Now, I'm not saying that Mirrorshades was bad. Not only did it contain one of the most definitive PR essays on cyberpunk (Sterling's introduction) but it also conains some very good stories. On the other hand, it could have been much, much, MUCH better.

Bruce Sterling, who edited Mirrorshades and similarly hand-picked the stories, clearly has his own agenda to the particular stories...at least, in some cases. Sterling assembled this almost as if it were an extension of his short-run newsletter, Cheap Truth (which he wrote under an assumed name of Omniveritas). In Cheap Truth, he attacked the existing science-fiction structure. He continues this trend in Mirrorshades.

The clearest example would be his choice of Gibson short work. Of the possible short stories, he picked The Gernsback Continuum and Red Star, Winter Orbit. Gernsback Continuum is, simply, not cyberpunk. It is Gibson's attack on Gernsbackian science fiction (Hugo Gernsback was really to blame for the "fantastic" science-fiction which used amazing gadgetry and no actual ideas). Sterling's view of the Movement (cyberpunk lit) was to erase the old Gernsbackian sf and replace it with real life rather than daydreams, so he picked this story as Gibson's contribution. This is absurd. The definitive cyberpunk short story is Burning Chrome. It is clear that Sterling chose to further his own political ends as opposed to providing a good overview-the best of the best-of cyberpunk fiction.

I could also have done without Sterling's final story, Mozart with Mirrorshades. This was, of course, an attempt to weave in the token item of the genre, the mirrored sunglasses. Sterling would have been much better off to include one of his Shaper-Mechanist stories, especially Spider Rose or Swarm. These stories are much better realized-and much more cyberpunk-than his choice. I would also have liked to see a more appropriate Rucker story...Rucker is great, but Tales of Houdini just wasn't appropriate.

Still, there are some great stories in here. Cadigan, Shirley, Shiner, Bear, Maddox, and others all contribute great works. If anything, Mirrorshades should be a starting point; find authors you like here, and then read the really groundbreaking stuff by them; John Shirley's Eclipse trilogy, everything by Gibson, Bear's Blood Music, Cadigan's Synners, Mindplayers, and Tea from an Empty cup, Rucker's Software trilogy, Sterling's Schismatrix, Maddox's Halo, and so forth.

However, if you want to simply read good cyberpunk short fiction, get the short story collections by the individual authors. As I said before, this is just a jumping-off point.

This book is a collection of cyberpunk stories assembled by Bruce Sterling. It is supposedly the definitive cyberpunk fiction collection. There are some really good stories in the book such as the Gernsback Continuum, Solstice, Freezone, Till Human Voices Wake Us, Stone Lives, and Mozart with Mirrorshades. These tales had advanced technological concepts and more importantly, good stories. The stories touched on gene engineering, time travel, cybernetics, and other popular cyberpunk themes. Some of the other stories were pretty interesting, but some just didn't seem to fit. For example, Tales of Houdini and Petra seemed out of place in this collection. Though they were both sci-fi tales, they didn't seem to be cyberpunk.

This is a collection of short stories by authors associated with the "cyberpunk movement" within the science fiction field. I enjoyed the book overall, but I wouldn't necessarily call this a representation of cyberpunk. In fact, three of the stories to me (and more among others) absolutely do not qualify as such, and two of them actually seem to be more rooted in the fantasy field than anything else. However, it's a good read, definitely worth it for the stories by Willam Gibson, both solo and collaborative. Interestingly, my favorite was "Petra" by Greg Bear, which is one of the fantasies I referred to: a very original idea and superbly written.

One final thing: if someone understands "Tales of Houdini", please contact me and explain. I just don't get it!

When rating Shakespeare, I am rating it against other Shakespeare; otherwise, the consistent 4-5 stars wouldn't tell you much. So if you want to know how this book rates against the general selection of books in the world, I suppose it might rate four stars; it certainly rates three. The language, as usual in Shakespeare, is beautiful. Still, it's far from Shakespeare's best.

