your first Austen experience with another, don't be. "Sense and Sensibility" is another Austen triumph. Marriage, society and class are again given a unique Austen work over!

Anyone who gives this book a bad review has no class. Jane Austen is one of the most celebrated writers in history. You just have to get past the fancy words. Beneath that is a classic and romantic story. Sense and Sensibility is the best romance novel I have ever read. I would recommend watching the movie first, though, if your Old English vocabulary isn't very strong.

...and i have not even finished even the first volume of this dauntingly sprawling work known as a la recherche du temps perdu, but i know what i like and i have just fallen in love with swann's way. yes, it would be silly to deny that proust does like to go on and on quite prodigiously but what a sumptuous journey! i feel almost wicked indulging in proust - and what is his writing if not supremely self-indulgent - but i find myself continually redeemed by his carefully and extensively detailed insights which unfold and arise so naturally, almost indiscernibly, from the complex interplay of memory, sensation and emotion. as i read, often i find myself either smiling with joy or on the verge of tears, moved by the beauty with which proust reveals simple, almost mundane, truths, which are all the more profound by virtue of their mundanity. in any case, i don't think it's fair to banish so bitterly all those for whom this book is a thing of joy and pleasure to the realm of the pretentious. besides, i prefer to think of myself as voluptuous, not pretentious (sniff, sniff) here's a tip: forget profundity if you must and just revel in the gorgeous details of his recollections, his attempts to recapture the past through memory. this is not a book to rush, you must let it's luxuriant and gauzy veil envelop you.

Proust is one of my very favortite authors. "Swann's Way," the first book of A la recherche du temps perdu, is perhaps the most accessible and lyrical of the seven. Written in a hypnotic and mesmerizing style, "Swann's Way" begins by recreating life in a fictionalized 19th century French village, complete with gossipy aunts, church festivals and priests who "know too much."

"Swann's Way" is also the volume in which Proust tastes the divine madeleine then goes on to link memory to memory to memory. Even the smallest detail is not overlooked: sights, sounds, smells, textures, the interplay of light and shadow; everything was a source of joy and connection for Proust and he records those connections in this fascinating book. While Joyce lived in the world of the present, Proust lived in the world of the past.

So many people complain about the lack of plot in this book. But do we really need a plot in every book we read? Aren't some works of art beautiful enough to be read, or listened to or gazed upon for their beauty alone? Is anything truly "art for art's sake?" If your answer to this question is "Yes," then "Swann's Way" might be a book you'll come to treasure. Yes, it is dense and yes, it does take quite a bit of time to read, but it is time well spent and time that will never be forgotten.

"Swann's Way" sets the tone for all the volumes that follow. Indeed, the final section of the final book is but an echo of the first section of "Swann's Way." Although Proust may have seemed to be wandering, he was not; A la recherche du temps perdu is one of the most structured works in any language. The fact that this structure is not immediately discernable is only further proof of the genius of Proust.

The section, Swann in Love, is typical of Proust's obsession with repetition. Each time the tortured Swann meets Odette, he must re-enact the very first ritual of the cattleyas. They even come to speak of this as "doing a cattleya." The Swann in Love section also showcases Proust's wicked sense of humor, for Swann is both a character of high comedy and high tragedy, and Proust dissects French society in a most deliciously scathing manner.

While it may be Proust's reputation that causes us to pick up this book, it is his prose that keeps us reading. Almost indescribable, it is luminous, poetic, magical, fascinating, ephemeral, gossamer, mesmerizing, elegant and, of course, sublime.

I realize that "Swann's Way" is definitely not going to be a book for everyone. But those who love and appreciate fine literature and beautiful, crystalline prose, may find that "Swann's Way" will become nothing less than a lifetime treasure.

How can any work be so dreamy and poetic and at once so precise and analytical? While describing the sensory world with hallucinatory clarity and beauty, Proust simultaneously presents his characters (all quite unforgettable) as if under a microscope, revealing in luminous detail the complex interplay of memory, desire, conscience and habit in their divided hearts. The narrator (young Proust, more or less) divides the work roughly between a nostalgic portrait of childhood summers at his family's country home, and a mordantly funny record of an older friend's humiliating courtship of a notorious woman and subsequent crucifixion by jealousy. Proust has a cruel wit, a supernatural eye for paradox, a taste for the most delicious ironies and above all an all-encompassing wisdom that borders on the mystical - forgiving all, forgetting nothing.

