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It is with great pleasure, therefore, to note that with The Outlandish Knight Adams has crafted a lyrical novel rich in historical detail. It follows the fortunes of 3 generations of "common" folk in England and their relationships with the Tudor aristocrats.
The novel opens in the year 1485, the action concentrating on the Battle of Bosworth Field, where Henry VII, the first of the Tudor dynasty, brought an end to the Wars of the Roses. The central narrative focuses on Henry VIII's divorce from Katherine of Aragon, while the third portion is concerned with the fate of those implicated in a plot in support of Mary, Queen of Scots, during Elizabeth's reign.
The overriding theme is one of unwavering loyalty and devotion in the face of intense pressure. While Adams is faithful to the historical detail the reader cannot help but get caught up in the events as if they were happening today. Most impressively, Adams' characters speak the English of their day, not 20th century vernacular, a device which other writers of historical fiction would do well to employ. The historical figures that appear as characters are believable, as well.
Adams' first foray into historical fiction came with his last novel, Traveler, but here he is on surer ground, writing about his native England. As a special bonus, the text is sprinkled liberally with excerpts of English folk song, including the actual musical notation.
Although lacking an animal protagonist, this is Adams' best novel since Watership Down. Readers should also check out his two collections of tales, The Unbroken Web and Tales from Watership Down. Also in a similar vein is a historical novel by Alan Garner, Strandloper, and various works of history of this period, such as Antonia Fraser's Faith and Treason.
The words "based on a true story" have become all too automatic in this visually-oriented age, but it is comforting to know that there are still instances when the phrase actually has meaning.
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The idea that power corrupts is an old one, and it is obviously the main point of Henry Adams' novel. His intention seems to be to portray the lengths to which those in power will go to acquire more power, and how the lust for power is certain to deaden one's sense of morality. Unfortunately, Adams would have done better to write an essay on the subject rather than attempt to weave it into a fictional novel, for the author waxes too moralistic on his theme, rather than stepping back and allowing the characters to make his point for him. This does more harm than simply annoying the reader with value judgments; the story itself becomes so transparent and predictable, that it seems a mere vehicle for what soon becomes a tiresome refrain.
Perhaps this is why the characters are so lamentably flat. The descriptions Adams writes for each character seem to foreshadow complexity and development, but this soon is proven to be a false impression. Interesting as the characters might have been from their descriptions, when push comes to shove and the story continues, they remain utterly devoid of personality. Ironically, the main characters, Madeleine and Ratcliffe, are probably the most thinly developed of the entire bunch; the supporting cast is slightly more interesting, but not by much.
Another annoyance is the implausible thinking and actions of so many of the characters; for Madeleine to contemplate marrying Ratcliffe for her sister's sake is simply ridiculous. The fact that she considers her life at an end at age thirty is equally implausible, as is Sybil's attitude of careless youth at age twenty-five: in the nineteenth century, any woman of that age who was yet unmarried would have been considered an old maid, yet that is never even hinted at.
Perhaps the worst of it all was the pacing: this 300+ page book could have EASILY been half its size. It drags along without character development and without even any plot development. Worse yet, the book is centered entirely around politics, yet Adams seems hazy as to the details of those politics. Perhaps Madeleine learned a lot about American politics from her stay in Washington, but very little of this is shared with the reader. As such, the book does not even have an interesting setting to recommend itself.
In the end, it is obvious what Adams was trying to say, but by making Madeleine so careless with regard to Ratcliffe, the author fails utterly. With no temptation, there can be no sacrifice. It is unclear why the reader is expected to admire Madeleine, yet this expectation is clear enough.
To sum up...for a book about government corruption, look elsewhere. There must be something out there better than this. Anything.
In "Democracy," the nation's capital "swarms with simple-minded exhibitions of human nature; men and women curiously out of place, whom it would be cruel to ridicule and ridiculous to weep over." But Adams is not hesitant about being cruel in his portrayal of Washington's residents, and he saves his weeping for the true victims in his novel: the American people. The typical American senator combines "the utmost pragmatical self-assurance and overbearing temper with the narrowest education and meanest personal experience that ever existed in any considerable government." (Plus ca change, plus c'est la meme chose!)
The story concerns Madeleine Lee, an intelligent and well-meaning (if somewhat naive) New York widow, who, bored with her cosmopolitan lifestyle, travels to Washington to learn what makes the nation tick. She and her sister are quickly surrounded by a diverse group of politicians, lobbyists, and foreign diplomats, and she finds herself courted by Silas Ratcliffe, a senator with presidential aspirations whose talent "consisted in the skill with which he evaded questions of principle." During one heated (and humorous) argument about George Washington's merits, Ratcliffe sums up his view of politics: "If virtue won't answer our purpose, then we must use vice, or our opponents will put us out of office."
Adams's prose is almost Jamesian in its measured pacing (and this may simply bore some readers); the initial chapters are unhurried as he weaves the web of the plot and sketches his all-too-believable characters. Along the way he tosses barbed zingers at every target. The climactic passages are among the most comically riveting, emotionally intense, and morally satisfying finales I've read in a satire: as you might expect, nobody gets exactly what they want, but everyone gets what they deserve.
In his own lifetime, Henry Adams was famous first for being the grandson of John Quincy Adams, thus the great grandson of John Adams; second for his epic History of the United States During the Jefferson and Madison Administrations. It was only upon his death, in 1918, that his third person autobiography, The Education of Henry Adams, was published and that his publisher revealed that Adams had written the previously anonymous novel Democracy. It is The Education which has sustained his reputation, having been named the number one book on the Modern Library list of the Top 100 Nonfiction Books of the 20th Century, but Democracy is still considered one of the better novels of American politics, though surprisingly it is currently out of print.
