Some of these poems made me think I was reading about myself or people I know. I recommend this book if you like poetry.

Bigotry bothers me! One way to rid society of this blight of prejudice and hatred is to learn more about our fellow human beings. Under the skin, we are all -- each and every one! -- alike! This book helps teachers and kids plan cultural activities in school so that liberal tolerance and appreciation of others can prevail. Buy this book.

British writer Alan Moore earned his place in the comic book writers' pantheon with his seminal turn on Swamp Thing in the 80s, part of the triumvirate of Frank Miller, Neil Gaiman, and Moore who transformed lowly comic books into a respectable artistic medium.

And, like Miller and Gaiman before him, Moore found that the only way to carry on once you've thoroughly changed your industry is to do do it again and again in new and novel fashion.

Thus, I give you "V for Vendetta," the absolute furthest thing from "Swamp Thing" and "Watchmen" imaginable.

Moore almost singlehandedly restored the creepy cool of EC horror comics with his run on "Swamp Thing." He redefined the superhero genre with "Watchmen." With "V", Moore abandoned the conventions of both genres and embraced gritty Orwellian scifi.

"V" is set in a Britain which has embraced Fascism following a nuclear conflict which left the nation intact but badly bruised. Mirroring Hitler's ascent over the ashes of the Weimar Republic, the Norsefire party seizes power in Britain and restores order at a horrible price.

That is, until a stylish terrorist in a Guy Fawkes mask codenamed "V" appears on the scene to tear the new order down.

"V for Vendetta" marks a major departure from comic book style. David Lloyd's cinematic style plays like a storyboard for a film; gone are the motion lines and Batman-esque sound effects so familiar to comic readers. Lloyd also dispenses with one of the comic writer's main crutches for exposition---the thought balloon. The story is thus relayed entirely by motion and dialogue, deepening the inherent mystery of the plot as we try to comprehend the master plan of the inscrutable antihero "V".

As with "Watchmen", Moore has layered his tale with enormous depth, making subsequent readings a must to truly comprehend all that's going on within the plot.

If you're interested in seeing what the comic art form is capable of when geared toward an adult audience, rush out and grab a copy of "V for Vendetta" today.

Naturally the inclination is to disbelieve in the power of the comic-book format to tell a socially relevant and emotionally powerful story, and most of the genre is cluttered with nihilistic power fantasies these days. But this is a brilliant exception, and that can be attributed to Alan Moore's powers as a writer.

You can read the rest of the reviews and find a lot of spoiling detail about the narrative, but the best aspect lies in an attention to the small and overlooked people whose feelings Alan Moore makes very much a part of the entirety. In what I think is the best moment of all, one of the characters imprisoned by the secret police of the English totalitarian state reads and envisions the final thoughts of a dead lesbian, written on toilet paper for some future prisoner to draw hope from. I felt an almost tearful admiration for the sort of bravery and faith in oneself that this prisoner discovers, and a more conscious recognition that Alan Moore is one of the best ever to write for the medium.

It's indisputably good, but it thumps the pulpit of the author's choosing - all government steals self-determination and liberty from its subjects, civilization and barbarism are close neighbors, the masses remain wilfully ignorant of the big picture to focus on television fantasies. It's a deliberately simple portrait of a dystopia, and its questions demand thought from their readers. You might love this as much as I do, but rest assured it won't be because of simplicity or polite avoidance of libertarian doctrine.

It is perhaps simplistic to declare that "V for Vendetta" is Alan Moore's version of George Orwell's "1984." Orwell came up with his "prophetic" title by reversing the last two digits of the year in which he wrote his book. Moore began his story in 1982, picturing a future that was around the corner and setting his tale in then late 1990s in a Britain that had become a fascist state. Moore worked from the assumption that in 1983 the Conservatives would lose the elections and that the Labour Party would remove American missiles from the British Isles, which meant that England would no longer be a target during a nuclear war. In the post-holocaust Britain of the 1990s, Moore posited a Fascist takeover. The title character of V is a one time victim of a concentration camp medical experiment who is now an enigmatic hero wearing a grinning Guy Fawkes mask; Fawkes was one of the conspirators in the Gunpowder Plot that was an attempt to assassinate King James I of England. In the opening chapter V sets his sights on The Voice of Fate, the official voice of the government's propagandistic lies. From that small but significant initial victory, the battle continues.

There is something decidedly "English" about "V for Vendetta," and not simply because of the setting. Moore can talk about Harlan Ellison's "'Repent, Harlequin!' Said the Ticktockman" and "Fahrenheit 451" being among the elements he drew upon to create his own brave new world, but it is clear that he owes more to Orwell and Huxley, to Robin Hood and "The Prisoner," than American manifestations of the same impulse to freedom. V is not a superhero, even if the medical experiments have somehow made him more than human. Sometimes we forget that a lot of our heritage, both culturally as well as politically, comes from England, and on one level this work reminds us of our English roots.

