Robert Hardy's "Longbow" is written with passion and verve. As a result, it is a delight to read. An erudite man, Hardy is sometimes rather intricate in his writing style. But the elegant phrasing Mr. Hardy favors is nonetheless precise and well-crafted. Once the ear becomes accustomed to the music of his language, it becomes a source of delight in itself.

Hardy cannot be faulted on the research for this book. An acknowledged expert on the origins and use of the longbow, he has traced the weapon from prehistory and documents its use in the hunt, as a weapon of war, and in sport. However, much of the book concerns the longbow in the great medieval battles of Agincourt and Crecy, in which Welsh bowmen proved the superiority of the yew bow in combat. But this is more than a simple recitation of the facts of the battles. Hardy has also looked at the men who wielded the longbow, how they were trained, how they lived, and how they were supplied. Such information makes history come alive.

The latest edition of the book includes new information on the archeological finds associated with the Mary Rose, a warship dating from Henry VIII's time, which went down in the Solent in the sixteenth century. Excavated during the 80's, the longbows recovered from the wreck revised many of the notions held about this weapon and its making. One interesting finding was that the draw weights for some of the Mary Rose bows were roughly twice that estimated for similar bows of the time in earlier research. Robert Hardy served as a consultant on this project and brings this first-hand knowledge to bear very effectively in his book.

The book's usefulness is evident when you cruise the Internet and look at the number of archery web sites which quote the book or recommend it as a reference. Invariably, it is cited as a first-rate resource for those interested in the history/making of these weapons. But even for those of us who are simple armchair historians it is a wonderfully intelligent and fullbodied read.

The author provides detailed research on the longbow from prehistory to the present. This book is a must for any student of the Hundred years War! As an avid archer I was quite happy for all the technical information on the art of bowmaking. As a devotee of medieval history I was thrilled by Hardy's scientific analysis of the bowstaves found on the wreck of the Mary Rose. A well written and thoroughly researched book.

A wonderful book. You may remember Mr Hardy as 'Seigfried' in the show 'All Creatures Great and Small'. Well he can write up a storm and enthrall you while educating you in medieval history, metallurgy, and the glories of the Longbow.

This is a book to cherish. You will never think of armour as lumps of silly iron again, and he brings the Longbow to life. If you can read, you will enjoy this - and there's some great pictures too!

"Under the Greenwood Tree" does not rank among Hardy's greatest novels, but it includes many moving moments and memorable characters. This first of the great series of Wessex novels introduces the reader to Hardy's beloved and changing countryside. The landscape and it's occupants are lovingly invoked, and the natural humour of the locals shines through.

In fact, the supporting characters are far more interesting than the hero and heroine. "Under the Greenwood Tree" is really a tale of young love, and although Hardy touchingly illustrates the yearning and naivete of his lovers, both characters remain at arm's length. This is particularly true of Fancy, the heroine, whose emotions do not become apparent until close to the tale's end.

Hardy would explore many of "Greenwood Tree's" themes more effectivly in later books, but this novel is more than just a warm-up act. The decline of English country life- one of Hardy's greatest themes- has never been as tellingly illustrated as in the sub-plot of the Mellstock Quire, and the contented, ironic ending rings as true as any of the fatalistic horrors to come.

The painter Poussin's famous title might stand as a rubric for this lovely book. Hardy views his cast of rustics through the prism of music: the old church stringed instruments choir is to be replaced with the spanking new organ. There is the added romantic interest of young musician Dave and the controversially female organist, Fancy Day.

This is a story of established customs breaking down through the interloper: a new vicar in town. Structurally divided into Winter, Spring, Summer, Autumn, it follows the natural rhythms of the earth and of society. Hardy revels in his descriptive powers.

Filled with nostalgia and that increasingly fashionable concept - "Englishness", and seasoned with wisdom and wit, this is truly fabulous - a mini-masterpice in a similar bag to, say, Mrs. Gaskell's "Cranford".

"Under the Greenwood Tree" was deservedly Hardy's own favourite among his novels.

This is one of my favorite Hardy novels! His vivid descriptions bring the rustic setting, characters, and customs to life. It's like peering through a window into a world gone by. The story weaves together love, social position, and the slow displacement of old traditions with modern conventions. A delightful read!

