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James Waller, an epilogue to THE BRIDGES OF MADISON
COUNTY . . . I was sooooo looking forward to this to see
what happened to Robert Kinkaid and Francesca Johnson,
the memorable characters introduced in the earlier book.
But this short tale did very little for me, and I must admit
that I was disappointed . . . very much so, in fact. Francesca
plays far too small a part . . . instead, I got to meet other
characters who frankly had little interest to me.
Waller certainly does have a way with words . . . as such,
several passages did nevertheless catch my attention . . . among them:
Still, Richard had a sense of it all. His deathbed words, a muted, scratchy sound deep in his throat only a few hours before he became unconscious. "Francesca, I know you had your own dreams, too. I'm sorry I couldn't give them to you."
"Hell, yes," the old man said. "Ain't met him yet, but like dogs, overall. Hardly ever met a dog without all the elements of good character--trust, loyalty, honor, all that. Can't say the same for most people l've met."
Carlisle started to protest, but Kincaid held up one hand, indicating he had more to say. "This has to do with a view of life and death that's almost impossible to explain in words. It's more of a gut-level feeling that time and I are old partners, that I'm just another rider on the big arrow. My life is worth no more than what I have done with it, and I've always seen the search for immortality as not only futile but ludicrous, just as elaborate coffins are a pathetic attempt
to evade the carbon cycle."
The author's writing skills is great and very personal. The book is short but especially intense and deep. Waller has the ability to bring and draw his readers into the story and just mesmerize his readers. Some might not like this book or feel dissatisfied because the ending is not what they want even though the ending was already determined in the previous book. I do agree that Waller should not dwell on the Kincaid past quite that much. However, I still think this is still a great story. I also highly recommend that the readers should read "Bridges of Madison County" first in order to understand better the story.
A Thousand Country Roads is aptly described on the book jacket as an epilogue to Bridges. It is exactly that. This new book shows us some of the inbetween spaces in the lives of Robert and Francesca. A Thousand Country Roads aims to answer some questions about what happened to the two lovers after their affair at Roseman Bridge. What it does, and does well, is give us more insight into how the events in Bridges affected both Francesca and Robert and how they deal with it. Interestingly, for both people, a nostalgic journey is in the works.
Adding some excellent new characters and a few very clever twists, Robert Waller has recreated a lot of the magic of Bridges in this new tale. Readers who loved Bridges will anxiously follow the paths of Robert and Francesca as they explore what happened over those stolen four days, and examine what their lives have become Because of its nature though (it is an epilogue), it is certainly not going to be enjoyed by anyone who hasn't already read Bridges of Maisdon County.
The magic of Bridges is sustained in A Thousand Country Roads, and, a decade later, Robert Waller is back on the map. An execllent way to complete the picture for anyone who read and loved The Bridges of Madison County.
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In War and Peace, the echoes of which you can clearly trace in the characters and plot of Mr. Thackara's novel (and to which he himself pays homage to in the words of Baron von Sunda), all of the characters, e.g., Prince Andrei, Rostov, Natasha, Pierre, were real people whom I understood and felt for even when, especially when, they made tragic choices, labored in ignorance or doubt, or when, through great suffering, they were transformed. I did not buy The Book of Kings with the expection of encountering the art of Tolstoy but I did expect to meet human beings who I would care for and empathize with.
Beyond his gift with language, Tolstoy is a genuis because he could capture History, Fate, War, Tyrants and Slaughter as well as the blessed uniqueness of the indivudual.
The story traces four friends, two principally, through prewar and subsequently war-torn Europe, elaborately staged from drawing-room to battlefield. The prose is indeed ornate, but after all this was a time of demagogues and hyperbole. My sole criticism is that it is far from unexplored country. Like an old silver mine, all the nuggets have been carried away long ago. It is prettty derivative stuff. It is not a new idea that the reality of war makes disillusionment of ideals. Still, this is a story that needs to be told lest we forget. We watch Grand Illusion now, realizing that it is as compelling as it was more than a half a century ago, although the acting seems wooden and it is in black and white. We have not as a society had to face a loss of innocence for some time, and perhaps that is the best reason to read this period piece and be caught up in the hubris of a near forgotten past.
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The smart money would go with the Kandel who clearly defines
his purpose at the outset of his classic book.
(I notice that the reviewer ,who bestowed the text 4 stars, and the author both call San Diego their home.)
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While not all CliffsNotes are worth buying, in this case, it can enhance and encourage the reading process. They explain the many characters in two sections.
The first is not unlike what introduces many playbills. For example, for Sonia, it says "Sofya's nickname." Maybe that it is common in Russia, but it would have thrown me for a loop. For Rodion Romanovitch Raskolnikov, it says, "A poverty-stricken student who conceives a theory of the superman or extraordinary man as a justification or rationalization for his crime."