It is ironic that Moore tells his story as a graphic novel because traditionally your comic book superhero is essentially a fascist vigilante. However, Moore succeeds in finding the perfect context to turn the traditional approach on its head. Most people have no conception of what is meant by the term "Fascism." They equate the idea with Hitler, although it was coined by Mussolini, and Hitler means Nazis, Anti-Semitism and Concentration Camps. Of course, Moore knows better. Fascism is based on the "struggle" for "order" wherein the ends justify all sorts of means. This dynamic clearly runs counter to the democratic ideals of "liberty" and "property." Historically, then, we are confronted with the monumental irony that although the Fascists lost World War II, the Cold War was on one level the triumph of Fascism, a period where we allowed all sorts of travesties, from the McCarthy witch hunts to Nixon's executive orders in the name of "national security." Moore brings the idea of fascism home. If you cannot recognize it in England's green and pleasant fields then you are never going to recognize it when it walks down Main Street in your hometown, U.S.A. Don't you think you should?

David Lloyd is the artist for the "V for Vendetta" series, although Tony Weare did the art for "Vincent" and some additional art on "Valerie" and "The Vacation." Notice the pattern? All of the chapter headings in each issue begin or at least include the letter "V." Lloyd's peculiar style is particularly well suited to this particular storyline. It is odd and a bit off, just like the world it is depicting. Lloyd, Siobhan Dodds and Steve Whitaker did the coloring, and I give them special mention because there is a carefully constructed style that also fits the mood and tenor of the tale.

I enjoyed this book, and read it in one day, pouring through the various chapters and one tragedy to the next. My only complaint is that many of the chapters were excerpts from other books, and the stories sometimes felt unfinished. Those excerpts would cover the hit (or near miss) of the summit, then cover some sort of trial to the participating climbers. The climbers may or may not survive the trial, and then that would be the end of it. I actually craved a little bit more of the post-expedition soul-searching.

This book is essentially a compilation of short stories from books written by world class mountaineers. Anyone who is well read in this genre will immediately recognize these short stories from the books they were taken. The stories are exceptionally well written and edited. Some are epic survival tales and others document the never ending string of tragedies that befall many mountaineering expeditions. The format works well even though the stories are in no particular time sequence. I highly recommend this book, and many of the other books from which the stories have been excerpted. Pick some of your favorite short stories from this book and follow up with the complete tomes. You will not be disappointed.

This book contains the greatest short stories about climbing that I have ever read. Each story is unique and as entertaining as the other.

The Notebook (by far the best of the 3 books) describes the lives of a nameless twins that grow up in a Hungarian border village during the second world war. The are raised by their grandmother, or maybe it is better to say that they grow up despite the presence of their grandmother. The children find ways to survive the war: on the one hand they can be extremely friendly and caring, for example for the girl next door, on the other hand they are 2 extremely awful boys who steal, deceive, betray and even murder whenever they think this is necessary. A beautiful, oppressive book about what war does to children, but also about the capacity of children to survive under extreme conditions.

The Proof describes the life of Lucas, who remains in the Hungarian village after the war. He tries to get a decent life, but every time he seems to have some luck something awful happens which brings him back to square one. At the end of the book a German appears in the village who may or may not be his brother Claus.

The Third Lie consists of 3 parts: one in which Claus describes the search for his brother after his return to the capital. Finally he finds an old, misanthropist poet whose name is also Klaus and who denies to be his brother. In the second part this Klaus describes why he does not want to recognize his brother.

It is fairly difficult to write one review of 3 books, even when these books are a logical sequel of each other. In every new book the perspective changes and the reader is left in doubt. Did this twin brother really exist? Who is Lucas and who is Claus? In the end the common denominator of the three books is the notion that real friendship does not exist, that nobody can be trusted and that every story can be told in different ways, depending on the perspective.

If taken one by one the three parts of this trilogy are good--well written, precise in a terryfying way, emotionally shocking (surely not something to read when in a depressive mood); but if you buy this and read it as one big novel in three parts it's simpy amazing. I can't tell you why, that's part of the fun. The only thing I can say: things aren't exactly what they seem. Outstanding literary achievement by this expatriate Hungarian writer, one of the most facinating literary voices in Central Europe with Thomas Bernhard. A must-read if there ever was one!

I am usually not a big fan of novels. I read them occasionally, in between non-fictions that I prefer, and most of the time end up disappointed. This triology is one of really few novels I was really impressed and loved (another such book was Flowers for Algernon, although quite differen t).The three stories are so finely constructed and intertwined, and make up such a world ... you got to read it.