Patrick O'Brian's works have been compared to those of both Jane Austen and Homer. To those who haven't read the series, this might seem like a strange juxtoposition. But anyone who has read Post Captain understands this. O'Brian's novels are a marvel, mixing the story of life at sea with the goings on in 1800 Britain. Throughout the series, we see most of the world and experience the life of many characters. And all the while O'Brian develops two of the most vivid and well done characters in fiction: Jack Aubrey and Stephen Maturin.

Although the series itself starts out in Master and Commander, it really takes off in Post Captain. I've talked to several readers who's reaction to the first book was that it was good but they weren't ready to rush out that night and buy the next half dozen. After Post Captain, they're hooked, and procede to devour the entire series.

2. ~Captain Jack Aubrey and his friend, ship's surgeon Stephen Maturin, face even greater adventure, intrigue and peril in the second of O'Brian's famed series of novels set during the Napoleonic wars. Now, with a brief pause in the fighting, Jack and Stephen rent a house in the country, where their friendship meets its first serious test. ~O'Brian has found the perfect sequel to a perfect first novel: familiarity does not breed contempt, but enables the reader to travel comfortably and perceptively with his companions through a world the author clearly loves but does not render untrue. ~(If you have read the first of this marvelous 17-part series, Master and Commander, you require no convincing of the rewards for continuing. Likewise, you should not be deprived of discovering on your own the particular storylines; therefore I shall not disclose them, but in subsequent reviews only remark in the most general and faithful terms my adoration for these books. They are quite unlike anything I have ever read.)

Read this book very carefully, especially if you are committed to reading all 20 volumes. IMHO, it is the best book of the series. In book one ("Master and Commander"), I assumed that Maturin was a minor character who would not appear again. I thought he was a gay geek, and that his mysterious, solitary, on-shore expedition was of a carnal nature; little did I realize the true nature of either Maturin or the trip.

This second book focuses on developing the Maturin character as a spy; a sophisticated man of wealth, background, and education; a lifelong drug addict; and a nerdy womanizer - sort of an 19th century cross between James Bond and Bill Gates.

Chapter 4 is the most bizarre chapter in the entire series. I am still going on the assumption that the escape-across-France-in-a-bear-costume was really just another opium vision of Maturin's.

The books that follow this one vary greatly in quality of plot; some are excellent, some seem to be virtually plotless narratives, but all are worth reading. Still, book 2 stands head and shoulders above all the rest.

This is a good collection of Sherlock Holmes shorts. The first offering is what is generally considered one of the best stories in the entire Holmes canon: Silver Blaze. "The Musgrave Ritual" is very cool also, but of course, they're all good. This collection also houses the infamous short "The Final Problem" where Doyle originally tried to kill Holmes. So popular a character was Holmes (even then) that after the story was released there was a riot in the streets of London, so mad were the people at Holmes's death. Needless to say, Doyle brought Holmes back. Imagine if he hadn't...

In spite of the fact that I have all the stories, this book made me want to reread them all again. It is a hoot. You'll discover fascinating facts that will make the stories brand new and interesting all over again. This is a MUST HAVE for Holmes fans.

These Sherlock Holmes' are part of a 10 year project by the BBC to dramatize all Sherlock Holmes novels and stories. Starring Clive Merrison as Holmes and Michael William as Dr. Watson, they are enjoyable listening for Sherlock Holmes fans! Volume 2 features The Musgrave Ritual, The Relgate Squires, The Crooked Man and The Resident Patient.

The life of Srinivasa Ramanujan Iyengar is truly the most amazing in all of science. A transcendent mathematical genius, he was both amazingly lucky and the victim of incredible misfortune. Quite possibly the greatest mathematical talent the world has ever known, his discoveries still astound and baffle those who read them.
Born to a poor, upper caste Brahmin family in the area near Madras in southern India, he was self-taught in mathematics and failed all other subjects. Only the kind patronage of those who recognized, but did not understand his talents kept him afloat in his early years.
After a few years of work as a clerk, he was the recipient of an amazing stroke of luck. An unsolicited letter with a few of his results was sent to some of the highest ranking mathematicians in England. G. H. Hardy chose to read it and after serious thought decided to respond. As Kanigel accurately relates, this was astonishing.
The idea that an upper class Englishman would read and take seriously a letter from an uneducated "native" in one of the far reaches of the empire wa almost unthinkable. The author spends a great deal of time explaining Hardy's unorthodox nature. While lengthy, it is necessary to explain why Hardy took the trouble to read the letter and respond.
Kanigel also does an excellent job in describing the culture shock that Ramanujan encountered, although one suspects that he faced a bit more racism than is mentioned. While experiencing some difficulty, the British empire wa still near the height of its power, and certainly many of those in the British Isles looked down upon their "subject peoples."
All of the human interest aspects of the Hardy-Ramanujan collaboration are told in great detail. Hardy had the greatest respect for Ramanujan the matematician, once creating a rising scale of their mathematical ability that assigned the scores