Forster writes about the ruling British and their tentative relationship with India in the early part of the 20th Century. While Kipling wrote of an India of intrigue and adventure, Forster's India is one of mistrust and racism between the British and the natives.

The main charcter is a Moslem Indian, Dr. Aziz,who is abused by his British superior and learns to mistrust all British. Aziz meets Mrs. Moore , a new arrival, by chance at a mosque. After first ridiculing her, Aziz develops a deep respect for Mrs. Moore who he believes possesses more Oriental qualities than European qualities. Through Mrs. Moore, Aziz develops a frienship with Fielding, an educator, very interested in discovering what India is all about.

Mrs. Moore's is accompanied to India by her future daughter-in-law, Adela Quested. Although extremely naive, Adela has the same inquisitiveness as does Fielding. Aziz desperately wants to impress his new British friends and he invites Adela, Mrs. Moore, and Fielding to be his guest as he shows them the Marbar caves, a local landmark.

On the fateful day all parties realize that the tour is not a good idea but each is reluctant to cancel the event. The mystery of what occurred within the caves and the aftermath is the crux of the story.

The incident at the cave does irrevocable harm to each of the main characters but particularly Mrs. Moore whose spirit totally disintegrates and Adeala who is rediculed and villified by the British.

Finally at the end, Aziz and Fielding repair their friendship as best they can, each realizing that Indians and Brits will enjoy a suspicious friendship at best.

What makes A Passage to India so different from other Orientalist works (and Orientalist it is) is that Forster, being a homosexual, understood the oppression that the colonized Indians had to live with. This understanding permeates throughout the book. From his piercing insights into the nature of Anglo-Indian women (why were they more racist? They were threatened to be replaced by Indian men in the minds of the colonizers). The relationship between Fielding and Aziz is startlingly sharp; people from the time must have been delusional not to see the homoerotic message that Forster was trying to portray. It's such a shame that the politics of the book (which Forster really wanted to downplay -- notice that neither Aziz nor Fielding care about them) so often overshadow the message of male-male relationships that Forster cared so much about. It's sad though that he still fell into the trap of thinking that no Englishman or woman could completely remove themselves from the racism that dominated the culture. What does he do the one's who try? Adela has an nervous breakdown, Mrs. Moore dies after realizes the futlity of love, and Fielding is not only a repressed homosexual, and therefore a social outcast, but sacrifices his ideals in the end to marry an English country woman. The ending perfectly sums up how Forster himself must have felt -- remember that when you want to cry at the unfairness of it all.

I don't think it's really necessary for me to comment on the brilliance of the prose, or the entertaining primary narrative since I'm sure that's been done to the upteenth time. However, the book holds so much that I couldn't not share some of my thoughts. Please read A Passage to India as soon as you can.

I wasn't particularly looking forward to reading A Passage to India. Forster, in my mind, seemed to suggest implausible romance, pretty scenery, and Helena Bonham Carter, and I'd never actually bothered to read one of his books.
Now I can hardly wait to read another. I absolutely loved this book, without quite knowing why it was so magical. I do know that I found the first chapter absolutely perfect, as it allows the reader to go into a "descriptive section" daze, and then jerks are attention suddenly back to the Marabar caves. And with the exception of one or two patches that dragged a little but were soon over, I found the rest of the book equally magnetic.
I enjoyed Fortster's deftness in portraying all the characters, not so much as individuals, but in terms of how they felt about each other. In particular I loved the relationship between Fielding and Aziz, while understanding completely the dislike each had for aspects of the others character.
The ending is marvelous. So often books that hold your interest like this just peter out, but it's refreshing to find an author like Forster who understands that what makes for an ideal conclusion is to give the readers a taste of what they want, and then hold back the last little bit.

Few works of adult literature are so well known that they become embedded in our cultural fabric the way that Oliver Twist has. Perhaps it is because the title character is a loveable, sympathetic, young boy that the story, over time, has come to be mistaken by some for a children's tale. And perhaps it is because I feel like I have known the story all my life that I only recently realized that I had never, in fact, read the novel. So as I sat down to (finally) read this book, it was with a sense that I was simply revisiting a cherished story from my youth. But as I quickly realized after a very few pages, this is adult literature in all respects - in its sophisticated, intelligent prose, its rich plot, its elaborate cast of characters, and, yes, the occasional depiction of gruesome violence.