For one thing, this is one of those cases, not uncommon in Shakespeare's comedies, in which the play has suffered a great deal by the changes in the language since Shakespeare's time; it loses a great deal of the humor inherent in a play when the reader needs to keep checking the footnotes to see what's happening, and this play, particularly the first half of it, virtually can't be read without constant reference to the notes; even with them, there's frequently a question as to what's being said. At least in the edition that I read (the Dover Thrift edition) the notes frequently admit that there's some question as to the meaning of the lines, and there is mention of different changes in them in different folios.

But beyond this, as an overweight, balding, middle-aged libertine, I object to the concept that Falstaff is ridiculous just because he is in fact unwilling to concede that it is impossible that a woman could want him. Granted, he's NOT particularly attractive, but that has more to do with his greed, his callousness, and his perfect willingness to use people for his own ends, to say nothing of his utter lack of subtlety.

Is it truly so funny that an older, overweight man might attempt to find a dalliance? So funny that the very fact that he does so leaves him open to being played for the fool? Remember, it isn't as though he refused to take "no" for an answer; he never GOT a "no". He was consistently led on, only to be tormented for his audacity. Nor is he making passes at a nubile young girl; the target of his amorous approaches is clearly herself middle-aged; after all, she is the MOTHER of a nubile young marriageable girl. And given the fact that she is married to an obnoxious, possessive, bullying and suspicious husband, it is not at all unreasonable for Falstaff to think that she might be unhappy enough in her marriage to accept a dalliance with someone else.

If laughing at fat old men who have the audacity not to spend the last twenty years of their lives with sufficient dignity to make it seem as if they were dead already is your idea of a good time, you should love this play. I'll pass.

i've just finished reading/watching all of shakespeare's comedies and mww is one of the funnier ones. it is a lighthearted look at marital jealousy and features one of shakespeare's great fools, falstaff (of henry iv fame). the out-and-out funniest shakepearean play is still "taming of the shrew", imho, but mwv runs well ahead of the laggards, and certainly well ahead of such better known plays as "twelfth night" and "as you like it".

Shakespeare, considering he wrote this little gem of a comedy in a mere 14 days for the Virgin Queen, pulls off a play that proves both witty and fun. Unequivocally, The Merry Wives of Windsor makes for a more enjoyable play if seen live. Nonetheless, reading it is the 2nd best thing.

Sir John Falstaff is once again such a fool - but a lovable and hilarious one at that. Having read Henry V - where Falstaff ostensibly had met his end - I was pleased to see him so alive(pardon the pun) in this short, albeit clever play. It is no surprise that The Merry Wives of Windsor enjoyed such a long and successful stage run during Shakespeare's day and continues to be one of his most popularly staged plays. Recommended as a fun break from the more serious and murderous Shakespearean tragedies.

"Why, then the world's mine oyster,
Which I with sword will open." - Pistol

This is Shakespeare's 2nd last play. Yet, nothing indicates that he was running out of steam. The images are beautiful. Stephano, Caliban, and Trinculo are memorable as the bumbling conspirators. Miranda and Ferdinand are fine as the two young lovers. Ariel is striking as Prospero's loyal servant. Prospero is a magnificent creation. Not only does he offer several beautiful and memorable passages, but he is well drawn as a character who was unfairly forced into exile. He also makes his prison his paradise. In addition, he is a fine representation of Shakespeare himself: "Knowing I loved my books, he furnished me / From mine own library with volumes that / I prize above my dukedom" (1.2.166-168). His speeches in 4.1 and 5.1 also reflect how Shakespeare himself was contemplating the end of his career. The story itself is very well drawn. Shakespeare grabs our attention with a storm at sea. He offers us a reflection of himself, comical touches, beautiful images, profound passages, beautiful language, young lovers, comical villains, and deep messages. If you like this, be sure to read his final play "Henry VIII."

