I love this book, and loved it as a child, for the writing, the stories, and for the pictures which I could pore over again and again, looking for new details I missed previously. I have remembered and talked about many of the stories throughout my life, particularly The Cat Who Walks by Himself, and The Elephant's Child. I also like . . . oh, well, there are just too many to talk about. Read them for youself, and to your kids.

The stories are complex and mysterious and, though I can't say much for Kipling's politics, I find them delightful. I think most children will, too. As an adult, I couldn't get my mother to part with my childhood copy so I went out and bought one of my own.

A classic!

Kipling's classic volume of stories concerns the great questions of history; How the Whale got his Throat, How the Camel got his Hump, How the Alphabet was Made and many other thorny dilemmas. The language is sophisticated yet often whimsical and children love to hear the words read aloud. It is tempting to scan ahead and change things, substitute more contemporary phrases for the old but, if you can, resist the urge. Kipling was a master of the language. His writing is balanced and fluid and while it may seem dated when taken piece by piece, its sum is far greater than its parts. Read The Cat that Walked by Himself and you will never look at your own pet in quite the same way again.

My grandmother bought this book for my three year old. We read the stories together at bedtime and enjoy them immensely. Rudyard Kipling wrote these stories for his young best beloved...don't wait to read them to yours!!!

Sex, war, peace, the ingredients to a great play. Lysistrata is about women who are tired of losing their sons in battle. The women band together to bring peace by forming a pact, they refuse sexual intercourse with their husbands unless the war is brought to an end. However, that is only the beginning of the bag of tricks she has up her sleeve.
The play is an absolute riot. I've seen this play performed live and while there were some good moments, I liked the book better. The book has a lot more witty humor and a sense of building frustration that the play lacked. The sexual innuendos are nothing too rash as to be insulting or offensive but rather appropriate, something college students can well appreciate. The "love scene" between Myrrhine and her husband Kinesias will leave you rolling on the floor. The use of props such as the "phalli" and towels are brilliant in accompanying the humor. It's funny to read (and picture) how the women "man-handle" their husbands to try to bring peace to the land. As a college student I've read and studied this book and found many interesting values covered that are appropriate for a Rhetoric or gender studies course. The theme of women suffrage, rising up against the men in a time when women need to be heard, is dominant in the play. Women banding together to fight for a common cause is something I have not read before and was pleasantly surprised of. For a Greek play, the women are portrayed as being very human, rather than being serial killers and jealous lovers and the sort. The women are characterized as being very sleek and sexy, something always to look forward to! The men aren't desensitized either; rather the men are just as human as the women.
I recommend this book for any college rhetoric course or even an Interpretation of Literature course. It's the best of both worlds in terms of being very entertaining and having a fair share of educational value.

Lysistrata, wife of an influential Athenian has had it with 20+ years of war with Sparta and calls on her sisters from around Greece (including Sparta) to plot to end the war once and for all. The two-pronged plan is elegant in its simplicity: take over the treasury so that no more money can be spent on war, and deny their husbands marital congress until they agree to make peace with each other. The beauty of the play (and what makes it enjoyable to the 21st century reader) is that it speaks to the most basic needs of the human condition while allowing the reader to freely translate the action to modern times. Part of the fun is envisioning the staging of this play - the battle between the women and the graybeards (a slightly distressing scene since my acquisition of an AARP card) - and the approach of the envoys for the peace talks whose obvious sexual distress assures the women of the impending success of their plan provoked an image that actually had me laughing out loud. All in all, it helps support the notion that the classics can be (and should be) fun.

This is probably the most entertaining play I've ever read, and it was written more than 2,000 years ago! Aristophanes brilliantly critiques the rigid gender roles of ancient Greek society in several dozen hilarious pages.

Aristophanes writes of a group of Greek women who, in protest of war, refuse to have sex with their husbands, and the plot is a glorious success. Aristophanes depicts men begging their wives for sex, and paints a picture of Greek women not very dissimilar to the women of contemporary Western society.

"Lysistrata" is a crucial reading for anyone interested in Greek history, feminism, or anyone who just wants to read a devastatingly funny comedy about sex.

