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This is not a good first book on Prolog. If you are new to Prolog and Logic Programming, you should read 'Art of Prolog' first.
Prolog is quite different from other languages, and you'll need some time to get it. This book doesn't give you that time: after briefly introducing the basic concepts, Bratko dives at breakneck speed into recursion and list processing.
Don't get me wrong, this is a magnificent book on how to do AI with Prolog, but it shouldn't be your first Prolog book. It's an excellent second book.
I recommend this book to everyone who wants to learn Prolog. I would also recommend the readers to use a Prolog system to work out the examples and exercises as s/he goes through every chapter. A DEC10 Prolog system (like SICStus Prolog) would probably be the best companion for this book.
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Examples: "He was a right pain to his peasant girls." "They felt right idiots." "He's not a gent, is he?" "Help us, mate." "Judge for yourself, mate." "He's the soul of kindness, he is." "Gavrila comprehended-like how to get out of the wood." The use of "'cos" for "because." The use of "gotta"--"And I've gotta tell you this."
And what was for me the last straw, in the story Bezhin Lea, "Cor!" and "Cor, stone me!"
If you like this kind of thing, you'll love the book. For Russian lit in translation, give me Constance Garnett (and her Edwardian diction--which works so well, perhaps because it seems natural in contrast to the forced quality on display in "Sketches") or else the current team of Pevear and Volokhonsky.
Turgenev calls these 'sketches' rather than stories. It's a good distinction. More story writers should concentrate on their sketch pads. The sketches are of places and people in the rural south of Russia in the 1840s. Each is strung thematically on Turgenev's wandrings through the countryside while hunting for game birds. Each begins with a mention that he was hunting in a certain place. He goes into lovely thoughtful and surprising descriptions of the woods or marsh, the sky, the smells, the sounds, the light. Even in translation, these are exquisite. He speaks of shifting light shining through the leaves onto the forest floor, or unbreatheable noonday heat, or changing skies at the advent of a storm, a dawn, or a sunset; he calls up moments from your own life that you thought could not be shared with anyone who wasn't there and he makes you relive those moments as if he had been there with you.
For anyone who has spent time out of doors, these little Aldo Leopold nature essays standing alone would be reason enough to read the 'Sketches', but these are just hors d'uvre to his descriptions of the persons he meets while hunting. When sketching people, Turgenev does gracefully what Dickens tried to do and did clumsily; that is, he describes the physical characteristics of a person and gives you a fully formed description of their character as well, and he does this without sounding forced and without showing himself. (And you will burst out laughing at the sudden recognition that, indeed, someone does look 'like a root vegetable'.)
"Sketches" was published twice in Turgenev's lifetime and in the second edition he added to it. In the earlier sketches, Turgenev brings a character to life in a description; the character may speak a few words, and disappear from the scene, as people do in real life, leaving the reader to speculate what became of him. Yet, Turgenev has given us enough insight into the character that we think we know what probably happened next, and so the story is complete. These are elegant Aristotelian constructs with the action taking place offstage, and, oh elegance! with the final action taking place in the reader's imagination after the story has ended. If my description leaves you wondering, read them! (Would that I could spur you to act as Turgenev spurs his readers to think. Ah, but it's too much... .) This is what Turgenev does. He starts you thinking, but requires you to complete the story. In the later sketches Turgenev is just as deft in his descriptions, but perhaps to satisfy the market or his editors he adopts a more plot driven model. These later contributions can more truly be called stories rather than sketches. They are equally well-crafted, but they demand less of the reader. Curiously, they give us less as well.