Surely even those who have never read this Charles Dickens' classic could recite the basic elements of its plot. Who among us is unfamiliar with the story of the young orphan who musters up the courage to ask, "Please, sir, I want some more." And yet this novel is so much more than a mere rags-to-riches story. It is also the heartwarming story of the triumph of good versus evil and of the human spirit's ability to face down adversity. Dickens pits an innocent child against the dangers of an uncaring world, and the story's happy ending is at once a celebration of Oliver's innocence and an affirmation of all that is right and just in society.

Though the prose can be tedious at times, Dickens' mastery of the English language is difficult not to appreciate. And while some may find the plot cliché, there is sufficient tension throughout the novel to maintain the reader's interest. For myself, I was continually surprised, as the chapters unfolded, to realize how much more there was to this classic than simply a story about an orphan who falls in with a gang of unruly pickpockets. This is definitely worth reading, even if you feel like you have already read it as a child.

For the younger reader exploring Charles Dickens, this abridged version will not be intimidating. It'll help open the door to classic literature, and challenging ideas.

"Oliver Twist" is a complex story about the English welfare system for orphans, overlayed by a story of love, family, and the pursuit of each.

What is missing from this version is Dickens' long descriptions and thorough presentations of a situation. What makes Dickens great, in part, is his multi-woven characters, filled with color and excitement. Some of that is lost here.

That said, this is an excellent choice for an older child having trouble reading, or the younger, aggressive reader. The story about Oliver Twist is strong enough to endure an adaptation, but, later on, it is a thrill to read the original version.

I fully recommend "Oliver Twist" by Charles Dickens.

Anthony Trendl

The creative novel Oliver Twist, written by Charles Dickens in 1838, defines a classic of all times. This intense story reflects a young boy's life in London with no family or place to go. Oliver's mother dies while giving birth to her son in the beginning of the book. Oliver's father remains unknown. Throughout the book the reader sees constant struggles. Oliver is befriended by Fagin and his company. Fagin, along with the Artful Dodger, invite Oliver to stay with them and become a thief. During one of Oliver's pick pocketing adventures; he is caught by Mr. Brownlow. Instead of reprimanding the young lad, Mr. Brownlow decides to raise him. Oliver desperately searches for the answer to his past while trying to stay alive on the streets of London. Ironically, Mr. Brownlow is Oliver's grandfather. A dominate theme of Oliver Twist examines the importance of family. Oliver's early years taught him to fend for himself and he suffers from never experiencing a loving and nurturing childhood. The setting of the book plays a powerful role as the story unfolds. Dickens describes the setting of London and all the places that Oliver stays very descriptively. "The street was very narrow and muddy, and the air was impregnated with filthy odor. The walls and ceiling of the room were perfectly black with age and dirt..." (page. 56). Dickens explains the facilities that were available to poor Oliver and makes them sound unbearable. He does an excellent job making the setting come alive and allows the reader to plight. I would recommend all readers at some point in life to delve into this classic. I found Oliver Twist very moving and towards the end hoping only the best for poor Oliver.

I have read four of Hardy's novels and loved them but I didn't like this one and didn't even finish it. For one it is not an engaging novel. Usually I can't put Hardy's novels down but I was reluctant to pick this one up. Second Hardy seems to blame "society" for everything that goes wrong in Jude's life. This is a huge departure for Hardy who normally writes about flawed characters that create their own misery and troubles. Blaming social pressure not Jude's personal acts is a departure from his other books such as The Mayor of Casterbridge.

I personally had no sympathy for Jude or the other characters in the book. I also found the anti-marriage theme troubling. Jude chose to enter a relationship with Arabella who was completely wrong for him. People who knowingly enter relationships and then marriages with inappropriate people are completely responsible for the misery that results. Saying that social conformity is a bad thing because it asks men to take responsibility for the offspring they produce is troubling. Yes Arabella tricked him into marriage with a false pregnancy but he chose to become intimate with someone knowing pregnancy was a possibility. Hardy's theme of victimization is so annoying I don't plan to read anymore of his books.