HIGHLY RECOMMENDED!!

Pipes has written this account for one sole reason - certainly not to present a review or interpretation of the historry of the Bolshevik party and the Russian Revolution, but rather as an attempt to destroy Lenin and Bolshevism. While this one-sided attempt may be fine for some, it certainly does not help those readers who would actually like to make up their minds for themselves. But then again, can one possibly expect a right-wing historian who worked under the Reagan administration to give a fair account of the Russian Revolution? With that being said, Pipes is really no different then many leftist historians who attempt to glorify the USSR and the Revolution (Communist writers of the 30's and 40's come to mind). In my experience I have found that the book that carries the least biased account (of course, complete objectivity is impossible) of the Russian Revolution is E.H. Carr's History of the Bolshevik Revolution. If you are interested in the facts of the Revolution and not merely a book-long effort to demonize Lenin et al., then I suggest you pick up Carr's book.

This book works as both an engrossing beginning to a serious study of Russia from around 1905 to the death of Lenin, or as a one-off read for those with a passing interest. A finely written history book, it manages to cram in a topical description of every major happening (and some not so major) during the aforementioned time frame as well as provide a solid foundation upon which to delve deeper into the subject matter. Pipes, a Harvard professor as well as an ex-National Security Advisor for Reagan on Soviet and Eastern European affairs (but don't let this fact dissuade you from reading the book) writes thought-provoking and informative prose with a well-tuned eye for context. The only turn-off is his constant reminders of just how awful the Bolsheviks were, finishing the book with a short diatribe supporting subjective reporting of history (which might be better wrestled with in a different book entirely). Regardless, a fine book, written by one of the world's top authorities of the subject matter

I'm a history student in my fourth year honours(with my major in Russia) and this book was the text book for my fourth year honours class. It is a great book because Pipes gives a summary of his previous 3 books "Russia Under the Old Regime", "The Russian Revolution" and "Russia Under the Bolshevik Regime". It is the equivalent to buy 3 books in one. The novelty of the book is that if the reader is interested in reading a relative short book about Russian history, this is the best book for that. However if one is interested in further details, I recommend people to read any of the 3 books summarized here in details. Pipes proves with enough arguments the gangster character of Lenin and his ambition for power. As Pipes argues, 'power' was the only ideology of the Bolshevik Party. The first part of the book provides a good background of the origins of 'autocracy' in the Old Regime. The last chapter gives the reader details about other aspects of the Bolsheviks after they achieved power, including among others 'the chapter on culture'. The chapters 'The October Coup' (here Pipes proves with details that in October 1917 a coup d'état took place and not a revolution), 'The Red Terror' (proves that it was through killing nearly a million people that Bolsheviks stayed in power) and the chapter on Lenin are of course the worst nightmare for communists around the world. I one word I have to say that Pipes' books are the 'bible' of Russian history. My deepest admiration to Dr Pipes.

Claimed to be the best of all Greek tragedies, OEDIPUS REX (or OEDIPUS THE KING..."REX" means "KING") by Sophocles is that classic story of the man who was doomed to kill his own father and marry his own mother. Everyone seems to know the basic plot of the story, but how much do you REALLY know?

This new translation of OEDIPUS THE KING by Berg and Clay proves to be successful...everything is understandable and rather enjoyable to read too. It's hard to believe that you're actually reading a play.

I suggest that you DO NOT read the original version of the play by Sophocles first...you might be discouraged by the difficulty of the language he uses. Instead, start with Berg and Clay's translation...it's so much easier to read, and more importantly, enjoy.

I felt that the action and plot was well-woven out, and the story tied together nicely; however, there was one flaw. The ending was too abrupt. Of course, I'm not going to spoil the ending for you now (you'll have to read it yourself) but I WILL tell you that if you're one of those people who hate endings that just leave you hanging, you might not like OEDIPUS THE KING.