G. H. Hardy    25
H. E. Littlewood   30
David Hilbert    80
S. Ramanujan    100


certainly placing Ramanujan among the best of all time. However, Hardy was totally uninterested in Ramanujan the man and recent immigrant. At no time did Hardy ever express interest in Ramanujan's life and family in southern India.
The final chapters deal with the fate of Ramanujan's work after he died. Some of it was stored away and only recently "rediscovered" and presented to the world, another amazing chapter in the life of an amazing man.
This book is a superb account of the life and times of a man whose work and insights were so incredible that no one person really understands them all. This is one of the best mathematical biographies that I have ever read.

Published in Mathematics and Computer Education, reprinted with permission.

An Inspirational account of the life of a Mathematical genius

Srinivasa Ramanujan is rightly a member of the Mathematicians' Hall of Fame. From humble beginnings in the small town of Kumbhakaon in Tamil Nadu to the hallowed cloisters of Trinity College, Cambridge, this magnificent book narrates the story of Ramanujan's trails, tribulations and triumphs.

Central to the story are the powerful influences of Ramanujan's mother and the great English Mathematician, Godfrey Harold Hardy. If his mother, Komala shaped the first part of Ramanujan's life, then surely Hardy must take full credit for bringing Ramanujan's prodigious talents to the attention of the world Mathematical community. Other prominent characters also figure in the story - notably Ramanujan's many friends, Narayana Aiyer, Gopalachari, leading lights in the Indian Mathematical establishment, members of the ruling British classes, Sir Francis Spring, the Governor of Madras Presidency, and Cambridge Mathematicians, Neville and Littlewood.

The book presents a touching portrait of Ramanujan the man: an orthodox Vaishav Bhraman, steeped in Hindu culture with all the attendant characteristics of a deeply spiritual outlook, a calm self-assurance about his abilities, and most of all, an obsession with Mathematics. Hardy, his mentor, is also biographed as the passionately atheist, Winchester educated son of a middle class schoolmaster who went up to Cambridge, and at the turn of the 20th century, almost single handed masterminded the rise of English Pure Mathematics.

Im not too fond of biographies, but I would give this book an exception.

The life of Ramanujan is amazing and one is pushed to only awe the limits of mind. Being an Indian, I can see Robert Kanigel has given a comprehensive treatment to all facets of the life of Ramanujan - his boyhood days in small town of Kumbakonam, his obsession with Maths, his seperation from Mother and his wife, his relationship with Hardy and others, his stay in London, and his final days. Kanigel has really done a wonderful job in depicting the Brahmin house-hold of the early 1900s. One could really imagine Ramanujan with a tuft and a religious symbol on forehead, but his mind calculating 10,000 th decimal of pi.

His purely professional relations with Hardy has also been very deftly depicted. How hard the days must have been! Being a Ramanujan's biography its hard to avoid mathematical formulas - and the author justifiably includes them when necessary. But even if you do not understand them - you can just wonder at the string of symbols joined together to purport some meaning.

The narration is truly captivating. It sends an horripulating feeling to the mind, when Hardy describes the first letter of formulas as "These must be true. If they are not, nobody would have the audacity to invent it."

The final days of Ramanujan are indeed sad and emotional and also beautifuly captured in the book. Typical is the life of geniuses - the world has hard time understanding them. This book is really worth in my library.

The book was very informative, filled with a lot of details, brought from various points of view (amateur sailors, Search and rescue personnel, meteorology staff etc.)

However, I felt that the sequence of the various chapters can be improved. It is very distracting when you read a story about a crew that is abandoning ship into the liferafts and all of a sudden you stop. This is especially hard when the story is a known one that previously circulated through media and among sailing enthusiasts in the marine industry. Knowing that something went wrong with those liferafts and that people lost lives, it was very distracting to stop reading at the "abandon ship" point and continue with other chapters about some other matters. (This is very strong in the case of the chapters "Winston Churchill 1" & "Winston Churchill 2").