Jude the Obscure, written by Thomas Hardy, is the story of Jude Fawley and Sue Bridehead. It follows the development of their love for each other and then their demise as lovers. I did not enjoy this book. I found its characters to be feeble and its theme twisted.
Jude Fawley is a penniless orphan raised by his aunt in a small English village. He is inspired by his schoolmaster Mr. Phillotson to pursue a goal of attending one of the great universities in the town of Christminster. His dream is crushed when the universities reject him because he was not properly educated, and more importantly because he is not of the upper class. While in Christminster Jude falls in love with his cousin Sue Bridehead who is a rogue in society. Sue is well read and opinionated. Before becoming acquainted with Jude, She had lived with a young scholar that loved her. The two were never married because Sue desired to live as comrades and not sweethearts because she did not love him. The entire novel follows the love affair of these two outcasts of society.
I found that I could not become emotionally attached to these characters. Jude and Sue constantly assumed the role of victim. For example, Sue promises to marry Jude's old school master Mr. Phillotson. She tells Jude that it is Mr. Phillotson's plan that Sue will complete a teacher training school, and then the two, as a married couple, will take a position at a double school (a school for both boys and girls). Sue acts like the victim of Mr. Phillotson's planning; she does not even consider that she could reject the plan just like she rejected the young scholar of her early days. After several of these incidents, I became desensitized to the suffering of the characters. Hardy lost his ability to manipulate my emotions by creating weak characters that never reacted to their surroundings, but were only acted upon by society.
Thomas Hardy must be given credit for building consistent characters. Both Jude and Sue remain predictable throughout the novel. This quality leant credibility to the characters, because everything they did fit with their personality. I could believe that the characters were truly spineless human beings. They never surprised me by doing anything bold or courageous.
I also found this novel to be distasteful due to the fact that I was left in a quandary as to the theme of the book after I had completed my reading. It appears Hardy was writing a criticism of the institution of marriage, but that can be debated. For example, Hardy pens the following statement by Sue as she and Jude attempt to marry in the Superintendent Registrar's office: "Jude-I don't like it here! I wish we hadn't come! The place gives me the horrors: it seems so unnatural as the climax of our love! I wish it had been at church, if it had to be at all. It is not so vulgar there!" (284) From this statement I would assume that Hardy is against marriage. But at the point in the novel that this statement is made, Jude and Sue had been living together for some time. It can thus be argued that this sentiment arose from not performing the marriage ceremony at the proper time. The theme of the novel would then be that marriage is necessary and must be done properly. I must confess that Hardy forces the reader to think and ponder in order to derive the themes from the novel. But I prefer a theme that is not so debatable.
I rate this novel as deserving two stars. Thomas Hardy creates consistent and credible characters. He also provokes the mind of the reader to ponder his novel. But his characters were cowardly and his theme unresolved, which is unsuited to my taste in literature.

Prior to reading Jude the Obscure, I had a smattering of knowledge about the religious uproar it caused upon publication, which led Hardy to abandon novels and focus merely on poetry. His work being denounced and burned by the churches, Hardy felt that if that was to be the treatment of his work, he would no longer produce the work.

Now that I have read the novel, and having attempted to place myself in the mindset of the later 19th century morals and ideals, I can begin to understand why such an uproar was raised.

First, the story...Jude Fawley, of poor and meager birth, aspires to academic greatness. When it is recommended to him that he stay on the 'blue collar' course he has begun, and not wish for more, he decides to educate himself, one day hoping that it will position him for greater things.

Jude enters into a hasty marriage, which by later standards would be described as a 'shotgun' wedding, which he eventually comes to regret, and ends. Enter his cousin Sue, who becomes the love of his life. Sue also ends an unsatisfactory first marriage, freeing herself to be with Jude, whom she loves as well.

What follows is a descent into tragedy and despair, with numerous twists and turns along the way. Not wanting to spoil them, I will not divulge.

However, the remainder of the novel touches upon many, many themes that amounted to raising of the ire of the church in response. Divorce; childbirth out of wedlock; loss of faith in God; questioning religious ideals and teachings; all these and more are present in the latter half of the novel, and so much more.

Upon finishing the book, I was left to question were these really Hardy's own feelings illustrated in his work, or simply a realization of a course of events for the characters, and not a reflection on the author's beliefs. That, however, bears further reading on the life of Thomas Hardy.