One of the best works by Shakespeare and also his final full play (most likely), The Tempest draws on many elements that Shakespeare used in his earlier works and adds a comic twist. Shakespeare doesn't spend much time on character development in the Tempest, other than Prospero and possibly Caliban (e.g. Miranda is the ideal chaste woman, Trinculo & Stephano are lowly schemers). However, Prospero is extremely well developed and the simple aspects of the other characters do not detract from the story at all. There are many different levels of meaning at work in the play...some see it as a pro-colonialist diatribe, others see it as Shakespeare's own swan song, where Prospero himself is based on the Bard, and Prospero's surrendering of his magical powers is representative of Shakespeare giving up his craft. I read it as both, and a million other things, and that is one of the great things about the play...it can be read in so many different ways. The structure of the play seems almost chaotic at first, with so many things going on at once. However, if you read the play over again, or read some of the essays contained in the Signet Edition, it becomes much more clear, although still open-ended. The Signet Edition is excellent, and Signets in general are. Buy this over the Folger Library editions...the footnotes here are much easier to work with and make the reading much smoother overall.

Compared to some other works of William Shakespeare, "The Tempest" may be the deepest in meaning. To Shakespeare's credit, this play is also, unlike many of his others, largely original and of his creation. The characters are bloody well developed and the interloping themes bring you into the play. It is also amazing to follow the metaphorical parallelisms in the character of Prospero that reflect on Shakespeare himself. Essentially, Shakespeare announces the end to his writing days in this play. Read how Shakespeare went out like a champ! "The Tempest" is a universal story and its ideals can be placed in our contemporary society and culture.

Shirley's early novel "City Come A Walkin'" takes us on a surreal (and frequently brutal) jaunt through a near-future San Fransisco where the city's overmind has the ability to manifest as a mirrorshades-wearing techno-shaman with a marked dislike for bad guys. The brilliance and terror behind this straight-forward tale is Shirley's refreshing refusal to cling to genre conceits. "City Come A Walkin'" challenges the nature of identity as well as the parameters of urban morality.

This book really opens up your imagenation, because it's plot. You really need to look at the wording to understand a lot of it.The only thing I didn't like about this novel was it was a little slow at times.

This is probably the most unique concept I've come across. The idea of a the city's consciousness manifesting itself is fresh and interesting. It's hard to believe this title is as old as it is. It seems like recently written cyberpunk. Pretty obvious that instead, all other cyberpunk has taken from it.

This installment of The Daily Study Bible Series covers the Pastoral Epistles and the letter to Philemon. William Barclay has given us a good devotional study firmly rooted in biblical scholarship.

Scholars have disputed Pauline authorship of the Pastoral Epistles (I and II Timothy, Titus). Barclay's introduction covers the issues involved well. He takes a middle position where a later teacher expanded genuine Pauline fragments. Unfortunately, he does not expound this view in the commentary itself; he is silent about which sections are genuine and which are later. Since "we are still hearing the voice of Paul" (13), it probably did not occur to him to make the distinctions. Barclay's introduction to Philemon includes an interesting if speculative account of how this short letter became included in the New Testament.

The commentary itself is best described as expository. Barclay does not only analyze the Greek text. Using exhortation, anecdotal stories, and other sources, he also suggests what these texts might mean today. From a strictly academic viewpoint, this commentary will seem superficial. For the popular audience for whom Barclay has intended this work, it should serve as a springboard for further study. Barclay provides a list for further reading for this purpose.

Though this book is a good introductory work overall, the reader should be aware of a couple points. The first relates to these epistles' stances on women and slavery. Any casual reading of the letters will strike the reader as bordering on misogyny and condoning slavery. Barclay places these tests in the situation of the Roman/Greek world in which Paul wrote them. He makes a valid point that doing almost anything else would be scandalous (with women) or even dangerous (with slaves). To his credit, he says those circumstances no longer apply. However,considering the history in which these texts were and are used, I have to think he soft-pedaled these issues. After all Christianity is supposed to be "light for the world" (Matt. 5:14, NJB).

The other issue concerns Barclay's treatment of other religions. When Barclay mentions them, he almost invariably creates straw men of them. He makes at least one anti-Semitic accusation without evidence. Against these straw men, Barclay over idealizes Christianity. Even granting this work is now more than twenty-five years old, Barclay should have been above that.

In his series of New Testament Commentaries, William Barclay gives us a commentary on the "Pastoral Epistles" and Philemon. 1 Timothy, 2 Timothy, and Titus are called the Pastoral Epistles because Paul had written them to encourage and advise two pastors in Early Christianity. They give advice concerning the character and conduct that Christians should have, specifically the character and conduct of a church's pastor.