The hunter's travels theme gives the collection an interrelatedness, almost like a picaresque novel. As in Huckleberry Finn or Don Quixote, neither the author nor the protagonist directly express opinions, but as stories accumulate the reader acquires the author's strong politicized view. We meet the aristocrats and peasants of rural Russia. The serf-holding system had been 'liberalized' in the early 19th century, but it is revealed as the unnamed slavery it was. Landlords control peasants' rights to marry; they name the persons to fill regional conscription quotas; they assign agricultural and residential alotments; and thoughtless and uncaring aristocrats use these powers carelessly or maliciously to destroy lives. Liberal aristocrats fare no better than traditional feudalists, as Turgenev details social reformers' well-meaning disasters which beggar both for the peasants and the bumbling aristocrats who direct them.
America often forgets that its civil war was part of a European pandemic of peasant revolts driven by the extended logic of the Enlightenment. As masters and slaves in the United States were struggling with the immorality of a divine order handed down from a prior age, the masters and servants in Europe did the same. The 1840s, 50s, and 60s were tumultuous times in central and eastern Europe. Turgenev, arrested and exiled in 1852 because of the 'Sketches', has an historical place akin to the American abolitionists of the same day, however, unlike Harriet Beecher Stowe, Turgenev draws his characters in three dimensions with humanity, with love and understanding even when he does not forgive them their moral failings. The 'Sketches' would be an interesting book to teach alongside Huckleberry Finn.
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I was also wrong in thinking that it wouldn't be that funny. I found it amusing and entertaining to see slapstick in a "European Classic". But, it wasn't stupid humor. It seems as though Voinovich had a lot of thought behind it, twisting it around so it not only made the reader laugh, but also tied into the plot.
The only thing I thought it may have lacked was character development. It is a short novel, but I felt as if I didn't really get to know Gladishev, Chonkin, or Nyura. Perhaps given a few more pages, I could have identified with these characters a bit more. But, since they are from a culture so foreign to myself, perhaps it would have taken a lot more for me to identify with the characters. Perhaps it's my own sheltered way of life that inhibited a stronger connection with this novel.
If anything, this book is a fabulous introduction into Russian culture at the beginning of WWII. Being that it is a fiction/comedy however, there may not be a lot of accuracy in its content, but it at least leaves one with a sense of lifestyle to which these characters live.
Well, "Private Chonkin" was a pleasant surprise. I had the feeling that the writer and/or translator had a lot of fun with this one - I kept hearing a giggle off the page as I read. As is always the case with satire, it helps to be somewhat familiar with the reality that's being skewed, but in this case, it's not a requirement for enjoying the book.
The premise is pretty good, and ripe for satire - hapless nudnik of a soldier is assigned to guard a downed plane in a remote village in the Soviet Union just before the beginning of WW II. His superiors forget about him as he settles into the life of the village, and when they finally remember him, all hell breaks loose as he proves to be a lot smarter than any of them. The author skewers everyone and everything, but none as savagely as the Party and the Army.
The depictions of life in remote areas can be hair-raising; the villages, the people, and their lives are pretty primitive. I had the sense that this part of the world hadn't changed in centuries. And I also had the feeling that these were accurate descriptions, rooted in some pretty harsh realities. The only parts that I felt bordered on tedium were the lengthy descriptions of Private Chonkin's dreams; they played a role in the overall satire but otherwise didn't move the story forward.
With translations, it's hard to tell what you're really appreciating: the art of the writer or that of the translator. Obviously, the translator has to have something to work with, but the nuances could be credited to either. That said, I found this book well-written and highly amusing, and I recommend it to anyone who appreciates this kind of writing.
Voinovich is not bitter or angry. He finds a place for good-natured humor, even amid the appalling conditions of Russian's brutal rural communism. This book is invaluable to all those who want to be acquainted with the character and spirit of communist despotism in Russia in the twentieth century. But in the end, one does not put down this book feeling discouraged and sad. Orwellian gloom does not prevail here. And why is that? Because people retain the ability to laugh at themselves and at the life around them, not taking too seriously grave doctrines and events. Chonkin survives the advent of terror, and his simplicity and good nature prove superior to dogma and repression, suggesting, at least to me, that a single human being is generally more valuable than all utopian doctrines and insane plans for implementing them.