Where I find fault with the novel is in the characters, and it is merely a distaste with their actions. Sue, the heroine, spends far too much time vacillating about her love for Jude and her desire to marry him. When Jude tries to do the right thing by Sue, and respect her wishes, she claims he has 'given up too easily, and doesn't seem at all disappointed'. Jude's first wife, Arabella, displays an utterly selfish, self-absorbed personality, and was, for me, unlikeble, and unsympathetic. Jude, a character capable of learning Latin and Greek and engaging in other scholarly pursuits, seems completely naive in the ways of the world, and further seems blinded by a sense of duty over a sense of the rights and wrongs of others. His actions make him appear to have no regard for himself, until the very end.

Perhaps this is exactly as Hardy meant the characters to be seen, perhaps not. I did enjoy the book more than I expected to, and apparently more than others who have said to me "What on earth are you reading THAT for???". Hardy is not a comedy writer, and one should not expect a glamorous, cheerful, tidy ending, it does not exist here.

While not the greatest of classic novels I have read, I can certainly see why this one has been discussed for over 100 years. While Dickens peppered his stories with levity to break up the gloom, Hardy continues on a downward spiral, leaving his characters in despair within and without. I recommend it to readers who enjoy a good characterization of later 19th century life in England. But if you are looking for something to put a smile on your face, Hardy might not be for you.

William Gibson's latest might be classified as speculative present--a look at today's world with the excitement and verve of a science fiction writer's pen.

Logo-allergic protagonist Cayce Pollard's journey makes you appreciate anew the strangeness of our current reality by questioning the way modern companies manage memes and fretting over the dissolution of difference across borders.

Gibson's words, as always, capture details as if the volume on all his senses has been turned way up. You'll feel the ubercloned texture of a nylon flight jacket, hear the distortion in voices beyond the grave, see each byte of the movie fragments at the heart of the story.

And as with all great writers, Gibson throws in little truths that somehow capture the gestalt of an entire generation.

"I think it's all actually about money for him...Ultimately I find that that was the whole problem, with most of the dot-com people."

I nod sadly from personal experience.

One of the most striking things about Pattern Recognition can be found at the front of the book--before the story begins. Consider how Library of Congress coding attempts to classify the book: "1. Women private investigators.... 2. Business Intelligence.... 3. London (England)"

Given a story that includes Russian Mafia, Discussion Board Divas, Macabre Documentarians, Maverick Marketing Science, and Tokyo Otaku, it looks like the book's characters aren't the only ones currently struggling with pattern recognition in today's society.

I feel I should start of by stating that this is my first William Gibson novel, so if you're looking for an evaluation of "Pattern Recognition" within the context of his other books, there's no point in reading further. That said, I found "Pattern Recognition" to be a remarkable, moving novel that was a joy to read. Specifically, it is a fascinating look at the paranoia and hope of the post 9/11 world. Gibson deftly considers the difference between crass consumer culture and genuine art, and then swirls them together via our information saturated culture.

As his protagonist, Gibson creates Cayce Pollard, something of a marketing prodigy whose claim to fame is that she can unerringly determine whether or not a brand logo will be successful on first sight. It is therefore intensely ironic that she has a phobia of all commercial branding that manifests itself through something that is akin to a cross between a panic attack and a migraine. Her revulsion to consumer culture is so intense, she goes so far as to remove labels from everything she owns, and dresses in the most stripped down manner possible.

Wrapped inside this duality is the additional one that Cayce, despite her odd phobias, who seems to be an inherently trusting and positive person, is grappling with the death, or more accurately the disappearance of her father in the events surrounding 9/11. Thus her vision of the future is touched by the background, but pervasive, fear that seems to have become part and parcel to our new century.

Cayce's escape from these twin phantoms is an oddly alluring film that is being released piece by piece on the internet (those familiar with Mark Danielewski's "House of Leaves" may see an echo here). The "footage", as it is known, enjoys a grass roots fascination globally that borders on cultish, except that the reaction is overwhelmingly positive, and disconnected from pop culture. The footage is apparently being released out of sequence, and seems to take place out of time and in some undefined location. As chatroom battles rage over whether it is a work in progress or a completed film, there seems to be no argument that the footage is a thing of shocking, pure beauty, totally untainted by popular culture.