Other than the confusing sequence of going back and fourth among the various events, I felt that the writer did an excellent job describing everything in details. It gives the reader a feeling of almost participating in the race, being in danger and being involved in the rescue.

I finished this book on a flight from Sydney to Los Angeles...with one disaster after another occurring in this massive storm, the writer keeps the reader actively turning pages throughout the book. You would not believe the bravery of everyone involved, from the actual racing teams to the rescue teams, not one person was left unphased by this experience.

I am not an active sailor now, but with some experience in racing with a crew on sailboats, I found the account of this true story gripping.

Certainly, a fun book to read, even if you are not into sailing. It may even convince you to never go open ocean sailing!

When I decided to read this book, I actually started with another book on the subject recommended by Sports Illustrated. Based on Amazon reviewers I selected this one and wasn't disappointed.

Mundle attempts to show the personal side of the individuals as well as the intense struggle on each boat and helicopter. This is a spellbinding story which he did a good job of relaying. I learned about sailing but more importantly, I learned what it felt like to confront your worst nightmare come true.

This is a great subject correctly described by the author and as a bonus, the pictures in the book are good also. Off-coast sailing? Not for me after this book.

A year ago, we learned about a LaureI & Hardy trivia book which was in the works. Frankly, we weren't expecting much, since most such books are - well, trivial. So, we were very happily surprised with Laurel & Hardy in "Big Quizness". Written by siblings Robert and Tracie McFerren and copiously illustrated by Robert, the book is an entertaining parade of unusual aspects of the L&H Þlms. Only the Þrst third of the book is the expected Trivia Contest. Questions are posed about almost every L&H Þlm, going chronologically from the Þrst (Lucky Dog) to last (Atoll K). Some of the questions are fairly easy for L&H buffs (in Come Clean, which þavors is ice-cream vendor Charlie Hall out of? Orange, gooseberry and chocolate!), while others are head-scratchers even for longtime aÞcionados (in what month does Way Out West take place?). The authors are kind enough to refrain from asking about the lost L&H Þlms Hats Off - a vitally important but long-gone 1927 two- reeler - and The Rogue Song, a 1930 Technicolor musical starring Lawrence Tibbett with Stan and Ollie in support. However, in one of the most valuable portions of the book, these two lost gems are recreated in detailed descriptions of each Þlm's action. Chapters four through ten are probably the most enjoyable, focusing on unusual facts about the Þlms. Films with "Weird or Uncontrollable Laughter" are listed, along with the perpetrator; all of the gags involving feet are described; all of the scenes in which the telephone is used for laughs are summarized. We found only a couple of mistakes (Pardon Us at its original 56 minutes is the boys' shortest feature, not the 58- minute Block-Heads; Roy Seawright did not win four Oscars for special effects in L&H movies) and a few omissions (Stan sings - brieþy - in Busy Bodies as well as the eight listed Þlms; the most outrageous double-entendre in an L&H Þlm is delivered by Ollie to Mae Busch during Tit For Tat, not listed in the "Read Between the Lines" section). Sections about the Boys' characteristics are quite interesting; we learn that Stan scratched his head 256 times, doing it Þrst in 1928's From Soup to Nuts, and most frequently - 15 times - in 1935's Bonnie Scotland. Stan's greatest quotes, collected here, are as funny as ever. A chronology of the boys' lives will prove useful to the more scholarly L&H admirers, as will a lengthy listing of non-L&H Þlm appearances made by the supporting players. Not only are regulars such as Charlie Hall thus documented; even Fred "Snowþake" Toones - who appears in just one brief shot of Way Out West - gets a listing of notable Þlms. Although there are a few stills and bits of memorabilia reproduced, most of the illustrations are charming drawings by Robert McFerren. This book is obviously a labor of love by two devoted L&H fans. It's an entertaining, amusing and enlightening read that any devotee of Stan and Ollie should own, and it's certainly going to enliven future meetings of the Sons of the Desert (The Laurel & Hardy Appreciation Society). This review previously appeared the nostalgia entertainment newsletter Past Times (Managing Editor Randy Skretvedt) and is reprinted with permission.

I have every Laurel and Hardy book there is, but this is one of my favorites. It is fun reading, enjoyable and enlightening. If you are a fan, this is a must. Everything from trivia to costars and everything in between. It is hard to find and out-of-print, so if you come across one, grab it!

