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People who are into listening to scary 'true' stories by the campfire will probably like this a lot. It's like one of those stories you heard of which you just KNEW they weren't real, but gave you the chills anyway. That's also the case here. You go through the story asking yourself if what's going on is the legend being forfilled or if there's a more down-to-earth thing going on. Grant Morisson does what he does best, he's giving clues without giving it away, keeping the reader on his toes. Klaus Jansons art is suitable for the story and especially the way he draws the architectural backgrounds deserve some credit. I don't think many people who are into Batman comics will feel disappointed after reading this.
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Aggripina the younger stands out among all the women ,( if one can discount Livia, Augustus wife in Graves incomparable "I, Claudius", where he portrays Livia as villai) who is married to aging Claudius, the fourth emperor. She runs the kingdom in his name and manages to bypass Claudius own son and places her son, Nero on the throne. How does Nero reward her? He lets her go out on a faulty boat to drown. What are sons for?
Few emperors, imperators were tyrants, megalomanias and sadists and most of them were murdered by conspiracy. Why any body wanted to be one is puzzling as no doubt they all knew the history so well. So Lord Acton is right. It is human nature to lust for Absolute power.
The Roman history is fascinating read of human nature, ambition, treachery, power and above all its glory.
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He presents a very factual and well-researched account, though I take exception to several of his assertions and theories, including the one where he asserts that Octavian wanted Cleopatra to commit suicide because he was afraid the Romans would want to free her as they did her sister Arsinoe. Arsinoe was just one random Egyptian princess who defied Julius Caesar. Cleopatra was the occidental temptress who had ensnared and ruined two of Rome's best men. She was probably the most vilified and hated of all Rome's enemies in history, for with Cleopatra, it was intensely personal. The very idea that the bloodthirsty Romans would have a sudden sentimental streak towards her is pretty laughable.
But on the whole, his theories are soundly researched and well justified, even when I disagree with them. The book has some lovely portraits and a more in depth examination of Cleopatra's forebearers than is usually presented in her biographies. Moreover, he has an excellent perspective on the supposed 'inevitability' of Cleopatra's loss, and how the world may well have been different had things gone another way.
It's a reasonable and scholarly work that makes a fine addition to my collection. If you're looking for something to move you, you may prefer Margaret George's "The Memoirs of Cleopatra".
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The whole story dwelled way too much between the love affair between Stan and Rafik. What the hell happened to the lovable sassy hairdresser we all knew and loved in A Body To Die For and Love You To Death? Stan was reduced to an insecure,lovelorn bumbling idiot. ALL of us know that yeah yeah Stan loves Rafik blablabla. It became sickening when Stan began spouting flowery prose about Rafik's beauty, their love for each other, etc etc etc every few pages or so. Like ENOUGH ALREADY!
Moreover, the ending was so lame that it needed crutches. Whoopde doo. Like I was SO surprised when the killer was revealed in the end. So much for intrigue.
Honestly, I am glad that the author decided to kill Rafik off in the later books. Good riddance, I'll say.
Stan solves murders much like a Jessica Flecher would: dogged determination and a mind which can focus on details. Read ALL the Kraychik mysteries in order: A BODY TO DIE FOR, LOVE YOU TO DEATH, DEAD ON YOUR FEET, MASK FOR A DIVA, TIME TO CHECK OUT, and his latest, DEAD AS A DOORNAIL. You will fall in love with the characters in the books.
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Yet there were also aspects of the book that I found saddening, even worrying. Wendy Robinson states at many points her faith that there was a normal child somehow "trapped" inside her autistic son, that the autistic boy was just a shell, not the real Grant. In some ways, her quest for a "miracle cure" seems to involve a rejection of the autistic son she describes so well and so affectionately. She praises a number of treatments, such as facilitated communication and holding therapy, which have been claimed to liberate the normal child supposedly trapped inside the autism, without mentioning that both of these have not only been scientifically discredited but also criticized as potentially extremely damaging to the autistic child and their family.
Many high-functioning people with autism such as Temple Grandin have made it clear that there is no normal person inside, and written movingly about their need to be accepted as they are. However difficult and sometimes frustrating living with an autistic person can be, rejecting them in favour of an imaginary normal child inside them is no solution.
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Jaffe's significant talents find best expression when exploring the psychological consequences of growing up in an environment which permits neither ease or coherence. Despite learning, at an early age, the notion of social responsibility, the children "had rubbed against things too sharp for the hands of the young. They'd been spittoons for words of terrific cruelty, they'd felt the sting of noses turned bloody. Awfulness that usually began in defense of things they didn't completely understand: their mother's work or their father's mind."
In addition, the author skillfully interweaves Mercer's anxieties about the ramifications of her life's work on her children's safety. "...This is what worried Mercer most: someday, intelligently, one or more of her children might come to the decision that their mother had placed them all in trouble's way for a belief they did not share." Kendall's increased instablity further isolates the Boones from a neighborhood steeped in hypocrisy and isolated anger. Jaffe's subtle depiction of the Boones' neighbors is superb. Lukin seethes with intolerance, disdain and fear at the Boones, a family that simply does not fit in with the truncated hopes of a working-class community. After Kendall's institutionalization, the neighborhood heaves a sigh of relief, however guiltily, that at least one detriment to community stability has been removed.
As the children age, their realizations mature. Garrett "accepted the parallels in his parents' lives: one needing protection from others, one needing only protection from himself." Not until young adulthood does Clem have a serious conversation with her mother about Mercer's decision to provide abortions, and the mother's measured response is one of the most eloquent defenses of the right to choice imaginable. "'I'd imagine no one wishes there weren't a need for abortions more than the doctors who perform them...But I can't just hide my eyes and hope it'll disappear. The only satisfaction - if that's even the word - I can take from doing abortions is knowing I gave the patients the best medical care I was capable of. A proficient set of hands.'"
"Skateaway" is not without its flaws. Written in three distinctive parts -- childhood, adolescence and adulthood -- the novel never fully coheres. Jaffe also has difficulty with the narrative; constant flashbacks tend to interfere with understanding rather than enchance it. The writing tends to be uneven as well; some pages have lyrical beauty while others are mundane. Nevertheless, the strengths of the novel far outweigh the weaknesses. A devastating conclusion reaffirms the undercurrent of fear swirling in "Skateaway." Jaffe poses very troubling questions and does not flinch in attempting to provide thoughtful and compelling answers. His characters' unique personalities and utterly believable means of responding to their unusual home circumstances elevate the importance of this novel.