I had to read OEDIPUS THE KING as an Honors English assignment (and usually what kind of books we have to read for school are good?). Nevertheless, I found the play interesting, but because of the so-abrupt ending with questions still dangling on the end, I give the book 3 stars. (By the way, in no other Greek tragedy are so many questions asked, so be prepared to have your mind boggled by this book!...Have a spiffy day! -Nick Chu

The only budget series of audio books and recorded drama comes from Naxos. One of their more recent entries is a very modern version of Sophocles' in a translation by Duncan Steen. In fact, some might find it a little too modern with its use of idiomatic expressions such as "You can't pin that on me"--which might be taken as an ironic reference to the final horrible deed of the hero. But when the messenger the agonized Oedipus as calling himself a "mother f..." (although he stops at the "f") the effect is far too "modern" for comfort. You see, given a sound recording, we can only assume that the action is taking place in the nearly prehistoric past. I do not know the tone of Sophocles' Greek; but I do read that it is elegant and decorous. Therefore, I can only assume that this translator is doing his source a great injustice.

On the other hand, the dialogue MOVES. There is an excitement to this performance, although the Creon of Adam Kotz lacks some force. Michael Sheen is good in the title role, as is Nichola McAuliffe as Jocasta, Heathcote Williams as the Chorus Leader, and John Moffatt as Tiresias and the Narrator at the start of the recording. The Chorus itself is cut down to four voices, but they are handled nicely with stereo separation and are quite comprehensible. The music is meager but effectively used.

All in all, a very good if not perfect attempt at making one of the greatest Western plays accessible to a wide audience.

"Oedipus the King" or Oedipus Rex is the world's first great tragedy. Almost everyone knows the tale of the man who murdered his father and married his own mother. The only question is, which translation do you read? Bernard Knox makes an excellent case for his prose translation of Sophocles classic. This is a version designed for the a filmed version meant for the classroom; as such, it is remarkably smooth and easy to read. There is little poetry left in it; if that is what you seek, look elsewhere. This edition comes with a nice set of introductory essays on the background of the play, the theater, and Sophocles. All in all, a nice little edition.

The title of this book is very apt; this is definitly a portrait, painted w/ very broad strokes. The stories are intriguing, especially since this book was researched after the Asian Economic Crisis. It is encouraging to read stories of people's resiliance in times of catastrophe. My one complaint is the justification for some of the human suffering mentioned in this book. No, I am not overly optimistic & I am aware that life is hard, but, it seems impossible for me to justify in any circumstance, for example, selling your daughter to a brothel.
I learned from this book & enjoyed it. If you want a big picture of Asia, this is a good read. Kristoff & WuDunn are well traveled in Asia & the book seems well researched. The difficulty lies in trying to describe 2.5 billion people in 300 pages; there are some generalizations. Overall, a worthwhile read that should whet your appetite for more.

This is the main message of the book. I just have two comments and a reflection. There are surprising examples of how Japan is willing to spend huge amounts of money to keep services in sparsely populated rural areas. The emphasis seems to be more on how soft-hearted the Japanese are to do this than on how creating employment and contracts benefits various political constituencies. The authors predict that China will eventually grant independence to Tibet, but I don't see why the government would agree, especially if they can bring in enough Han Chinese. I haven't read their earlier book, _China Wakes_, but there isn't enough information in _Thunder_ to support their opinion.

If present trends persist, Asia will have the majority of the world's economic activity in a few decades, in addition to the majority of its population. The discussion of these trends in the first chapter made me think that the United States has a responsibility to encourage economic growth in Latin America so that there can be economically vibrant multiracial societies throughout the Americas to offer the world an alternative to the nationalism that might develop in the more homogeneous East Asian countries.

Pulitzer Prize-winning New York Times reporters Nicholas D. Kristof and Sheryl WuDunn spent 14 years covering Asia. Their talents, insight and experience shine in this informative and provocative look at the region's economic rise and diverse cultures. The authors brilliantly weave economic, political and historical data into chapters that tell the stories of the struggles and triumphs of ordinary people from all walks of life. From their understanding of Asian economies to their perceptions about the ambitions, emotions and determination that shape individual lives, the authors create a verbal photo album of Asian culture. We [...] highly recommend this beautifully written page-turner to all readers.