"Vanity Fair" is Thackeray's masterpiece and on a par with the best of Dickens' work. Alternating deftly between tragedy and comedy, it is a story rich in character development and historical accuracy. The famous pre-Waterloo ball given by the Duchess of Richmond is described in detail and is one of the highlights of the book. Becky Sharp is certainly a model for all the other treacherous femme fatales that follow her in literature, particularly Scarlett O'Hara. "Vanity Fair" is undoubtedly one of the great works of the 1900's and it has surely stood the test of time. It may be "A Novel Without a Hero" but its characters are real flesh and blood human beings.

William Makepeace Thackeray subtitled "Vanity Fair", his masterful comic novel, "A Novel Without a Hero". But while this big, baggy eight-hundred page monstrosity of comic characters and situations may lack a hero, it has two of the most memorable characters in English literature: Amelia Sedley and Becky Sharp. The contrapuntal, shifting fortunes of these two women drive the narrative of this big book, painting, along the way, a brilliant satirical portrait of English and European society at the time of the Napoleonic wars.

We first meet Amelia and Becky in the opening pages of the novel, leaving Miss Pinkerton's School for the wider world of fortune, love and marriage. Amelia Sedley, the naive, sheltered daughter of a rich London merchant whose fortunes will dramatically change over the course of her life, "was a dear little creature; and a great mercy it is, both in life and in novels, which (the latter especially) abound in villains of the most sombre sort, that we are to have for a constant companion so guileless and good-natured a person." In contrast, Becky Sharp, the impoverished orphan of an artist and a French opera singer of dubious repute, was a calculating, amoral social climber. "Miss Rebecca was not, then, in the least kind or placable . . . but she had the dismal precocity of poverty."

From the opening pages, Thackeray captures the reader's interest in these two characters and carries the reader through marriages, births, deaths, poverty, misfortune, social climbing . . . even the Battle of Waterloo! While Amelia and Becky wind like a long, contrasting thread from the beginning to the end of this story, there are also plots and subplots, intrigues and authorial asides, and one character after another, all of this literary invention keeping the reader incessantly preoccupied and enthralled. Reading "Vanity Fair" is the furthest thing from "killing time" (as the dusty, misguided literary critic F. R. Leavis once said); it is, rather, the epitome of the nineteenth century English comic novel, a masterpiece in every sense of the word.

I once read that "Vanity Fair" had been classified as one of the "most boring classics" by a group of English professors, who hopefully have all been fired, as they can NOT have had any appreciation for the incisive use of the English language, the witty skewering of Victorian society, the rollicking plot, or the unforgettable characters. Becky Sharpe isn't likeable -- but in the end, you have to admire her insatiability and efficiency. Amelia and Dobbin live out the stereotypical storybook romance -- but Thackeray dares to show how the story usually ends. This is one of the few books that had me consistently laughing aloud; virtually every page has a stinging comment or revealing moment that catches the attention. Although it's a "classic" (think leather-bound dusty volumes with edifying quotes from the latin), this is as vital, insightful, and "modern" a novel as you could hope to read. (And for the record, I think comparing Thackeray and Austen is like comparing Stephen King and Alice Walker -- they're writing at the same time, but the similarities end there!)

Though I have never read Thomas Hardy before, I shall again very soon. I greatly enjoyed Far From the Madding Crowd. I kept associating Bathsheba, the heroine, with Scarlett O'Hara. They are both women from the past who are struggling for a place where only men typically tread. Unlike Scarlett, Bathsheba's emotions are more restrained. She's so young, but matures through the book. The reader yearns for the day she finally matures to the point that realizes she needs a partner in life, and her perfect partner is Gabriel Oak, her steadfast mate of fate.

I definitely recommend this book for one of those cold rainy weekends curled up on the couch.

I am looking forward to diving into my next Thomas Hardy novel, Jude the Obscure.

I've always condidered myself to be sort of an optimist; so it is really odd that I've always really loved Thomas Hardy's books. I count Tess of the D'Urbervilles and Jude the Obscure among my very favorites, and whether or not it is my favorite, I think that The Mayor of Casterbridge is marvelously written. Still though, reading all of that fatalism and cynicism can be a little much. It was really nice to pick up this novel and not read so many grim scenes.