The second guide explains in a page or two the context and major concerns of only a few characters.
Because they have Russian names unfamiliar to most of us in the United States, their little guide will be handy to keep open as you read the actual book.
The chapter synopsis is also useful for teachers who are overwhelmed with responsibilities. I have used it for this reason with a private student. I had not read the work and needed to be up to speed quickly. The synopsis put the book in context, making expectation available to me as I read. This helped me know what was worth focusing on in our all-to-brief look at this classic.
Other sections explain motifs and arguments of Hegel and Nietzsche regarding the superman ideas presented. Lacking is a section on biblical references, which, for students without much biblical knowledge, will limit their appreciation of the depth of "Crime and Punishment." Judith Gunn's "Dostoyesky: Dreamer and Prophet" is a good follow-up for the student looking to understand Dostoyesky religious perspective and Russian nationalism.
I fully recommend "CliffsNotes Crime and Punishment" by James L. Roberts.
Anthony Trendl
The Summary/Commentary section breaks the novel down by chapters and Roberts uses A-B-C notations to distinguish specific lines of analysis; I consider such signposting useful to students. As always, the best way to use these commentaries is to read them after the corresponding parts of the novel, rather than doing them all at once after (or before...) doing the reading. Roberts them explores the Extraordinary Man Theories of Hegel, Nietzsche and Raskolnikov in a short essay section students will certainly find provocative. The Character Review looks as Raskolnikov, Sonia, Svidrigailov, and Petrovitch while under Motifs he examines Confession, being "All Alone," the Square Yard of Space, Suffering and Fresh Air.
This is one of the better little yellow books with the black stripes, with its major strength being that Roberts provides his best analysis outside of the Summary/Commentary section. He also takes the time to develop his case on Structure, Characters and Motifs (not all of these books do). But above all, Roberts sets up the novel so that going into "Crime and Punishment" students are well prepared to deal with the major elements.
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The Minnesota person claimed that reading this book was a complete waste of time and furthermore that there were long passages that seemed incomprehensible. I can see how this might be true for a person of finite literary sophistication, so I'm going to assume that the reader must have been a high school student who tackled reading beyond his/her level of understanding, patience, and appreciation. The book is rich with historic accuracy about medieval life and every page is packed with subtle, humorous digs at both 6th century ignorance as well as criticism of his own 19th century attitude toward progress in the industrial northern states from where our protagonist hails. Obviously, the reader from Minnesota missed the point.
The reader from Tibet accused Twain of having anti-religious views. Twain's criticism was not of religion; it was of the church's hypocritical practices in _both_ the 6th and 19th centuries. It is still true today. In chapter 10, Twain writes: "Everybody could be any kind of Christian he wanted to; there was perfect freedom in that matter. But...I was afraid of a united Church; it makes a mighty power, the mightiest conceivable, and then when it by-and-by gets into selfish hands, as it is always bound to do, it means death to human liberty, and paralysis to human thought."
When was this more true than in the middle ages, when the Catholic Church orchestrated Crusades, was genteel in an age of feudalism, and later killed infidels in their inquisitions? It's clear that Twain simply doesn't wish to have a sectarian bias influence secular affairs; our First Amendment supports Twain's point of view.
You'd do best to disregard those other reviews, which hold Twain responsible for their own lack of understanding and appreciation of his novel, and read the book for yourself. It will be well worth your time.
No, answers the author -- it is simply a matter of being a good Christian. But what is a good Christian? Why, that is simply someone who believes exactly as Marvin Olasky believes. It's just that simple...
unfortunately, the book also irritated me, and I have never been called a liberal by anyone. While I appreciated Olasky's assertion that private morals DO matter in public office, I thought his approach was simplistic and narrow. If one takes Olasky's arguments to their logical conclusion, one would have to say that there aren't too many people in the history of humankind who have adopted the correct religious view. Olasky's version of heaven is going to be quite thinly populated I suspect...Jefferson, who was a founding father of our republic and doubled its size while in office, is portrayed as a godless, snobby, scheming, screw-up. Jackson, a violent man who defied the Supreme Court and signed the death warrant for thousands of civilized Cherokees seeking legal redress, is portrayed as your favorite god-fearing uncle. I suppose the battalions of left-wing revisionists brought this sort of book upon themselves in a way, but sometimes I just wish the pendulum could settle in the middle for a while. History should be about getting at the TRUTH, not supporting your pet argument at all costs.
Conclusion: the less thoughtful among the fundamentalist Christians will find fodder for their arguments here and will save having to read all the real history in the bargain. The Clinton-esque liberals will bust veins in the heads over this outrage. The true historians will quietly shake their heads and toss this book aside.