My previous exposure to the world of pirates was limited to 'B' films growing up in the '50's. There was always something surreal about pirates; they operated outside the lines. Still, I knew little about them until I read "The Requiem Shark." As an adventure book, it can stand on its own. Anyone who doesn't enjoy the tale can walk the plank (funny, there was never any plank-walking in this book). More importantly, I learned a great deal about pirates as I took this voyage with William Williams.

Williams is 'recruited' into the fleet of Capt. Bart Roberts in the first few pages. You'll be amazed when you learn exactly how a pirate ship collects its crew. From the coast of West Africa, Williams sails to Brazil, then up to the Caribbean, and then back again to Africa with Roberts. The size of the pirate fleet grows, shrinks, and grows again with various encounters on the high seas.

Inevitably, the adventure concludes at the end of a rope, but through the story, Griffin takes us full circle through the pirate world. With one or two exceptions, I did not find the book overly barbaric nor squeamishly graphic given the subject matter.

Griffin does a superb job developing an array of characters centered around Williams: Roberts the Captain; Scudamore the Surgeon, Bunch the Cabin Boy, and a shipful of others. I empathized with most despite the nature of their trade.

I don't recall seeing a good pirate film since I was a kid a long time ago. Maybe someone could grab this book up and re-introduce the genre to film. Read it and you'll see exactly why it would fit well on the big screen.

This book took me to a world of piracy on the high seas that I probably had never thought I'd revisit after Treasure Island. While not exactly a page burner, it is worth the read. Nicholas Griffin gives a enough sense of day to day reality to the characters that makes you connect with what it must have been like to lead these lives. The historical detail and research give a great air of authenticity to the story.

The great challenge is how do you make a reader identify with a group of people who steal and murder for a living? The most interesting character for me was Innocent, the Yoruban black convert to an African brand of Christianity, who comes across as half savage, half mystic. Even the Captain Bartholomew Roberts' fear of the Almighty lent a spice of philosophic reality to what otherwise could have been a very two-dimensional character. Griffin lets us in enough on these inner lives to engage us with the characters.

The reversal at the end was for me an unexpected though intriguing finish with the motives of Phineas Bunch, the cabin boy, who is introduced by the second page, seems a minor character, and yet plays a key role. I won't spoil that surprise! It's a good pirate puzzle piece.

I recommend this book as a good read. It is satisfying as an adventure, as a historical snapshot of the period, written with enough twists and turns to make you enjoy the voyage.

This is an excellent debut for Nicholas Griffin. The story of Black Bart Roberts, pirate legend, is told through the eyes of William Williams, an educated Welshman and younger son, who seeks his fortune on the high seas. His education and background separates him from the crew, just as his lack of seafaring skill keeps him apart from the captain. From this in-between viewpoint, he becomes the chronicler of the fortunes of Black Bart and of life at sea in the swashbuckling days of the early 18th Century.

The book is full of fascinating historical detail as well as being a ripping good yarn, and is hard to put down.

I would recommend The Requiem Shark to anyone interested in historical fiction, or ships and sailing. If you liked Thomas Mallon's Two Moons, then I think you will like this.

Anton chekhov's "the cherry orchard" is a captivating, but somewhat confusing tale of an aristocratic household that comes face to face with adversity. His impressionistic portrayal of characters delivers a power packed package of meaning that both appeals to and appalls every human heart. Through a subtle messages and powerful passages chekhov purveys his sentiments about a world that is tainted by a dark cloud of selfishness. Although the play itself is tragic-like the characters are not tragic. They seem to blindly stumble upon the pages of life accomplishing absolutely nothing. Through checkhov's genius they still remain human, with dreams and fears like the rest of us. It is through these characters that chekhov's beliefs are made known.

