Superb work of Marxist historiography. Not a history, strictly speaking, but an essay on state forms in transition from the ancient slave societies of Greece and Rome to the fragmented monarchies of early medievalism. Stunning sweep, and a masterpiece of contemporary English prose which I believe will one day rank with Newman's Apologia Pro Vita Sua as a milestone in the evolution of literary English.

Perry Anderson is a leading editor of 'New Left Review' and well-known Marxist historian. This book is the first volume of a two part work. The second volume is 'Lineage of the Absolutist State' Those two volumes cover the whole history of pre-capitalist Western world from Greco-Roman antiquity to Absolutist monarchies. It's incredible how one research could cover that range of time. Moreover, he maintains his distinctive perspective throughout two volumes. His problem is the same one as Marx and Weber posed: the formation of capitalism. But Anderson's problem is somewhat narrower: why did the capitalism emerge in Europe rather than in more advanced China, India or Islamic world at that time? To answer the question, he traces back to Greco-Roman antiquity. His answer in the first volume is this: it's because the West was formulated through combining antiquity and feudalism. It doesn't seem distinctive at all. But he questioned in the line of Marxist tradition and his answer could have meaning only in that line. his terminology is different from traditional Marxist one. He recasts the conventional definition of antiquity and feudalism: he contends that the antiquity and the Western feudalism had idiosyncratic modes of production. For example, the slavery itself, which was the dominant mode of production in antiquity, could be common in that time. But outside Greco-Roman world, the slavery was not dominant mode of production. Moreover, the Western feudalism was formed through fusing totally different modes of production: a synthesis of Greco-Roman society and German society. So features of Western feudalism are restricted to its own context, not catholic ones. If we treat it as universal, Anderson argues, we can't explain why the capitalism merged only in the West. To prove his proposition, Anderson compares the different paths Western Europe and Eastern Europe followed. Furthermore, he redefines the relationship between superstructure and infrastructure. As Braudel maintained with his jargon, longue duree, Anderson asserts that components of superstructure, such as the state, religion, value, law, convention, also affect the mode of production.

My kids laughed histarically when we got this book from the library for my six year old to practice reading. My four year old also wanted to read it himself. The text is simple enough for them to repeat after I read it to them. They love this silly book so much I'm going to buy one for them. It is definately a keeper!

I disagree that this book can be scary for little ones. I used to read this book to my now 16 yo brother when he was 2 yo. He had it memorized and just loved it! It was his absolute favorite book. I found it again and now I'm ordering it for my 6 yo daughter.

My children loved reading the creative attempts to escape going to bed. Adults can also relate to the young frogs antics. The illustrations are very expressive and the vocabulary is great for an early reader. This book is one that will be read many times.

Perry Anderson is a leading editor of New Left review and a prominent Marxist historian. His two part work, ¡®Passages from Antiquity to Feudalism¡¯ and ¡®Lineage of the Absolutist State¡¯ (see my reviews on those books for detail), is now counted as classic. In this short booklet, he poses two perplexing questions: ¡®why have Western Marxists been written so difficult to read?¡¯; ¡®why has there been no significant research on politics and economy among Western Marxists circle? Marxism is initially oriented towards practice. So its theory should be easy to be read by layperson and for its major premise is to transform the political economy, Marxist theory should tackle the very target of the transformation. But leading figures of Western Marxism, such as Lukacs, members of Frankfurt school like Adorno, Horkheimer, Marcuse, Wlater Benjamin, and Fromm, paid little, if any, attention to economics or politics, but to methodology, philosophy or aesthetics. Besides, their writing styles are not behind Hegel or Heidegger in its difficulty to decipher.
Perry Anderson argues that it¡¯s because the lack of prospect of revolution after the end of World War I. Marxist theorists were isolated from working class that was supposed to be the agent of revolution to end capitalism. Without such a vision, Marxist theorists were obsessed with pessimism. They could not have the vision of revolution. So philosophy and aesthetics were the escape from reality. For example, most works of Frankfurt school take a cynical stance against the reality under capitalism. They need a sanctuary protected from polluted reality. But that kind of place could not be found in the real world. Philosophy and aesthetics provide the spot to look down on the muddy secular world.
One writes to be read by others. But interwar Marxists did not imagine of any reader in working class. Therefore their works should be directed to colleague scholars in ivory tower.
In Adorno¡¯s word, such a stance should be called as ¡®Negative Dialectics¡¯. Adorno said ¡®Negative dialectics is a phrase flouts tradition. As early as Plato, dialectics meant to achieve something positive by means of negation: the thought figure of a ¡®negation of negation¡¯¡¦Negative dialectics seeks to free dialectics from such affirmative traits.¡¯ It¡¯s negation for negation. There is nothing to be achieved (revolution). Dialectics, thus, cannot but float over reality towards unrealized, maybe unattainable, reality.