Where Barclay's strength lies is in the meticulous analysis of the text. Paul tends to pack a lot in his sentences; Barclay picks the sentence apart and brings things into clearer view. While he does an admirable job discussing Paul's world in the light of the times (when slaves outnumbered free men, when women were neither to be seen nor heard, etc.); how Paul's words can be applied to a modern, slave-free, woman-respecting society; and spends a great deal of time analyzing Christian conduct.

While the commentary is generally good, it wasn't much that I hadn't heard or read before. It can be argued that this was Barclay's intention. Since he translated the entire text from the original Greek, quoted many other Bible verses and Paul's pagan contemporaries (to illustrate the thinking of the day), etc., he could have written a pretty good commentary series intended for Biblical scholars. Instead, he wrote one for the regular chruch-goers.

I do have to throw in one comment concerning the inerrancy of the Bible. Barclay speculates that Paul may not have written the entire epistle, but rather that someone found one of Paul's old letters and re-wrote it to address the Gnostic heresy in the Church. This speculation is dangerous as it encourages one to pick apart the Bible and throw away the parts that he/she doens't like. It makes the Bible subjective ("I don't like that part about no murder. I don't believe the Holy Spirit wrote that, so I'll ignore it."). The Holy Spirit doesn't need an editor; It will have what it wants in the Bible and make sure that any "false teachings" are not included.

In all, this is a pretty good commentary. It gives a thorough, Biblical analysis of the conduct of Christian pastors and lay-people. It also gives a healthy view of the historical period in which these letters were written.

I have found Barclay's Daily Bible Study Guides of the New Testament the best in-depth commentary of the bible books. He presents scholarly analysis in very easy to read passages. Reading this book in particular greatly increased my understanding of Paul's extraordinary letters to Timothy and Titus on Christian leadership principles.

I really enjoy the book Neuromancer, and was really excited when I found a copy of the graphic novel in a used book store in my home town. Since it was sealed I could not look inside until I got home. I must say I was truly dissapointed with the poor art work. I realize the story is the thing, but I bought a graphic novel for the graphics, I already have the text version, and would have stuck with it had I known the art work would be so bad. There is no excuse for a novel of such high quality to have such a low standard of art. While the street scenes and inside scenes looked good the people were lacking. I thought that the character Molly Millions was drawn especially poorly. She looks like Sylvester Stallone in drag most of the time. I am sorry to say this graphic novel was a dissapointment.

I'm fortunate to have a copy of this. It covers the first third or so of Neuromancer. It's a shame they didn't continue it.

Other William Gibson rarities and short stories at my complete bibliography/mediagraphy, http://www.slip.net/~spage/gibson/biblio.ht

If you like SF, specially the cyberpunk branch, this book is a must. Case, a Netrunner (who cannot jack in the net due some neural damage) is hired to do another run, to crack an ICE, to get into Tessier-Ashpools data...

Gibson's world is vivid, and he takes us trough lot of scenarios, all of them decadent, and all of them possible these days: Night CIty in Japan, Istambul, An spacial station full of Rastafarian guys (The sionites), Ashpool the last of the true magnats in the world...

And the personages are all interestng: Molly, a bodyguard (a razon-girl) with some kind of mirrorshades instead of eyes, Ratz: a bartender with a russian plastic arm, and even the AI's.

I liked it very much, and it's avery good introduction tho the cyberpunk world, that has been partially showed to us with films like "Johnny Mnemonic" or "Lawnmower", and the recent released "The Matrix"

just a comment. The term "CYBERSPACE" first appeared in this novel

With its scenes of war and mobs, CORIOLANUS is a work best expirienced on the stage, of course, being one of his least popular plays, it doesn't get produced too often.

The only killing Coriolanus does is on the battle field, but he still comes off as a much less likable character than the murdering Hamlet or Macbeth because Coriolanus spends much of the play berating the citizens of Rome. CORIOLANUS has often been called Shakespeare's manifesto against democracy because of this, but the play is much more complex than that. Yes, it's a play about the fickleness of the masses, but it's also about leaders who don't perform their responsibilities either.