The cherry orchard is symbolic of the old order in rural Russia, and Chekhov's short play illustrates the social transformation started in the 19th century in a simple and impressive manner. I find it interesting that one previous reviewer calls the Cherry Orchard an "effective allegory of the Bolshevik revolution", since it was written long before 1917. This goes to show exactly how in tune with his times Chekhov was. Character development is limited in this play as there are many roles and few pages, but we are introduced to the classic types also found in other pre-revolutionary Russian literature: the arriviste businessman, the radical escapist student, the obnoxious clerk, the nostalgic aristorcrat, the loyal peasant. In the play, Madame Ravensky leaves her good-for-nothing husband in Paris and returns to the family estate, which she owns with her brother Gayev. The economy of this aristocratic family is fledgling, but they are unable to change their spending patterns and accumstom themselves to a lower living standard. They are also unwilling to cut down the cherry orchard and use the land for villa development, as they are urged by the crude but business-savvy businessman Lopakhin. Lopakhin eventually buys their entire property at an auction, and the reality of the new age eventually dawns on everyone except the ancient servant who takes his last breath still repeating 'young wood, green wood'. An almost spooky dialogue occurs in the last act between Lopakhin and the radical student Trophimov, with the 20th century future of Russia clearly in the balance: work and money, represented by Lopakhin, is rejected by the young utopian idealist. In retrospect, this single scene gives a mind-boggling perspective on Russian history; and some sense of why Russia is still a barbarous country of 'dirt, vulgarity and boredom' as described by the disgruntled characters in Chekhov's play.

"How should one live?" is the fundamental question driving most of Chekhov's work, and it is very overtly laid bare in The Cherry Orchard. Should the aristocratic family in decline stick to owning their cherry orchard (representative of the grandiose trappings of Russian aristocracy), or give in to modern commercialization in order to survive? What is the value of tradition, and how many trees should one own? Chekhov will not answer these questions for you, but he poses them in most interesting ways. In addition to wise insights into such fundamental dilemmas, Chekhov also provides a lot of witty banter, and a great slice-of-life view at 19th century Russian high culture. But this is not just a Russian play or a 19th century play; its themes, questions, and prospective answers are relevant for individuals coping with society and history in any place, and at any time.

allow me to add my bit to the proponderance of opinion that thinks this is rather a wheezy end to a series that started with such...i can't think of a better word than gusto. of course those of us who have read the whole series must read it, and of course only those who've read the whole series are going to read it, so in the end, all of our carping aside, by all means read it; those of us who haven't raved are simply disappointed. the niccolo of the early books i wanted to be; the niccolo of the middle books i wanted to follow; the niccolo of 'gemini', like a boozy, once-interesting guest at a dinner party, i wished would just get to the point. (incidentally, i would have to agree that henry was positively fascinating, a worthy son to his early-books father)

Dorothy Dunnett is a historical fiction writer extraordinaire. One can't help but become intensely enamored of the characters she creates throughout this series culminating in this final book, Gemini. The series takes you from Iceland to Africa, from Russia to Persia, and everywhere in between. Chock full of excitement, intrigue, tragedy, elation, Dorothy Dunnett has provided her readers with one heck of a yarn. Be sure to read this series from volume 1 through 8 and be prepared for a stunning ending.

Gemini, the final book in Dorothy Dunnett's Niccolo series, is a satisfying conclusion to this series and a good link to her earlier series of novels about Francis Crawford.

Gemini is not always light reading. There is a considerable amount of fifteenth century history contained in it and a very large number of characters, most of whom are historical.

But the story is exciting, sometimes very funny, and always deeply moving. Her principal characters are complex creations. History and fiction are so well blended that it is hard to tell where one ends and the other begins.

Dunnett deserves to be much better known in the United States. Her books should be best sellers. Dunnett's work is superior to much of the so-called serious fiction of today.

You buy this type of item for the price. The price was low, and you can wear the book out without worrying about it. Good if you don't want to pay too much for a book.

"Antigone," the drama by Sophocles, has been published as part of the Dover Thrift Edition series. The Dover version is translated into English by George Young. An introductory note states that the play was first performed in the 440s BCE.

