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Readers who like the splatterpunk horror style will enjoy this. Readers who don't know what the splatterpunk is should probably think long and hard about finding out. Anybody with a normal human sense of empathy should go read some James Herriot or something like that, with kitties and sunshine. There is none of that here.
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Second, the revisionist history is that which was propagated soon after Lee's death by the anti-Longstreet cabal, led initially by Gen. Early. That is what has become accepted as "history", in spite of all the evidence to the contrary, because the South needed something coming out of the was to have pride in. Lee sybolized that.
I do, on the other hand, think that the author's anti-Lee attitude comes out a little too much. His cause would have been better served with a more neutral tone. I disagree with his idea that Lee should have resigned in late '64, when it was apparent that a military defeat was inevitable, especially after Lincoln's re-election. That thought pre-supposes modern values that did not exist in the mid 19th century. The idea of the cavalier fighting the good fight was still a very real ideal at that time. There was no way Lee was going to walk away while the cause still possessed the ability to fight on.
However, in spite to the tone, I found the book to be mostly well reasoned, and supported by the evidence. Either way, a definite read for any Civil War enthusiast. If nothing else, it's great conversation fodder.
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Like his father before him who's book Killer Angels brought to life again the battle of Gettysbugh as seen through the eyes of some of the people found in Gone For Soilders. The characters are well fleshed out and the story moves along well. It should help bring more people to read up on Pre-Civil War America and some of the men whos names are covered in this fine novel.
In his latest novel, Mr. Shaara introduces us to many of the Civil War's greatest leaders as they learn their craft under fire in Mexico. The book follows the exploits and deeds of one General Winfield Scott as he leads the campaign to defeat Santa Anna's army.
At his side is a young engineer, Capt. Robert E. Lee. Shaara's portrayal of Lee as a young officer, unsure of his untested abilities and his place in the command structure, is truly wonderful. It is a whole different Lee than the polished General of the Civil War. With each new mission Scott assigns him, we can see Lee grow and mature as an officer.
Many of the other men who would later become Generals are also with Lee in Mexico, Grant, Jackson, Meade, Johnston, Pickett, Longstreet, albeit as Lieutenants. They are not given the same in depth treatment as Lee, but already you can see their abilities developing for command.
General Scott and Santa Anna are also portrayed in manners rarely seen. Few modern Americans have heard of Scott, which is a shame since he was one of the best Generals in our early history. Santa Anna is usually mentioned only in conjunction with the Alamo, but here he is given a very fair treatment.
Overall I would say this book is every bit as good as the Shaaras' works on the Civil War. Once again Jeff Shaara has restored life to a long dead period of our nation's history.
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One point raised by the authors more than once was the use in news reports of unnamed sources and few hand-picked named "expert" sources. But throughout their diatribe against the right-wing controlled media they used many of these same techniques with many an unnamed source as well as the (over)use of a small number of "expert" sources used to prove their points.
I was truly looking for a book that helped in understanding and, as they say, detecting biases in the news media. What I came away with in this book was that it was written by some far left wing fanatics (should have guessed based on the foreword being written by Ed Asner) who did not want to give a balanced treatment to this topic (who but someone like Asner could have guessed that the NY Times is really a Republican mouthpiece!)
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A wildlife preserve in the depths of Flordarian naturalism, The Air Force doing what the Air Force likes to do, an archeological dig that find some well-preserved mummies dating back 10,000 years, and a cancer treatment facility seem like a string of things that wouldn't connect very well. In fact, they all seem like portions that could be good and could be ill by themselves, but that wouldn't make too harrowing a tale for someone when telling it. Still, when coupled with the name Edward Lee, definitely take on a much more gruesome shade of fabrication. When Edward Lee wants to create some vestibule of the horrific, meshing it into an almost B-movie storyline that makes for a wild world of entertaining notions, he can do it well because he understands some of the smaller portions that need to be given. His writing style, while somewhat simplistic (depending on the tale), allows for the use of some interesting analogies on how to prod and poke, how to maim and mutilate, and how teeth and the human form fit together and greeting one another warmly. It always seems to find a way to put a rural class of people in as antagonists and victims, people working as disposable cast members that can be seen in their addictions to alcohol and chemical crutches, and that are not always "bad," but not normally "good." That and it always creates beasts that work as beautiful horror boons for the reader looking for something that has the potential to destroy. So, in that right, Monstrosity delivers.
In some portions of the tale, there are some shortcomings as well, like the fact that some of the characters seem a bit too plastic for my tastes. Many of them, they seem to flutter through the story but without any impact other than in the lusting department, and that makes it hard to really ingest their suffering. Then there is the fact that the overwhelming allure of sexuality always inflicts Edward when writing and he, a victim of these needs, seems to think that the reader has to be reminded over and over again of these in order to feel the plight of the characters. Unfortunately for us, we oftentimes do not. While this doesn't necessarily hurt the read, mind you, but it is something worth noting and it does begin grating on the nerves a little, making me want more of the beast and less of the burdens.