However, it is when Cayce is asked by her enigmatic and enormously influential colleague to track the footage to the source that things get weird. It would be impossible to recount the plot here without spoiling it, but the dualities mentioned above, art and pop-culture, past and future, act, react and interact in fascinating ways. Gibson argues eloquently that the future is informed by the past, but not determined by it. Moreover, he seems to be arguing that there is no such thing as consumer-culture or art, but rather that they are all part of one increasingly global CULTURE. This blurring of the lines is neither good nor bad, but instead a consequence of the Information Age. As such, the definitions and boundaries of art are shifting.

I could go on, but I suspect that this is the type of novel that allows (and encourages) a multitude of conclusions. So I will finish by saying that on top of the fascinating, puzzling plot, and the interesting thematic elements, this is also a very cathartic book to read. While 9/11 plays a relatively small role in terms of lines of text, the horror of that day saturates Cayce, and the themes of the book. At it's conclusion, however, "Pattern Recognition" points the way to a release of those emotions, or more accurately of a way to place them within a personal historical context. Thus, this remarkable novel points to a chance for hope in our troubled brave new world.

PATTERN RECOGNITION spins a complicated spy story filled with double crosses, dramatic rescues, power-hungry marketers, iconoclastic hackers, documentary filmmakers, industrial spies, Russian mobsters, Internet lurkers and quirky computer geeks. However, it also functions as a sharp commentary on consumerism and the calculated dissemination of pop culture. If Gibson's signature has long been his ability to incorporate cultural touchstones into futuristic works to imbue them with a sense of immediacy and relevance, then his latest work --- set only one year after September 11th and saturated with familiar brand names like Google and Pilates --- acknowledges and parodies our willingness to be manipulated by advertising.

The story centers on Cayce Pollard, a "coolhunter" with an uncanny knack for understanding logos and identifying trends before the public at large recognizes them. In an ironic twist typical of Gibson's sardonic humor, she herself is acutely allergic to brand names, harboring a violent reaction to the doughy Michelin Man, among other random trademarks.

The story is framed by the events of September 11th and their personal relevance to Cayce: Her father, Win Pollard, rode in a cab that morning and headed in the direction of the World Trade Center only to disappear without a trace. The mystery surrounding his disappearance maintains a tenuous connection with the plot until the novel's end, when her father's past and Cayce's present converge in unlikely but poignant circumstances.

Cayce is also part of an online community that strives to find meaning and patterns in a series of video clips anonymously uploaded to the web. Her personal interest and work collide when a marketing consultant --- who recognizes the genius in how the clips (simply referred to as the "footage") has garnered a global audience with fervent brand loyalty --- hires her to track down who's behind it. But when someone hacks into her personal computer and starts following her, Cayce realizes this isn't a typical freelance gig.

The investigations have Cayce jet setting between London, Moscow and Tokyo. Gibson manages to make the contemporary setting at once realistic and fantastical, imbuing the novel with a surreal quality reminiscent of Neal Stephenson, Hitchcock and even Blade Runner. The plot itself --- with a series of impossible coincidences, chance meetings and pure luck --- doesn't stand a chance under careful examination, but somehow the disparate elements dovetail so perfectly at the end that it doesn't matter. Gibson manages to make the impossible plausible and delightfully satisfying.

His first novel set in the present-day seems bent on acknowledging that today's world is as contradictory and oddball as any futuristic, sci-fi alter-universe. Besides crafting a compelling story, Gibson's razor-sharp prose is as precise as ever, even when describing something as commonplace as jet lag: "[Cayce's] mortal soul is leagues behind her, being reeled in on some ghostly umbilical cord down the vanished wake of the plane." Gibson's newest work is evocative of the current zeitgeist: unrelentingly realistic and cautiously optimistic.

--- Reviewed by Jen Robbins

It's hard to write a review for this book. The first time I read was like ten years ago. I was around 15 or 16. It looks intimidating. Thick, and as hard to get into as a bar on Sunset on Friday night.

I was an English major in college and I have never read anything like it. I've read it two or three times since then and I still don't get it all. Am I supposed to? I would love to meet Delany and ask him what it all means, but I'm sure he would say that would ruin the whole point.