Far From the Madding Crowd is a pretty simple love story driven by the characters. First, there is Bathsheba Everdeen. She's vain, naive, and she makes the stupidest decisions possible. Yet, you still like her. Then there are the three guys who all want her: Troy who's like the bad guy straight out of a Raphael Sabatini novel, Boldwood who's an old lunatic farmer, and Gabriel Oak who is a simple farmer and is basically perfect. The reader sees what should happen in the first chapter, and it takes Bathsheeba the whole book to see it. The characters really make the book. The reader really has strong feelings about them, and Hardy puts them in situations where you just don't know what they're going to do. The atmosphere that Hardy creates is (as is in all of Hardy's novel) amazing and totally original. I don't think any other author (except Wallace Stegner in America) has ever evoked a sense of place as well as Hardy does. Overall, Far from the Madding Crowd is a great novel. I probably don't like it quite as well as some of his others, but I still do think it deserved five stars.

This book was a required read for Academic Decathalon but I was handed the cliff notes and told to study them if I didn't have time to read the book. I dislike cliff notes unless I have already read a book and I need to review so I chose to listen to it on tape. I was thoroughly surprised to find myself laughing at the overly-honest Gabriel Oak proposing marriage to Bathsheba Everdene, I had been informed that this book was something of a rural comedy but I had not expected such preposterous situations and ironies. The novel centers around Bathsheba though I would not label her the heroine because the reader is often frustrated by her behavior and even annoyed by it. She is quite poor but a smart girl and a particularly beautiful one as well. Gabriel meets her and soon decides he must marry this young woman. She declines deciding that she can't love him and soon moves away. Gabriel loses his farm in an unfortunate event and through circumstance comes to be in the same part of Wessex as Bathsheba. She has inherited her uncle's farm and is now running it herself and she is in need of a sheperd and sheperding happens to be Gabriels forte so he is hired. Farmer Boldwood who runs the neighboring farm becomes smitten with Bathsheba too when he recieves a prank valentine saying "marry me" on the seal(this valentine was sent by Bathsheba and her maid/companion). He soon asks for Bathsheba's hand and Bathsheba who feels guilty for causing this man's desire says she will answer him upon his return in two months time. The union with Boldwood is not to be since Bathsheba falls deeply in love with Frank Troy and soon marries him. An ex-girlfriend of Troy's shows up but dies shortly after giving birth, Troy is heartbroken and tells Bathsheba that he loved Fanny more and still does. Troy leaves and soon is assumed dead but is truly only missing. Boldwood moves in one Bathsheba again but in a set of bizarre events Troy returns to take Bathsheba from Boldwood once more. Boldwood is infuriated and turmoil ensues. This is an escapist novel in these times and is well worth reading. Weatherbury and Casterbridge will charm you and allow you to experience the little oddities of Victorian Era rural life in the pleasantest way imaginable.

"Our Mutual Friend" is the last of Dickens's completed novels, and apart from "The Mystery of Edwin Drood", the only one of his novels I had hitherto not read. The more I've read Dickens, the less impressed I've been. Before I began "Our Mutual Friend", I thought that "Little Dorrit" was his worst, but I'm afraid "Our Mutual Friend" now takes the top spot in my list of Dickensian horrors.

It's not the length of the novel that's the problem (it being of average length for Dickens's larger works), nor the usual limitations of the author's writing style (the utterly unconvincing portrayal of female characters, the grindingly forced humour, the welter of two-dimensional characters, the inevitable surfeit of padding by an author writing to quota), rather I felt that Dickens was guilty of one of two fatal errors. Either he was over-ambitious in trying to develop simultaneously, and with the same importance, several plots within the novel, or he was incapable of deciding which plot and which set of characters should be the main driving force of the novel.

That's a pity, because "Our Mutual Friend" starts off well: a night scene on the Thames, a drowned man, a mystery concerning an inheritance. Unfortunately, I soon became bogged down in a lattice work of characters as Dickens skipped from one plot to another, failing convincingly to develop those plots and the characters in them.

There are interesting themes in the book - a febrile economy based on stock market speculation, a glut of rapacious lawyers, the contrast of private wealth with public squalor - 140 years later, has England changed that much? But such interesting social criticism died quickly, along with my interest in this book.