Basically, if you like Lee's looks into what is or isn't the normal thing to find hiding in swamps, then you'll be pleasantly entertained. It isn't the most grotesque thing he's ever created but it does have a few moments that are nice, and its scripting is something that reads easily and quickly. If you haven't checked him out before, I would suggest starting in another place, looking around before you delve straight in, but I would say that this would make good reading at another time. Dying, deformity, and despair always made good snacks before bed.
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Heinlein's troopers wore armored suits and carried weapons sufficient to destroy everything alive within several hundred yards. They had to pay attention when they got within half a mile of each other so they wouldn't wipe each other out. Not these fools, they have to fire a hundred rounds to kill one unarmed bug. Pathetic and unbelievable.
The original Starship Troopers spends half the book discussion moral philosophy of government, command structure of troops, and the morals of space exploration. This has none of that. What a waste.
In The Bighead, Edward Lee decides to pull out all the stops, trying to produce a tale about, amongst other things, a beastly creature that stalks the 'higher woods' on a journey toward understanding and toward fulfillment. After the death of its grandfather/keeper, it has found itself aimless, directionless, killing in the most depraved fashions but, at the same time, empty. It wants to know what lies beyond, in the realms its grandfather told it to avoid, so it begins wandering. And that's when it hears the voice that keeps saying one thing to it. Come.
Herein, Edward produces a quality monstrosity, unleashing it on an unsuspecting world as it enjoys a variety of interactions that are amongst the most wretched types. Because of that, I was pleased. I was also pleased by some of the other characters as well, namely a priest that believes that profanity isn't a sin because it is communion and that also thinks that he sees and speaks with, and a few odds and ends that they inflict on others ' in the most gruesome manners. After a time, however, many of the characters and the things that plagued their lives, the little bits that should have made them stand out, began to bore me. For instance, with Jerrica, the uncontrollable libido in human form, there was a constant reminder of what she liked and what she wanted to do, to the point that my mind began fanning through pages to get to the reason behind the story: The Bighead. Other people followed the same methods as well, especially a pair of rurally-challenged killers roaming the land and killing between moonshine runs, with the horrific beginning to wear down and no longer shock this audience. Instead, the comparison of the human monsters versus the mysterious beast began to make me sometimes wonder when the true beast would emerge.
That said, the ending of the book was interestingly odd and The Bighead and Charity, our human main character that seemed without purpose for most of the tale, began to play roles that were somewhat twisted. The Bighead's plight, that of being unsated in the realms of pleasure, found themselves manifesting ends and, despite the fact that many people died that had been worked on for so long without so much as a whimper, I found myself reading on and on. Why? Because there was a curve in the pitch and it hooked my gaze.
For anyone thinking of reading the book, I am of a mixed mind in recommending it. First, I'll have to say that some of the book is pretty disturbing, crafting a lexicon of deeds that would make many quiver while journeying forward. Second, I feel I have to note that there is a repetition of ideas, that the hammer must strike the nail more times than I could contend with, and that this may cause of page skimming. Third, the beast itself, it may not be everything you might want from a monster and, in the end, it may disappoint you. That said, there are a few reasons to read it, namely if you are an Edward Lee reader already, if you want something that is overly graphic and just keeps giving and giving, and because the ending is interesting. If you aren't accustomed to the gore classification in books, perhaps you should begin somewhere else. If you are a new reader to Lee, you should also try another book on for size first, easing into the waters before going here. Otherwise, The Bighead might getcha!
Unlike, say, American Psycho, which is also disgusting but boring, you actually care about the characters in this book and what happens to them, especially the priest and the nympho. There is some really sick stuff in here, that makes me want to not run into either Ed Lee or John Pelam in a dark alley. But, if you can stomach it (and why would you buy it if you wanted something mild) it's a great read. There are images in the book, mainly the detailed exploits of the two hillbilly killers (who make the guys from Deliverance look like Mr. Rogers) that will stick with you for a looooooong time. I dare anyone to read it while eating and not spit out their food. Edward Lee and John Pelham are a great team, and I eagerly await their next collaboration...just not while I'm trying to eat...
The author did a wonderful job displaying the war and allowing children to understand the concept on a very neutral level. I also liked the outline at the end of the book on his life. It helped children really visualize the order of events.
I like this book for all the above reasons also for the ease of reading. I found it so easy to understand and I think that this book will allow the children to gain interest into biographies and the war. Maybe even lead them into reading all Adler's other biographies.