One of the things that stands out most is the dialogue. It's amazingly written. Pick out any piece of dialogue (without the speaker's name) and anyone familiar with the text would know exactly who was speaking. That's very difficult to accomplish. His characters are so real, so convincing, it's seem like they are alive somethere, still living.

I think the loop of the beginning and end, "... to wound..." is one of the strengths of the novel. It's better to not know the answers. If everything was spelled out, what fun would that be? The ambiguity gives it depth and intrigue.

I think about aspects of this story with frightening regularity. Everytime I go under a street light, I think of Dhalgren. I swear one pulses and dies just because I am looking. Everytime I look at the moon, I think of George.

An interesting part sticks with me. I'll paraphrase: in a week, I can't remember five days. In a year, how many days will YOU never think of again. How true is that? Wow. What were you doing on Sep. 9th, 1994? If it's your B-day, anniversary, or whatever think of another date. How insignificant mundane, day-to-day things are in the grand sceme of time. Nothing matters, only hugely significant things are remembered or important. Delany goes into many other social, literary and cultural questions which would be too numberous to mention here. But they ALL matter to this book. Everything means something here and to cram in so many ideas and fit them together so well with such simple language is incredible.

What does it all mean? The red eye caps? The optic chains? The light projectors? The scratch on her leg? The notebook? Bill's name-is it William Dhalgren? I always thought that was Kid's name, because of the title. What year is it? What happened to the sun? Why can't he remember everything? Does Kid have multiple personalities? What's going on here?

I honestly don't know and really don't want to. It would spoil the wonder of it all. This novel is a remarkable peice of literature. It, along with The Lord of the Rings, has influenced me greatly. I know I might not have chosen to become a writer myself if it were not for this. To emulate and possibly achieve this level. If only I

If you're a hard sci fi, "hardware" fan; if you need a linear narrative where "something happens" and there's a well-defined beginning, middle, and end; if you need a "rational" explanation for everything that happens in a book; if you like easy to read, shoot-em-up space opera- don't read _Dhalgren_, 'cos you "won't get it", and it will frustrate and anger you. This is one ov those extreme either-or books- either you love it and think it's truly profound and visionary, or you hate it and think it's pointless gibberish. I happen to be ov the first opinion. This book made a huge impression on me. For one thing, it was the first sci fi (really kind ov a misnomer for this book, but lacking a better term...) that I'd read that was about real, non-mainstream people and their response to the strange. It was about sex and poetry, gritty communal living, interclass interactions, life on the edge... in short, it was about everything I was doing at the time. But it's about more than just that... it's about everything suddenly changing; it's about how people deal with everything changing; it's about language and reality and the strange and fey place where the two meet and inescapably change each other forever. It's about consensus reality and the Rashomon effect. It's about life going on, no matter how bizarre things may get. It's about the strange & twisted ways that people take comfort in each other's humanity in the face ov a strange & twisted reality. It's about the complexity ov the world, and our experience ov that complexity. And I can see how, if you're a very linear, traditional Western-dichotomist thinker, those are all things that you probably don't really like thinking about- much less actually reading about them for pleasure. This isn't an easy book, even if you're into "this sort ov thing". Even readers who love this book often take a long time to finish it. But a little patience, a little effort, will yield infinite rewards. You will find yourself remembering stray fragments ov _Dhalgren_ years later, at the strangest times, in the oddest places.

I was given my copy of Dhalgren four years ago by a close friend who told me,"You have got to read this book!" I took the book and read it. I was stunned.

Delany's use of language and symbolism in Dhalgren conveys the feelings and actions of how a counter-culture society would exist in extreme situations. A deserted city; no day; no night; two moons and a bloated sun--are some of the bizarre happenings in the city of Bellona.

Delany also delves into the hearts and minds of his characters, allowing them to express with word and deed a mirror of today's world views with a subtlety that will stun anyone who apprieciates literature.

Not a book for the faint of heart, Dhalgren contains violence and very graphic sexual scenes.

If you love stories that explore human nature, Dhalgren may be a book for you. It's labeled Sci-Fi only because Delany had built a name for himself as a sci-fi writer before the publication of Dhalgren with his books "Nova" and "Trouble on Triton".

Dhalgren is a great read but take your time and absorb it. If you have trouble with it, put it down and come back to it later. Whatever you do, read the book cover to cover. You will not be disappointed.