This is the second volume of the two part work. The first volume is ¡®Passages from Antiquity to Feudalism¡¯. On a review of the first volume, I explained the purpose of the work. So I¡¯ll go directly to the content of the second volume.
This volume deals with the absolute monarchies. Absolute monarchies emerged from the crisis of feudalism which was tackled in the first volume. Anderson begins with the conventional consensus: Absolute monarchies are the reconstruction of feudal state to defend the interest of ruling class. Anderson overviews the path various countries like Spain, France, England, Italy, Sweden, Prussia, Poland, Austria, Russia, Islamic world, and Japan followed from the 16th century to the emergence of modern nation-states. The reason he covered Eastern Europe is the same one as he does in the first volume: comparative study. he argues that Western absolutism are different from Eastern absolutism. They follow different lineages. The aim of this volume is to answer the question, why the capitalism emerged in Western Europe just like the first volume. But the main point of the second volume lies in comparing Western Europe and Eastern Europe. Why did seemingly the same absolutism diverged?

Peggy gave me this book, autographed to my children, in 1996 when we went to the same church. I didnt know then what a big difference this one book would have to us. It actually improved our love of books. Its been my children's favorites ever since and its held up through 3 childrens' handling and reading. The story is colorful, imaginative and everyone loves it! I'm so proud of her books, especially this one, that has continued to warm our hearts even after 4 years of reading it frequently. If you want a book that will endure years of reading and enjoyment, the kind of book that gets passed down in the family.. this is the one to get. You will treasure this one always, like we do. Debbie and Family

Perry Anderson, one of the leading minds of the NEW LEFT REVIEW, has collected here a series of critical engagments on some of the most important intellectuals of our time. Cosmopolitan, internationalist,multilingual, Anderson has provided a series of essays that are breathtaking in their wideness of vision. He begins with a complex essay discussing the fall of the Roman Empire in comparison with G.E.M de Ste Croix's The Class Struggle in the Ancient Greek World. He then provides a compelling explanation for the development of modernism and modernist culture. He examines and intelligently and sympathetically critiques wide-ranging analysis of the development of human society by Lord Runciman and Michael Mann. From examining the Italian liberal Norberto Bobbio, to the Brazillian communitarian of Roberto Unger, and to the czech sociologist Ernest Gellner, he moves on to discuss the nature of witchcraft with Carlo Ginzburg, pluralism and the development of liberty in Isaiah Berlin, and nationalism and national character with Fernand Braudel. Finally he discusses Francis Fukuyama and asks whether Marxism has any meaning after the end of history. He concedes nothing to sentiment, but still provides a clear defence. If there is a weakness in the book, it lies in a perhaps too sympathetic account of German diplomatic historian Andreas Hilgruber, and a surprisingly uncritical citing of Vaclav Havel. But otherwise Anderson consistently shows a profoundity and range of reading that makes the intellectuals of the New Republic and the New Yorker appear insular and narrowminded.