The play is much more political than emotional, and therefore not one I'll return to often, but its political statements are as timely today as they were 400 years ago, if not moreso.

I never understood why this play is so unpopular. Coriolanus is a very striking figure. He is a brave and valiant soldier. Yet, he has contempt for the people he protects. In all honesty this is very common. Shakespeare never allows the intensity of this play to drop for a moment. At first Coriolanus fights to the extreme for Rome. Then he fights to the extreme against Rome. His reconciliation with his former enemy Aufidius in 4.5 is a very memorable scene. Only when he is confronted by his mother, wife, and son does he go through a crisis of conscience. It is interesting that because he begins to see the world in terms other than himself, his downfall becomes inevitable. To be sure, this play is not a masterpiece like "Julius Caesar," "Hamlet," "King Lear," or "Richard III." But it is A LOT BETTER than some of his popular plays like "Othello" or "Romeo and Juliet." I highly suggest it!

This inexpensive volume is a fine edition with very readable text, good notes, and a nice introduction. Coriolanus is not one of Shakespeare's most popular plays, though it has its partisans. As with several of Shakespeare's best plays, it is an attempt to combine an investigation of the nature of power with a psychological portrait. The nature of power or kingship was one of Shakespeare's great themes, featured in some of the great tragedies like MacBeth or Lear, and this theme runs through many of his history plays. In Coriolanus, however, this theme is handled less well. It is interesting to speculate why Shakespeare, who dealt with this theme so well in many plays, doesn't do such a good job in Coriolanus. The action in Coriolanus is set in a republic, not a monarchy. The structure of republican politics is not one Shakespeare would have known well and the problems of politics and authority in a republican are different than those of a monarchy. Particularly for modern audiences, whose intrinsic understanding of republican politics is much greater than Shakespeare's, the clumsy handling of the tension between the aristocratic Coriolanus and the plebes rings false. In addition, the psychological portrait of Coriolanus is not nearly as rich as Shakespeare's analysis of quite a few of his other protagonists. Much of the language in Coriolanus is powerful but it lacks the dramatic movement and insight of his best work.

