This is a great story - Berendt slowly draws you in by cleverly drawing the cast of quirky characters in sleepy, steamy Savannah, then springs the plot. The first half of the book feels like a set of short stories, as each chapter describes one of the key characters and sets the scene for their prejudices and behaviour in the second half (the trial).
Midnight in the Garden of Good & Evil is up there with To Kill a Mockingbird. Brilliant.
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There. I admit it! I am the joker: I am Tonio Krueger. At times I am also Little Herr Friedemann, and Detlev Spinell and Gustav Aschenbach. Such is the psycological power of Thomas Mann to present the deepest insights of his protagonists. Each story is partly autobiographical and each story depicts love as seen from an outsider, sometimes fraught with pain, sometimes cosetted by tenderness.
These short stories - all from the early part of his career - will hopefully dig beneath your own preconceptions of what it means to be pained and rejected, and will therefore hopefully inspire you as it did me to be that little more charitable to fate and to unintentional cruelty.
Persevere with this wonderful book. It is written in the style of all 19th century fiction and can seem wordy and even verbose to 21st century readers, but it is a treasure that will amply repay your efforts. The narrative and plot construction is faultless and there are hidden treasures in the narrative and the text that will astound. The fifty page description of the battle of Waterloo is probably the best ever written in the almost two centuries since 1815. I defy anyone who does not have a heart of stone not to be left with tears rolling down their cheeks as Jean Valjean breathes his last with his beloved Cossette and Marius at his deathbed. If you read no other book than this in your life, please, please, ignore the musical and the various films ... Read More:
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Fantastic book. Don't be misled into thinking it is all about McAuslan as there are plenty of other characters to warm the cockles of your heart. My advice is is to find a nice quiet corner next to the fire on a cold night, pull the curtains, pour yourself a large malt and immerse yourself. Heaven.
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A magnificent collection indeed. Guy de Maupassant is the best storyteller of the 19th century France... This particular edition has the most entertaining short stories, each capable of delivering as strong a message on moral and profoundly non-societal ethics, as remarkably to-the-point images of an average French bourgeois or an average French peasant. The heroes are complex, decorated with their subjective and objectified environments: they fall in and out of love, abandon and adopt children...unpunished thieves, unfaithful servants, families enatngled in inheritance dispairs... His pen is so powerful that story after story lives succumb in theatrical precision so benign and materialistic, yet lively and at times, even lovable.
These nine short stories will appeal to those who enjoyed the dry observations, the grim resistance to adulthood and the honesty that encapsulated The Catcher in the Rye. Far less well-known, this collection is partly a reflection on an American society coming to grips with the aftermath of war; its characters include those who have been traumatised by conflict and those who have suffered at home through the absence of loved ones. More than that, Salinger's tales try to dig a little deeper under the superficial layer of East Coast society and ask where the distinctions between madness and innocence lie in a fractured community. His adults are often verging on lunacy or have a serious character flaw, while his children are frequently precocious, wildly intelligent and seemingly more ... Read More:
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This was Puig's fourth and best-known novel. It was published in 1976 and translated into English three years later.
Much of the book consisted of dialogue. It, and the shifting from the daily routine of the two main characters in prison to the descriptions of the films, was usually entertaining and kept my interest. The author contrasted the two personalities and their ways of thinking -- political and sensual, engaged and escapist, living for the future and living for the present, "masculine" and "feminine." He showed the two men opposed at first, but moving to accommodate each other as the book progressed. For me, this was shown especially well at the end.
The range of films described was also interesting. Obviously, one can relate the characters in the ... Read More:
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Another reviewer is right - it turns into an Alistair Maclean. And an episode of the X Files. And the end of Frankenstein and a story by H.P. Lovecraft. At the end of Mary Shelley's Frankenstein the Monster catches up Victor Frankenstein in his ship. Victor transfers willingly to the Monster's sled, and together they set off towards the Utter North. For H.P. Lovecraft the Great Unknown was the Antarctic where a living meteorite might well have lain dreaming.
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I haven't read Morrison before, and I'm slightly wary that I've started here, with what is almost surely (such is the exemplary quality of the prose, the themes, the style, the control, the compassion, the tension, the intellect) one of her best books. If there are better among her works, then she more than deserves that Nobel prize.
Paradise is, of course, a story of race. From it's explosive opening line ("They shoot the white girl first.") this is clear, even if one were not more generally aware of Morrison and her work. What unfolds is a story of two communities: the racically black town of Ruby, about to be riven by a conflict between it's youngers and elders, and a neighbouring community of women living in "the convent", named for the building's previous use. Through eight chapters, ... Read More:
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