The introductory note also includes a brief summary of events leading up to the events of this play. "Antigone" concerns the family of Oedipus, former ruler of the city-state of Thebes. As "Antigone" opens, Thebes is ruled by Creon, the brother-in-law of Oedipus. Creon is at odds with his niece, Antigone, because he denies a proper burial to Antigone's brother Polynices. Antigone's intention to defy her uncle sets this tragedy in motion.

This is a powerful story about familial duty, social customs, gender roles, and the relationship between the individual and governmental authority. The issues in this play remain relevant today, and are powerfully argued by Sophocles' characters. At the heart of the play is this question: Is it right to disobey a law or edict that one feels is unjust?

But "Antigone" is not just a philosophical meditation; it's also the story of a very personal clash between two strong-willed members of a very troubled extended family. A bonus in the play is the appearance of the seer Tiresias: it is a small but potent role. Overall, this play is a solid example of why ancient Greek drama has stood the test of time.

Following the ending of "Oedipus the King," Oedipus was exiled from Thebes, blind and a beggar. We learn from "Oedipus at Colonus" that his sons, Eteocles and Polyneices engaged in a civil war for the throne of Thebes (covered in "Seven Against Thebes" by Aeschylus). The two brothers kill each other and Creon (Manos Katrakis), brother of Jocasta, becomes king. He orders that Eteocles, who nobly defended his city, shall receive an honorable burial, but that Polyneices, for leading the Argive invaders, shall be left unburied. This leads Antigone (Pappas), sister to both of the slain brothers, to have to choose between obeying the rule of the state, the dictates of familial binds, and the will of the gods. This, of course, is the matter at the heart of this classic tragedy by Sophocles.

It is too easy to see the issues of this play, first performed in the 5th century B.C., as being reflected in a host of more contemporary concerns, where the conscience of the individual conflicts with the dictates of the state. However, it seems to me that the conflict in "Antigone" is not so clear-cut as we would suppose. After all, Creon has the right to punish a traitor and to expect loyal citizens to obey. Ismene (Maro Kodou), Antigone's sister, chooses to obey, but Antigone takes a different path. The fact that the "burial" of her brother consists of the token gesture of throwing dirt upon his face, only serves to underscore the ambiguity of the situation Sophocles is developing. Even though the playwright strips Creon of his son, Haemon (Nikos Kazis) and wife, Eurydice (Ilia Livykou) by the end of the drama, it is not a fatal verdict rendered against the king's judgment, but rather the playing out of the tragedy to its grim conclusion.

Note: I have always enjoyed Jean Anouilh's "modern" version of the play, produced in 1944 and loaded with overtones regarding the Nazi occupation of France. The two plays offer a fascinating analog and students are usually quick to appreciate how Anouilh revitalizes the ancient myth with the political situation in which he lived.

I thoroughly enjoyed this book and was very impressed with it. I checked it out from the library to read it but I'm definitely buying a copy for myself. First of all, it was just a well written and entertaining book. Some scenes were hilarious while others were postively heartbreaking. Secondly, I found it to be very true to the spirit of Doyle's stories and to his Holmes and Watson. I felt that Meyer did an excellent job with Holmes' character. Holmes was slightly different from what he was in the canon but I felt that this could have been how Doyle would have written Holmes had he ever chosen to write a story such as this. Meyer also had Holmes and Watson's relationship down to perfection. I loved how he seemed to realize how important Watson was to Holmes. The deductions in the book were also very good. Most of them were worthy of Sir Arthur himself. I also liked Meyer's footnotes. I thought they were cool. What I loved most about the book though was that I got the strong impression that it was written out of a love for the canon and not out of a love for the money. The book appeared to have been written by someone who had read and re-read the canon and not by someone who was getting all their information from the Basil Rathbone movies.

I should add that the book does deviate from the canon so I have to advise caution if you're a purist. The book gives a different explanation for the Great Hiatus and Moriarty isn't portrayed as Doyle wrote him. I can understand how some people could have a problem with this. I admit that I did too at first. But I don't anymore. Although I love Doyle's Holmes stories, I realize that they are not perfect. They are not without their faults and contradictions and I feel that those who love the canon the most are the ones who will try to correct the faults and explain away the contradictions. And I felt that that was the reason for the book's deviation from the canon. So I would highly recommend it unless you just can't tolerate a deviation from Doyle's work.