The novel is both a fairly typical 19th Century comedy of manners--with the widow Madeleine Lee decamping from New York to Washington DC, where she instantly becomes one of the Capital's most desirable catches--and a more serious meditation on the nature and pursuit of power in the American democracy. The widow Lee is specifically interested in Washington because it is the seat of power :
...she was bent upon getting to the heart of the great American mystery of democracy and government.
. . .
What she wished to see, she thought, was the clash of interests, the interests of forty millions of people and a whole continent, centering at Washington; guided, restrained, controlled, or unrestrained and uncontrollable, by men of ordinary mould; the tremendous forces of government, and the machinery of society at work. What she wanted was POWER.
Mrs. Lee's most likely pursuer is Senator Silas Ratcliffe of Illinois, widely considered a likely future President : he sees her as a perfect First Lady and she sees him as her path to power. Through an elaborate courtship ritual and several set piece scenes (in the Senate, at the White House, at Mount Vernon, at Arlington Cemetery and at a dress ball) Adams puts his characters through their paces and affords the reader an intimate look at the rather tawdry political milieu of the 1870's. The theme that runs throughout the story is that access to power comes only through compromising one's principles, but Adams is sufficiently ambivalent about the point that we're uncertain whether he's more contemptuous of those who make the necessary deals or those who, by staying "pure," sacrifice the opportunity to influence affairs of state. Suffice it to say that the novel ends with Mrs. Lee, assumed by most critics to represent Adams himself, fleeing to Egypt, telling her sister : "Democracy has shaken my nerves to pieces."
Like his presidential forebears, Henry Adams had a realistic and therefore jaundiced view of politics, even as practiced in a democracy. The Adams's did not subscribe to the starry eyed idealism of the Jeffersonians. But they were all drawn to politics, even realizing that it was a moral quagmire. This is the fundamental dilemma of the conservative democrat, we recognize that we have to govern ourselves because we know we can't trust unelected rulers, but we also understand that our elected representatives are unlikely to be any more honest than the tyrants we threw out. This attitude is famously captured in Winston Churchill's (alleged) aphorism : "Democracy: the worst of all possible systems, but there is no other which would be better." And the unfortunate corollary is that unless relatively honorable men like the Adamses and the Churchills pursue careers in politics, the field will be left to the real scoundrels. Henry Adams doesn't offer any solutions to the dilemma, but he offers an amusing take on it.
GRADE : B
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Many reviewers have declared this book to be insufficient for those who seek high scores. I disagree strongly. Good advice is good advice, even if presented in a manner less than ceremonial. Pedantic word lists assembled without attention given to what words will likely appear on the SAT, though impressive and temptingly concrete, are not the best use of any preparer's time. Of greater importance than a presentation of all the math and English needed for the SAT is a thorough, insightful walking through of SAT questions, and that's where this book shines.
This book, the College Board's book of ten real SATs, and a functioning noggin are all anyone needs to succeed on the SAT. But if you've got money to spare, you might try the Kaplan book, too -- another look at strategy and a few more realistic practice tests can only help.
I have not yet taken the SAT. On practice tests, my scores started as low as 1440 but have since climbed well into the 1500's -- even to the point of a 1590 most recently. More than to any strategy, I attribute the improvement to increased familiarity with the test, and I would be remiss if I did not acknowledge the contribution this book has made.
Many reviewers have declared this book to be insufficient for those who seek high scores. I disagree strongly. Good advice is good advice, even if presented in a manner less than ceremonial. Pedantic word lists assembled without attention given to what words will likely appear on the SAT, though impressive and temptingly concrete, are not the best use of any preparer's time. Of greater importance than a presentation of all the math and English needed for the SAT is a thorough, insightful walking through of SAT questions, and that's where this book shines.
This book, the College Board's book of ten real SATs, and a functioning noggin are all anyone needs to succeed on the SAT. But if you've got money to spare, you might try the Kaplan book, too -- another look at strategy and a few more realistic practice tests can only help.
I have not yet taken the SAT. On practice tests, my scores started as low as 1440 but have since climbed well into the 1500's -- even to the point of a 1590 most recently. More than to any strategy, I attribute the improvement to increased familiarity with the test, and I would be remiss if I did not acknowledge the contribution this book has made.
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There are many books out there for actionscript, I suggest any of the others.
The projects are good and varied, and it seems like Friends of Ed has at last gotten someone to insure that coding styles are reasonably consistant throughout the book--other of their Flash books have been essentially collections of inconsistant and often incompatible articles. The usual suspects do show up (spaceship games and rotating 3D cubes), but presented with a level of detail and thoroughness totally absent in other books (short tutorial in matrix math anyone?)
The great chapters on Sound and XML are almost worth the price alone, but the standout chapter is called "Creativity in Practice" and covers invaluable stuff like: working in teams, interaction planning, prototyping, information architecture, even some usability. In other words, the stuff that professional designers do the 80% of the time they're not messing around with software. It's exciting to see these topics appear in what could have been just another coding book.
I won't dock it a star, but one qualm is that it doesn't come with a CD (again contrary to Kevin's review below). You have to download about 80Megs of files from the publishers site. Come on guys, if there's no CD at least knock a few bucks off the price. And even at high-speeds, that 80Meg download is kind of a pain.
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