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Portrayed in great detail but not mired in it is the cultured and time-obscured world of Heian Japan. All the things associated with "traditional" Japanese culture like Bushido, shear-walled castles, geishas and tea ceremonies were clearly absent in Heian Japan. In their place were values quite alien to our image of modern Japanese history with its martial ethos culminating in the apocalypse of 1945. Heian high society held up ideals for the courtier so diametrically opposed to the samurai that I re-read many of the passages again to relish the contrast in my mind.
The author successfully conjured images of Heian architecture and the characters that peopled it Utopian landscape, a major feat since so little material from that period actually survived the ages. Yet it was in its very fragility that the essence of Heian aesthetics is ascentuated. Later ages of Japan, the bakufu governments of the Kamakura and Tokugawa periods are comemmorated by menacing suits of armor and brooding castles. The Heian period is best remembered by the elegant prose of courtly ladies, as colorful and fleeting as butterflies.
I recommend reading this book together with the Tales of Genji to achieve a more profound understanding of Murasaki Shikibu's masterpiece.
AND - if you are a student that has an assignment to read GENJI and don't have time to read all of the 900+ pages of the original - you could probably fake your way through any exam after reading this! (And will later be curious enough to slog through the original).
I will probably read this book a second time.
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Review written by Miriam van Veen
Other than that, what was it about east Europe of the era? We have Vlad Tsepes, Elizabeth Batory (sister of the Batory mentioned here?), and Ivan to name a few of the more notable monsters. Western Europe seems to lack the unbridled scale and variety of the east.
I found it remarkable to learn Ivan compiled lists of victems and sent them to various monasteries. I wonder how many are still extant? I found his flirtation with England to be pretty amusing. Subtle he was not. I also enjoyed the excerpts from the long-running flame wars Ivan conducted with some of his enemies.
For what it is worth, in my Russian class long ago, they said Ivan Grozny means "awe inspiring" and that he picked it himself
I recommend this to other readers, in addition to his work on Peter and Catherine. After reading this, go find the Sergei Eisenstein film in three parts on Ivan, for a really interesting Stalinist era twist on this bit of history
Author Troyat does a magnificent job of making Ivan a real person. Orphaned at a young age and mistreated by the boyars around him, Ivan spent his adult life as a pious mass murderer. Ordained by God to rule as he pleased, Ivan never questioned his cruelty and went to this death blaming others for the events that he himself caused. I have read several other Troyat biographies of famous Russians, and his is one of his best.
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The novel is about a married pastor who falls in love with a married woman. Tormented by the deception he lives in, contrary to everything he has preached and believed in, he begins to question everything around him--his relationship with his family, his wife, his dead parents.
Through the eyes and words of the pastor, his wife and kids, his lover and her husband and other characters in the book, the reader is forced to think about some major issues: What is love? Are we always looking for an excuse to justify our not always perfect judgements? How do you adjust in a time when moral values in a society change (the novel takes place in the early nineties, when the Czech republic is on its painful way to recovery from communism and rediscovering itself)?
Yet, Klima manages to discuss all these issues and more in a very palpable way, without turning his book into a philosophical treaty. The characters of Dan (the pastor), Hana (his wife), Bara (the lover) and Samuel (the lover's domineering husband) are very well developed and portrayed with all their insecurities, doubts, emotions and loyalties.
On the positive side, it does an adequate job of explaining concepts when complex code is not involved. I found that I could follow along on even the more advanced chapters mostly everything at least until code was suddenly introduced. Then it became a guessing game as to what it was trying to do.
The author does not seem to realize that it is more difficult to try to understand somebody else's program than it is to write your own program from scratch. As a consequence the reader wastes a lot of time trying to guess what his program is doing.
Note: this review is of the 2nd edition and does not necessarily reflect the 3rd. But, then again, every other review on this page prior to mine is about the 2nd edition as well!