In an age when we have not much time to read one short book from cover to cover, few long books will ever be good enough to read twice; David Copperfield is one of them. It has, perhaps, the most unforgettable cast of characters ever assembled in a work of fiction: Mr. Micawber, Uriah Heep, Aunt Betsey Trotwood, the Murdstones, Mr. Dick, Peggotty, and, of course, David Copperfield himself.

The story is simple enough to start. David's mother marries a man, Murdstone, who makes life hell for her and young David. David has the courage to rebel against the tyrant and is sent off to boarding school and later to a blacking factory. For readers who want to compare childhood rebellion to authority in the movies, Alexander's defiance of the Bishop in Ingmar Bergman's great movie, Fanny and Alexander, is equally dramatic and sad.

David runs away and finds his Aunt Betsey Trotwood, who takes him in and supports him, with a little help from her wise/fool companion Mr. Dick. This is story enough for many novelists, but it is only the beginning for Dickens. David has yet to meet one of the great villains in literature, that "Heap of infamy" Uriah Heep. Uriah's villainy is terrible because it is hidden under a false pretense of humilty and service to others. The final confrontation between Heap and Micawber is one of the great scenes in literature.

None of what I have said answers the question, Why read this book more than once? The most important answer to this question for the nonacademic reader is "for the fun of it." From cover to cover this novel gives so much pleasure that it begs to be read again. We want to revisit David's childhood and his confrontation with the terrible Mr. Murdstone. Mr. Micawber is one of Dickens's great creations and anytime he is part of the action we can expect to be entertained. When we pair Micawber with Heap we have the explosive combination which results in the confrontation mentioned earlier in this review.

These brief examples only scratch the surface of the early 19th century English world Dickens recreates for the reader. Some other of Dickens' novels like Bleak House may be concerned with more serious subjects, but none lay claim to our interest more than Dickens' personal favorite "of all his children," that is, David Copperfield. Turn off the television, pick a comfortable chair, and be prepared to travel along with David Copperfield as he tells us the story of his life.

Oh, I loved it! I finished David Copperfield, finally, of but an hour ago. Oh, that is such a wonderful book! I hold Charles Dickens in a sort of reverence. He has the fascinating ability to spin a web of the most spendidly horrible (here, I refer to, the remarkably AWFUL Uriah HEEP) and the most splendidly excellent (here, I refer to, the exquisite and good-natured Agnes) characters, and then he completes his tale by adding the most unforgettable of ALL people, a main hero, such as David Copperfield. Never have I been so attached to a work of fiction, and I have read a lot. Oh, the things David so heroicly endured, turning him into a most superior man! I love the story! It's most powerful. It moved me to tears and sent me into fits of laughter so many times I can't count them on my hands. And I felt such rapturous joy when Agnes and David professed their love for each other that I could hardly contain myself, and here started to laugh and cry at the same time; and I felt such overwhelming sorrow over the death of Steerforth, for I rather liked the man, even thought he took Emily away; and I love Peggotty's character to death! She was such a glorious figure of devotion and heartfelt love for David; I felt he would not have survived Murdstone and other things were it not for her steadfastness and friendship (I dearly loved her button-poppings! I found them hilarious!). And the grand Agnes, how I worshipped her! She was so real, I can see her cordial eyes looking upon David with the love of a sister, the passion of a wife. It was the most admirable work, I am sure. Dickens made Uriah Heep come alive so vividly, I see him writhing about, with contortions like a caught fish. I see Traddle's hair sticking up on end like a porcupine's, I see Miss Mowcher waddling about, I see Steerforth, tall, dark, and handsome. Oh, how David did admire Steerforth in the beginning! How he did charm! For all the critics: yes, the book was sometimes boring, and at times it was dull. But can't you see the art in it? That all Dickens wanted you to do was enjoy it and fall in love with the characters? Yes, sometimes he got a little carried away but that's hardly the point. It was worth it, because I know I'll never forget a one of them. What more can I say? I want to read the book over and over again, never ending.

For those who don't have time to read for pleasure, or perhaps spend too much time reading as part of their daily job, audio books are a godsend. You can play them while travelling to work, and you're suddenly transported to another world, if they're any good.

Fortunately this Naxos abridgement read by Anton Lesser is superb. I haven't yet found an actor better at handling both the male and female voices, old and young, rich and poor. It's so easy to forget that that is not a large-cast dramatisation -- it's just a a one-man reading, brilliantly executed.

As a story, 'David Copperfield' means a lot to me because it means a lot to my Dad. Now 73 years old, he had a troubled childhood in and around London, and a difficult relationship with his stepfather. While Dickens needed to create some out-and-out baddies such as Uriah Heep and the Murdstones, many of his characters are basically decent folk, rigidly sticking to Victorian values, and I think this is how my father still sees the world.