This novel is the first featuring Thomas Pitt and Charlotte (Ellison) Pitt, and set in Victorian London. In some ways, the novel is a standard mystery, with the victims, suspects, police and other interested parties all involved, sometimes to the detriment of the investigation! What makes this novel stand above other contemporary novels set in the Victorian era is the author's obvious knowledge of that era and her attention to detail which makes the reader feel as if s/he has truly glimpsed what it must have been like to live at that time. I also thought that it was critical to spend a significant portion of the novel on the class system in Britain (London society in particular) during the late 1800s. This is more than mere background--it is crucial because the class system determines how the characters act and react to the murders around them, to the investigation, and to eachother.

I also liked the romance which developed between Charlotte Ellison and Thomas Pitt, and found it entirely believable. Anne Perry pulls it off, despite Charlotte and Thomas being from different classes, because she had the foresight to make Charlotte something of a social misfit. She was honest. She said precisely what was on her mind without considering what the listener wanted to hear. She did not accept the double standard of behavior that her family, friends, and neighbors subscribed to (one set of rules for men, another more strigent set of rules for women). She read the newspapers and "unfeminine" books on topics such as military history to the shock and horror of her family and friends. All of these things made her, as her mother put it, "a liability on the marriage market". She would not attract a suitor of her own class (nor of the aristocracy nor gentry). The only option (not spoken of in the novel) is for her to marry down socially, but she also gains far more emotionally from her relationship with Thomas. She has found someone she can love and respect, and who loves and respects her in return. Thomas is also something of a social misfit as well. Anne Perry accomplishes this by making him a member of the servant class by birth, but because he was educated side by side with the Lord of the manor's son, he, too, does not quite "fit" neatly into one class or another. A good example of Thomas being not quite in the class that people expect is how his voice and appearance are described. In the Victorian era, as well as now, voice (and diction) are a good indication of class. Thomas, because of his education, did not sound like a servant or a tradesman (which is how policemen were ranked socially). The development of their relationship was also well done. There is no rush to sexual relations. The dislike that Charlotte and Thomas initially feel for eachother changes to respect, admiration, and finally each acknowledges their love for eachother. It was nice to see how Charlotte came to change her feelings about Thomas. The main characters actually get to know eachother beforehand!

The ending was also a bit of a surprise--the murderer was not the obvious suspect, and the reason for the murders was unexpected. This novel was enjoyable all around. Highly recommended.

I came across a copy of The Cater Street Hangman recently and decided to read it. I'd heard enough about Anne Perry to ignore my recent reads to begin this little novel.

The Cater Street Hangman, set in late Victorian England, details the brutal murders of six young women in a middle upper class neighbourhood called Cater Street. Mystery abounds and Inspector Pitt arrives on the scene to find out whodunnit. What unfolds is the question "Who didn't do it?" as Perry throws out every red herring possible since Oprah started gaining weight again.

Your pulse will race with the turn of every page - guaranteed! Halfway through this formulaic mystery, I was looking forward to reading the second book in the series, Callander Square.

Please don't let the word 'formula' turn you off - this is one author that knows how to stick to the expected without disappointing her audience!

Elements of romance and details of the time period are impressively handled. This is a must-read for all fans of the murder mystery!

Dena

I was aware of Anne Perry's historical mysteries and assumed I would not be interested in them since in general I prefer more contemporary mysteries. Then I saw A&E's production of The Cater Street Hangman and was captivated by it. I immediately bought the book and found it to be even better than the TV version - the characters have more depth and the plot is tighter and more credible. Anne Perry has a wonderful knack for creating characters. I feel as though I know (and like) Charlotte Ellison and Thomas Pitt. Charlotte is a wonderful creation: she speaks her mind, almost unheard of in the Victorian well-to-do world she inhabits. Thomas Pitt is an equally interesting creation and seeing the two of them pass beyond instant dislike to attraction and admiration for each other is very entertaining. We SO want them to get together. This is edge-of-the seat stuff which, together with all the wonderful details of life in Victorian London and an intelligent love affair, makes for a thundering good read!