THE SEVEN-PER-CENT SOLUTION is a story unparalleled in the annals of criminal detection. Discovered in Hampshire, England, where it had lain neglected since 1939, then painstakingly researched and annotated for two years by editor Nicholas Meyer, THE SEVEN-PER-CENT SOLUTION marks the first publication of a heretofore unknown and astounding episode in the career of Sherlock Holmes as recorded by his closest friend and chronicler, Dr. John H. Watson.

Even more remarkable than the historic discovery of Watson's transcript are the revelations it contains concerning the real identity of the heinous Professor Moriarity, the dark secret shared by Sherlock and brother Mycroft Holmes, and the detective's true whereabouts and activities during the Great Hiatus when the world believed him dead.

Most astounding of all, THE SEVEN-PER-CENT SOLUTION details the events that led to the meeting in Vienna of the world's two most brilliant investigators and their collaboration on a sensational case of diabolic conspiracy.

John Hamish Watson was born in England in 1847. After a childhood spent abroad, he returned in 1872 and enrolled in the University of London Medical School, where he took his degree six years later. After finishing the course at Netley prescribed for Army surgeons, he was attached to the Fifth Northumberland Fusiliers and sent to India. Severly wounded by a Jezail bullet at the Battle of Maiwand during the Second Afghan War, in 1880, he returned to England, his health ruined, with no specific plans other than to live as best he could on his Army pension. In January of the following year, quite by accident, he met Sherlock Holmes, who was then looking for someone to share his lodgings. The ensuing friendship, which lasted until Holmes' death found Watson his niche as the great detective's biographer through more than sixty cases. In his spare time he resumed the practice of medicine. In 1889 he married Mary Morstan. He died in Britain in 1940.

First, the review from "henry@coombs.anu.edu.au" contains several mistakes. Lestrade does not appear in "The Valley Of Fear", and that story is a prequel to "The Adventure Of The Final Problem". Second, it is probable that Watson altered events in FP in order that it would appear as though it was his first look at Moriarty, since it was the reader's as well. By "Valley Of Fear", readers know who it is, so it is unnecessary to do the same thing. Watson has plainly stated that he altered facts to make stories suitable for the reading public. Third, there is no "official" Holmes continuity. You accept what you, the reader, wish to accept. Nothing more. I disagree with his thoughts on the later Doyle stories, but that is a matter of opinion.

That said, this is a great book which does what Doyle never bothered to do; make the narrative an intense character study where we find out some of the deepest corners of Holmes' mind. This is Sherlock Holmes at it's best, filled with splendid characterization and a cunning mystery. The drama is this story is incredible; Holmes' confrontation with Sigmund Freud is heartstopping, and his moments of weakness are heartbreaking. There are also many nice touches that warm a reader's heart, like examining Watson and his wife, Mary Morstan, and her references to "brandy and soda" and calling him "Jack".

The mystery is also quite good, and appears halfway through the book (but does not forget to deal with Holmes' addiction). There are moments of high drama and action which are integrated nicely and paced swiftly. Holmes' deductions are excellent and well thought out.

If you have ever felt that Doyle's stories lacked emotional investment for the reader, then this is the book to read.

Doyle was an excellent writer, but he did not truly understand what a wonderful character he had created in Sherlock Holmes. He saw him as merely a calculating machine, perhaps never noticing the hidden passion that he placed within the character; the kindness and heart within Holmes.

But Nicholas Meyer did.

And he displayed it in a novel that was a bestseller, that led to a feature film, and revitalized Holmes in the late twentieth century. With creators like these, with people that care so deeply about him, Sherlock Holmes will survive for another hundred years.

Final notes. Meyer is the director of several movies, including the movie adaptation of this novel, and a few Star Trek movies.

This book does have it's mistakes, and one is that if Moriarty is what he is in this novel, then "Final Problem", "Empty House" and "Valley Of Fear" are lies that slander an innocent, if annoying man.