I just finished rereading Dahlgren for the first time in 25 years. Man, have I changed! I had a much different reading experience at the age of 45 than I did at the age of 20! A couple of the reviews here are (almost) helpful; but I empathically feel that the prospective buyer may wish to know a little bit more. In short, if you are genuinely intelligent, then you will enjoy this novel; if you go through life pretending to be intelligent, then you will hate it (you will probably become very ANGRY). Forget the fact that this novel does NOT have a plot (in the ordinary sense)! Delany's brilliant writing has created some of the most memorable and believable characters in the history of science fiction! I know of few other writers (read that: "artists") who've so successfully created an experience that places the reader inside the mind of mentally ill person. Brilliant! The entire novel takes place inside of a surreal city where inexplicable things happen: do not try explaining the inexplicable; you will only frustrate yourself. (The setting reminds me a little of Tarkovski's "Stalker.") Now a little history lesson: Samuel R. (aka, "Chip") Delany (nephew of the famous Delany Sisters, I hear) burst upon the science fiction scene in the early sixties and quickly became (arguably) the best science fiction writer in America. Delany could CREATE more original ideas in ten pages than other sci-fi writers could produce in an entire novel! (Read his short stories in the Driftglass collection if you want proof!) When I was reading his books back in the late sixties and early seventies, I got this notion that he was out in the world LIVING life, while other sci-fi writers were hiding away from the world (escaping into their loner self-delusions). Scores of lesser writers have made whole careers from copying Delany's original ideas and style; but Delany is The First, The Original. Read him! If you are new to Delany, then I highly recommend that you read several of his other works BEFORE you read Dahlgren. Delany won back-to-back Nebula Awards for Babel-17 and The Einstein Intersection. Read them! He should have won a third Nebula for Nova (at least it was nominated for a Hugo; but they probably felt it was someone else's turn to win). Read it! In "The Fall of the Towers" trilogy (written between 1961 and 1964), Delany has a plot element involving soldiers who are unknowingly fighting a war in virtual reality (20 years before Gibson's Neuromancer and 30 years before the Matrix!). And now for Dahlgren. After reaching the top of his profession as a sci-fi writer in 1968 (at the tender age of only 26!), Delany seemed to turn his back on sci-fi. Although he has denied this in interviews, I have a notion that Delany wanted to become a writer of Great Literature, not just a writer in the lesser genre of sci-fi. (I personally believe that Delany was frustrated that his writing talents had exceeded the reading talents of the sci-fi fans.) And then came Dahlgren. Dahlgren begins and ends in the same style as Joyce's Finnegan's Wake (the end cycles us back to the beginning); perhaps this is Delany's way of telling us something about this novel. As other reviewers have mentioned, Dahlgren does not have a common plot; nothing is explained; there is no resolution. In my mind, this novel is entirely abstract: don't look for crystalline explanations; look for the METAPHOR! Also, this is NOT really a sci-fi book; it is Delany telling you about scenes from his real life (I believe). If you have read Delany's autobiographical book Heavenly Breakfast, then you might suspect that Dahlgren was drawn from Delany's journals from 1969 to 1973. Eighty percent of this novel could easily have been published as a period-piece from that era. In Dahlgren, we are not so much reading about the main character (a native American half-bread named The Kidd) as we are reading about Delany himself (an urban bisexual black man living in a 70s commune with a bunch of characters whose sole purpose in life is getting balled and high). In one scene in the novel, Kidd looks in a mirror and sees not his own reflection, but the image of his creator (the author, that is). And then there is the famous notebook that The Kidd finds at the beginning of the novel: a notebook (obvious dropped by the author who invented Kidd!) that describes incidents in Kidd's life before they happen. (Reminds me of Breakfast of Champions.) And who the HELL is William Dahlgren! ;-) My only complaint: Delany needed his own version of Ezra Pound to convince him to edit this novel. I get the feeling that Delany was unwilling or unable to throw the least scrap of writing onto the cutting room floor! Sometime, plot elements seem to be invented ENTIRELY to glue together unrelated writing exercises! But, what am I saying! Delany is The Master!

"You have confused the true and the real," reads the epigram at the beginning of this long, complex novel. The true and the real? Are they different? So what? What does that have to do with anything, anyway?

Welcome to Dhalgren, the masterwork of science fiction's most learned and intellectual practitioner. I have worked my way through this long book (879 pages in the Bantam paperback edition) once or twice a year since I discovered it in 1976. Each time, I spot more details, attain a deeper understanding of the story and the ideas that lie under it.

The book is the story of a young drifter who has somehow lost track of his name and many of the details of his life. He travels to Bellona, a made-up city that has, some months or years before, undergone some cataclysm, a breakdown of society. Television and radio don't work. There is no contact with the outside world. Almost everyone has departed, leaving gangs, back-to-the-earthers, do-gooders, and others. In the absence of laws and authorities, they find a way to live together. The main character--called variously "the kid," "the Kid," and "Kidd" (keep track, these variations are significant)--finds a place in this anarchic protosociety as a poet and a gang leader. Ultimately he creates an identity, a sense of who he is...and in the final pages, leaves the city.

The city is not a normal place. Buildings burn without being consumed. Some laws of physics seem suspended. One night a second moon rises over the city; the next day, everyone agrees not only that the second moon was there, but they also share an understanding of the second moon's name. None of these details are explained.

The textual complexity is immense. Early in the book, the Kid finds a discarded notebook with writing on only one side of the paper. He flips through it to a random page. The text on the page is almost precisely the same text that appears on page 1 of Dhalgren--that is, Kidd's own story! The kid keeps the notebook and begins using it as a journal. He writes poetry in it. One long section of Dhalgren is presented as a palimpsest--that is, a document in which layers of embellishments and commentaries are presented as an integral part of the text. In this section, it is impossible to tell which portions are written by Kidd and which already existed in the notebook when he found it.

Throughout, Delany uses kaleidoscopic, beautiful language. Pick a page at random and read it aloud; it will sound like poetry. One marvels at the sustained effort that allowed Delany to maintain the vision and tone of this book through 879 pages.