G Rodgers

An interesting assumption undergirds George Orwell's fascinating essay on Charles Dickens, that everyone reading his essay will have read and remembered nearly every word and certainly every character of Dickens. Once upon a time, this was likely true. We're all familiar with the story of eager readers waiting at the dock to greet the ocean liners that were bringing the next installment of Great Expectations. If memory serves, it is also a book by Dickens that the womenfolk read aloud to themselves in Gone With the Wind, while the men are out on their first Klan raid. It was undoubtedly the case, particularly when the art form of novel was itself young, that everyone used to read all of Dickens enormous oeuvre. Today though, I doubt whether many of us get past about four or five of his most popular works: A Tale of Two Cities, A Christmas Carol, David Copperfield, Great Expectations and Oliver Twist. At least, I know I've got about five others sitting on a shelf collecting dust, their daunting size defeating my mild wish to have read them. But recently PBS ran a Masterpiece Theatre adaptation of Our Mutual Friend and it was terrific, which proved sufficient motivation to read it too.

In barest outline, John Harmon is the heir to a junkman's fortune. But his father conditioned the inheritance on his marrying a young woman, Bella Wilfer, whom the elder Harmon had once met in the park when she was a mere child. Harmon rebels at the notion, for her sake as much as his own, and when fortune presents him with the opportunity to stage his own death, he takes it. A corpse, later identified as Harmon, is found floating in the Thames by Gaffer Hexam and his daughter Lizzie, whose trade it is to loot such bodies. With John's "death," the fortune reverts to Nicodemus Boffin, who had been an assistant at the junkyard. Boffin and his wife bring Bella to live with them, in hopes of alleviating her disappointment at not receiving the fortune. The avaricious Bella is indeed determined to marry money and so has little inclination, at first, to humor the affections of John Rokesmith, the mysterious young man (and eponymous Mutual Friend) who comes to work as Boffin's personal assistant.

Meanwhile, while Gaffer Hexam has a falling out with his old partner Rogue Riderhood, Lizzie gets her bright but selfish young brother into a school, where his teacher Bradley Headstone develops an unhealthy love for Lizzie. She is also being pursued by the young lawyer Eugene Wrayburn, despite the obvious difference in their social stations.

While the first story line features the moral development of Bella and the growing love between her and John Harmon/Rokesmith, the second soon degenerates.... Beyond the two basic plots, the book is completely overstuffed--with ridiculous coincidences and impossible happenings; with characters who are little more than caricatures, some too virtuous, some too malevolent; with subplots that peter out and go nowhere. Running it's course throughout the story, like a liquid leitmotif, is the River Thames and brooding over it are the enormous piles of "dust," the garbage on which the Harmon fortune is founded. It all gets to be a bit much, but it's also really refreshing to see the great novelist at work.

This is what Tom Wolfe meant when he urged modern authors to get out and look around and write about what they found, instead of penning the increasingly insular and psychological novels which have become the staple of modern fiction. Dickens got the idea for the body fished from the water by seeing rivermen at work, for Charlie Hexam after seeing such a bright young boy with his father. The "dust" piles were in fact a real source of wealth, in a society where the refuse of the well to do could be used again by the poor. If Dickens writing is ultimately too broad for us to think of the book as realistic, it at least attempts to capture the flavor (or the stench) of a time and a place and it is animated by the society that teemed around him. If Dickens ultimately seems to have tried to do too much, better a novel like this where the author's reach exceeds his grasp than to settle for one where the author ventures little. Sure it could stand to lose a couple hundred pages, a few subplots and a dozen or so characters, and it's not up to the standard of his best work (there's a reason after all why we all read the same few books) but it's great fun and, even if just to watch the steady growth of Bella Wilfer and the steady disintegration of Bradley Headstone, well worth reading.

GRADE: B

Elusive in a good way, of course. Our Mutual Friend, his last novel, shows some decidedly modernist techniques and situations that were very much ahead of their time. This novel would have been at home if written in, say, the early twentieth century. The twin images of the River and of Garbage (not just decay and dust, but also recycling and renewal) permeate the beginning of this book, and carry through with characters that don't fall into easy categories. All of the requisite Dickensian elements are here, but the reader is also presented with an ending that is both an epiphany and a recognition that the story REALLY doesn't end, after all; storytellers just move onto different subjects. In other words, there isn't the neat bow at the end of the novel that is so prevalent in Victorian literature--one more reason this novel remains somewhat apart from Dickens' other works, while at the same time being a fresh, engaging read. Probably not the best work to begin with, if you're new to Dickens, but if you have the rhythm of his prose down from other, shorter works, you'll certainly enjoy the greater complexities of Our Mutual Friend.