As opposed to the preceeding reviewers, I found this book, the first Perry that I read, such a stimulous that I literally became obsessed and chomped through at least 9 others. The Victorian conditions were never so well conceived. Whatever you thought you knew about this era, Perry brings you more. The romance between Charlotte and Thomas, the easily resolved complications of class and money- were as satisfying as a good love story- more like a novel of manners with an attractive heroine. The heroine, the intrepid Charlotte, is always breaking the safety rules, scaring her readers and her husband, a brave lady to admire in an era where ladies were in quite a strange condition to say the least. In this case, Charlotte goes undercover to snoop and dig up the facts. There is a pleasant likeness to another bold young lady- Nancy Drew, who had a roadster- who can forget Roadster? Well, the feeling's back.
The mystery in this case was a backdrop, but not at all a loser. In that area, and throughout her series the surprises are in the characters and the manners and furniture that hide the base nature of villains or those they torment.

Perry is not afraid of the unseemly- dead babies, after all are pretty gross. Alas, after a good old time, I found Perry's novels
had said about all that could be said about the love and the era. But I hearily urge any former Nancy Drew devotees and admitted romantics who cannot stomach romance novels to give her a try. I started with this and then wound in and about her other sleuth and also a romantic figure, Monk. Charlotte and Pitt do stay married, and that's all I'll say.

This is the second book in Anne Perry's mystery series involving Charlotte and Inspector Pitt. But note, reading the first in the series, "The Cater Street Hangman" is not a requirement to understanding and enjoying "Callandar Square." Perry seems to have foreseen this issue and wrote the books in this series without any prerequisites. (Obviously, if one can read the books in order, than that's terrific too!) The story, as do most of Perry's works, is set in Victorian England. Perry is so natural in description of places, people and customs of this era, one wonders if she doesn't own a time-machine. In the mystery, two bodies of babies are found buried in the well-to-do, respectable neighborhood of Callandar Square. Rumors abound on who they were and who was the mother. Naturally, the well-born classes dismiss it as the desperate act of a chambermaid or some other lowly working-class girl. But when Inspector Thomas Pitt puts his sleuthing wits to the matter that assumption doesn't seem so easy. The Inspector has recently married Charlotte, who is from an established family. Those in their society may have seen the marriage as unprofitable for her, but Charlotte married for love. Charlotte is a delight with her brains and attitudes, and is ever so likable. She is a woman ahead of her times. Charlotte, through some scheming with her high-society sister, takes up a clerical position in one of the aristocratic homes in Callandar Square as an attempt to uncover any secrets about the discovered bodies. An array of concealments and hush-hush information unfolds as Pitt, Charlotte, and Charlotte's sister begin to delve into the lives of the residents of Callandar Square. There are surprises and heartbreaks as the killer is finally cornered. Perry's skill of dialogue is excellent as the reader learns intimately the attitudes of the various characters. The ending seems a little quick in the realization of the killer, but Perry makes up for it with a touching reflection that Pitt ponders in the final pages. Other readers of this series have suggested they wish there was more dialogue and action between Pitt and Charlotte together. Perhaps feeling a little spoiled from "Cater Street." But I see this as a compliment to Perry, not a fault. The characters so well drawn and their charms when together in a chapter, so relishing, that it will always leave one wanting more. Yet, there are only so many opportunities for a dual appearance in this particular plot. If Perry wrote anymore, it may have seemed forced. But fear not, there are plenty of Charlotte and Pitt books to get happily lost in. And "Callandar Square" was one of them for me.