Much of the detail in this story is specific to England, but the basic human themes are universal. As a first pass at getting into 'David Copperfield', I would very strongly recommend this 4CD audiobook.

1/3 of this book - the starhopping section - is excellent. Just the right amount of commentary and detail for intermediate observational astronomy. The maps are also very good. Here's the problem: Only 1/2 of the sky is covered in the starhopping section! Why go halfway? A good number of interesting regions aren't covered at all. Instead, they clutter up the first 2/3 of the book with the usual info about types of telescope, stars, pictures of planets, etc. We've read and seen this before. Any library book tells you the same stuff. Use the pages to cover ALL regions of the sky. It's really a shame.

Another problem is the hardcover format, which makes the book difficult for field use. It's thin and tall, which doesn't help it to stay open. A spiral bound version would be better.

Time was, the Nature Store was everywhere in Canada, and you could depend on them for just the right Xmas gift or whatever. That's gone now, but they left the excellent Nature Company Guides behind.

This is the book of those who have gone beyond "the stars are up there" stage but aren't at the Hawking level yet. I loved the crispy photos and the straight from the shoulder directions (not pretentious or dumb). I recommend it highly if you want something with a little more meat to it.

This book is very helpful, even if you are just an amiture astronomer like me. This book tells you how to navigate through the Heavens. It tells you what stars you can see, the dates that you can see them, even the times that you cansee them. This book tells you what to look for when buying a telescope, how to spot a trash scope, and what types are good to purchase for your needs. This book tells about anything that you need to know, from nebulas and double stars, to planets and black holes. Advanced Skywatching tells you almost anything you want to know. This is a book that no astronomer, begining, advanced, or professional, should be without.

The book was much better then the movie, but, like in the movie, they should never have killed off Newt or hicks, or Riply for that matter. I didn't understand why they felt the need to put one of those things inside her. in the last movie, she had nightmeres about it happening to her. It was an unjust thing to do to such a strong, surviving charracter. What's worse it only opened the door for Reserection. It was a good movie, but only braught the series down. For it's entertainment value, 3 was great, but it's one movie that I try to avoid watching.

Would you buy the book of the first Alien movie after watching it? Nope, me neither. But with this book things do change. Not because the movie is bad (though it was not; if you think the opposite, it may be time to refine your cinematique taste) but the story is so capturing and well told that you never regret your time and money spent at the bookstore.

Alien 3 is a bad movie, and is definitely the worst of the four. But the book is fantastic. It is much more in depth than the movie and easily explains everything that the movie didn't. This book is suspenseful to say the least. You won't be able to help yourself from reading on.

If you are searching for a good biography on the Beatles, I'd steer you toward Davies, "The Beatles." This book, however, is excellent supplement to primary reference biographies such as Davies and contains some outstanding insights from George Martin and others who played critical roles in the development of the band.

Here you will find The Beatles story straight from the mouths of the people who experienced it! A thoroughly enjoyable history. Put on a Beatles album. Turn up the volume. And sit back and enjoy.

Best Beatle book, PERIOD!!!

Alan Dean Foster's "novelization" of James Cameron's screenplay for "Aliens" is certainly above average as such things go. What is really interesting now is that with the complete director's cut of the film we discover that all of the "depth" Foster was providing, such as the scene where Newt's parents discover the wrecked ship, were in Cameron's original script. But that is fine, since you do not really want the person writing a novelization to go out and create too much new material. The true strength of this novelization is in fleshing out the scenes, not so much the action sequences but those between people trying to make the best out of a bad situation that is only getting worst. The story still maintains a pace consistent with the driving force of the film. Alan Dean Foster does so many of these novelizations that when he really nails one like he does with "Aliens," we need to stop and take notice.

Commentary

I usually am one to read relationship/unrealistic novels such as The Outsiders or Catcher in the Rye, but after falling in love with the movie "Aliens" when I was seven I thought reading the book may be fun to. I have to admit, I have read this before, but not since the third grade so picking it up again was not a problem because I had lost all memory of the tale. The thing I like about reading books based on movies is that you get a whole new idea of what each character is feeling when something happens. For instance although Sigourney Weaver is a truly talented actress, when Ripley is trying to get Newt (AKA Rebecca Johnson) to drink the hot chocolate in the movie you don't get the same essence of her emotion towards the child as you do in the novel. I appreciate Alan Dean Foster because he has a tendency to go over what is expected and dive into the depths of a character, making them more distinguishable and easier to get to know. This book is truly one of the only books that makes reading it before or after you see the movie a fun ride. Plus there's a lot of swearing, that's always a plus.

Great book! Like the movie is was suspenseful, action packed, and scary. The first book wasn't as good as this one though. The best parts are the end, and the part where Ripley is trapped with the facehuggers, and without weapons!