The book starts in mid-sentence, by the way. And it ends mid-sentence. The two ends fit; it's possible that the final words of the book are the beginning of the first sentence, and that the entire novel can be read in a circle.

Explicit sex scenes--heterosexual, homosexual, groups--and adult language mean this book is not for everyone. But if such things don't bother you, pick up a copy. Delany will take your imagination on a ride you will never forget.

I was given my copy of Dhalgren four years ago by a close friend who told me,"You have got to read this book!" I took the book and read it. I was stunned.

Delany's use of language and symbolism in Dhalgren conveys the feelings and actions of how a counter-culture society would exist in extreme situations. A deserted city; no day; no night; two moons and a bloated sun--are some of the bizarre happenings in the city of Bellona.

Delany also delves into the hearts and minds of his characters, allowing them to express with word and deed a mirror of today's world views with a subtlety that will stun anyone who apprieciates literature.

Not a book for the faint of heart, Dhalgren contains violence and very graphic sexual scenes.

If you love stories that explore human nature, Dhalgren may be a book for you. It's labeled Sci-Fi only because Delany had built a name for himself as a sci-fi writer before the publication of Dhalgren with his books "Nova" and "Trouble on Triton".

Dhalgren is a great read but take your time and absorb it. If you have trouble with it, put it down and come back to it later. Whatever you do, read the book cover to cover. You will not be disappointed.

Let me preface this by saying that I love William Gibson. I think he is a phenomenal writer who is wonderfully intelligent and imaginative. In every one of his books, he spins fanciful, thought-provoking yarns that are utterly absorbing and linger long after the last page has been turned.

So if this is true about Virtual Light (and it is), why three stars? Well, unfortunately VL felt to me like Gibson spent a lot more time worrying about some of the really neat ideas in the book (the homeless community on the Golden Gate Bridge, which was wonderfully described, the Costa Rican data havens, the TV Christian cult, etc.) than about the story.

Several of the characters felt quite underdeveloped, a few even unnecessary. This is not uncommon in Sci-Fi, even in Gibson (though his characters are usually very good, and several here are, too), but here it felt like it detracted from the story significantly rather than being a minor nuisance. Additionally, the plot, though interesting, didn't actually go far until the end of the story. Things you might expect to happen in the first 100 pages weren't happening until 250, and the horribly deus ex machina ending occurred so quickly that I could hardly believe the book was over. Not that what Gibson did in the end was bad, necessarily (minus the "divine" intervention that allowed it to happen). It's just that he took 100 pages worth of plot and condensed them into about 10.

Having said all that, though, the book wasn't that bad. I was very absorbed in it while I was reading, and almost all of the ideas in the story were very interesting. However, I'm glad this wasn't the first or even the third Gibson novel I read. I'd recommend you start with Neuromancer or his new one, Pattern Recognition, if you are new to Gibson's writing. If you aren't, this is still a worthwhile read, as long as you can forgive its flaws.

This book has a little less tech than I expected from Gibson. Indeed, the virtual light glasses, although a driving part of the story line, played a very small role in the story as far as actually being used for anything. Far more interesting to me is Gibson's portrayal of the social structure built on the remains of the Bay Bridge, how bits of junk and scraps of lives formed a microcosm of the larger NoCal/SoCal world but with its own rules and mores or lack thereof. I found the characters well fleshed out and sympathetic. The book moved a a good pace with several interesting storylines. The depiction of SF bike couriers was cool too. A solid start to this trilogy.

This is the first book in the trilogy (Virtual Light, Idoru, All Tomorrows parties), and a good place to start if you are new to Gibson.

In my and most peoples opinion, it is only second to Neuromancer, not because of style or content, but because it's not as revolutionary and original.

William Gibson is excellent in describing characters, technology and environment. This book represents a 'new' style for him (as opposed to Neuromancer, Count Zero and Mona Lisa Overdrive). He focuses more on the characters and their travel to the new semi-dystopian world of technology.

At the end you'll want to get your hands on a copy of the sequels (Idoru, All Tomorrows Parties). What the heck! Just buy them too right now!