This is the second in the Thomas and Charlotte Pitt series. I started reading it as soon as I had finished The Cater Street Hangman (the first)! Inspector Pitt is now married to his Charlotte and they make a delightful couple. Although pregnant with their first child, Charlotte does some detecting of her own in this case, helped by her well-to-do sister, Emily. The plot is excellent and the characters are very well-drawn. The strict rules regarding class which most of the Victorian upper-class people in this book feel compelled to follow appear somewhat laughable to us in this more enlightened age but are very destructive for all that! I could not put this book down until I knew whodunnit and I was quite a way through it before I guessed the culprit! A wonderful read!

Having read this selection reminds me that the New York Review of Books, itself mostly second-rate, is still considerably better than the LRB. How often one wishes to take a pin to these self-obsignatory gasbags!

Don't believe me? Compare a better journal (yes, not a review but a journal) from better days: the Partisan Review during the 40's, for example.

For twenty years the London review of Books has invited the world's leading writers, thinkers and social commentators to contribute essay length articles on subjects as diverse as Kosovo, Cod, and Mimiesis in Plato's Republic. This anthology is just a small but tantalising selection of some of those pieces, but it whets the apetite and leaves the reader wanting more. The most intelligent writing of any publication, the LRB sets itself aside from its competition through its continued commitment to the freedom of its writers. Never short, and often quite challening, the LRB is controversial and forthright. This anthology represents the most independently minded collection of writing that can be found in any literary magazine, but for the LRB its all quite normal.

The mistake Perry made in her Pitt series was developing her characters too quickly--she has had to compensate by introducing a rather large cast of supporting characters. This, the first in her William Monk series, avoids that gaffe by inducing amnesia in her hero--he hardly knows who he is or what he's about. It may be preposterous, but it's also an enjoyable read and an outstanding mystery.

The story has Monk attempting to learn the set of circumstances that resulted in his hospitalization and amnesia--he must face the horrifying possibility that he was involved in a vicious crime, and he knows too little of himself to trust that he was incapable of such a deed. He learns through the reactions of others that he was (is?) not a nice man, and the more he learns, the more he doubts himself. The fact that his past does not come flooding back to him after another bump on the head speaks well to Perry's prowess as a writer.

Hester Latterly and Oliver Rathbone are the edgy counterparts to Monk's dark personality. Though never friends, these three circle each other with wary respect. Monk himself is an appealing character, the mystery is top-notch, and the Victorian setting is quintessential Perry--she has made it uniquely her own.

Amnesia has probably occured in fiction more often than in fact. But rarely has it been handled better than is in this fascinating mystery, The Face of a Stranger. Imagine waking up not knowing who you are. Imagine having to pretend you haven't lost your memory because acknowledging it would mean the end of your job and probable poverty. Perry explores this fascinating territory in the character of William Monk, working class Victorian detective.

The characters are probably the strongest part of this novel. Monk is most interesting as snatches of his past are revealed to him -- not all of which are pleasant. Hester Latterly is introduced as the veteran of Crimean War nursing (think Florence Nightengale). Even the circle of friends and acquaintences of the victim span a variety of circumstances. The Crimean War also plays a significant role as England struggles to come to terms with its lost sons and prestige.

The unraveling of the mystery works quite well with an appropriate number of informative red herrings.

All things considered, a dandy read. The book is a bit on the dark and bleak side, but nothing so depressing that you wouldn't want it for a vacation read. I look forward to learning more about Monk in the next book in the series, A Dangerous Mourning.

William Monk awakens in a Victorian-era London hospital with amnesia. Over the course of this book, he returns to his job as a policeman, hoping that work will help him regain his memory as well as his detecting skills. What's fascinating is that not all he discovers about his life before the accident is flattering--including the fact that he may very well have been responsible for a serious crime. Over the course of Perry's new series--this book being the debut--Monk's past will at various times haunt, delight, and maybe even endanger him, and the people who come to be his allies don't always like him, but their loyalties to one another shine through. As with the Pitt mysteries, Anne Perry's trademark detail and eye-opening descriptions of what Victorian life was really like make this an entertaining way to read away a winter afternoon