Well, I can not say that W.D. Howells was another Nathaniel Hawthorne. But what I can say is that his "The Rise of Silas Lapham" is A LOT better than some books that were made famous (probably for political reasons). Do not expect the superb images and construction of Hawthorne. But what we CAN expect is a timeless message about society. At first Silas is a rich money grubbing monster. (Just think of Dickens' Scrooge.) He finds ways to cut his friends out of deals, alienates his family with the want of more money, and even gets his wife upset. Ah, but later things go bad, and he starts losing money. This is when the human side of him begins to show and he becomes a very sympathetic character. In my opinion, to enjoy this even more, you must assume that before the book opens, he WAS a good and decent man. Once he ran into immense wealth, he grew detestable. So while, this is not exactly a masterpiece, the degeneration of Silas and his return to humanity is ample material to carry this book and place it in the American Museum of Literature.

This is a must read book and provides a glimpse of business morals in the nineteenth century. Read first, Mark Twain's "The Gilded Age" and Charles Dickens' "Martin Chuzzlewit". Silas' 'rise' is not ironic unless accumulation of wealth is your only value. While his monetary assets may shrink, his family 'prospers' in many ways. Clearly, Howells makes the point that honest work can bridge the gap of old rich and new. Commerce is not inherently bad, but it does ask the question, how far should one go in disclosure and protecting others from their potential investment folly.

I've had William Dean Howells' "A Modern Instance" and "The Rise of Silas Lapham," like many, many other books on my bookshelf for a long time. A recent meeting of a reading group of mine finally allowed me to make the time to read Howells' 1885 work, "Silas Lapham". I am extraordinarily glad I did. From the start of the novel, we are drawn into the world of late 19th century Boston, post-Reconstruction America, where newly rich industrialists attempt to enter the society life of old money. Howells crafts an extraordinarily realistic look at the American Dream gone awry.

"The Rise of Silas Lapham" begins with an interview that a local newspaperman is doing of Colonel Silas Lapham, a mineral paint tycoon. Lapham's account of his rise from the backwoods of Vermont to his marriage, to service in the Civil War, to his propagation of a successful mineral paint business is chronicled and gives us a taste of the effort and perseverance necessary for his rise, as well indicating the possibility of some potential failings, especially with regard to his one-time partner, Milton Rogers. We soon learn that Mrs. Persis Lapham aided a society woman in distress the year before, and the return of her son, Tom Corey, from Texas, signals another sort of ambition on the part of the Lapham daughters, Irene and her older sister Penelope. The rest of the novel plays out the ways in which the Laphams try to parley their financial success into social status - and how the Laphams are affected by the gambit.

Howells explores a number of significant cultural issues in "Silas Lapham": isolationism, social adaptability, economic solvency among all classes, personal integrity and familial ties, and the relationship between literature and life. The fact that the story is set about 20 or so years after the end of the American Civil War sets an important and subtle context that runs throughout the novel and inflects all of the thematic elements. The ways that the characters interact, the way that the society functions, even though the majority of the novel takes place in Boston, is importantly affected by the fact that Reconstruction is drawing to a close, Manifest Destiny is in full swing, and ultimately, America was at a point of still putting itself together and trying to view itself as the "United" States.

Howells' treatment of the social interactions between the industrially rich Laphams and the old moneyed Coreys underscores the difficulty in creating and maintaining a national identity, especially when the people even in one northern city seem so essentially different. The romance story involving the Laphams and Tom Corey is obviously an important element of the story, and Howells does an amazing job of not allowing the romance plot to become as overblown and ludicrously sentimental as the works of fiction he critiques in discussions of novels throughout his own work. "The Rise of Silas Lapham" questions the nature of relationships, how they begin, how they endure - the contrast between the married lives of the Coreys and the Laphams is worth noting, as is the family dynamic in both instances.

I'm very pleased to have gotten a chance to read this novel. Generally when I say an author or a work has been neglected, I mean that it's been neglected primarily by me. Having turned an eye now to Howells, I am very impressed with the depth of his characterization, the ways he puts scenery and backdrop to work for him, the scope of his literary allusions, and his historical consciousness. This is certainly a great American novel that more people should read. It may not be exciting, but it is involving, and that is always an excellent recommendation.