Is there more to interpreting reality than just the perceptions of your five senses? Is there indeed a "cosmic trickster" who decides to send you signals with irregular patterns about your own life?
In this fascinating book it is a reevaluation of older principles (the ancient Greek belief about lower and higher destiny for one) connected with modern psychology (C.Jung primarily) that leads to a mesmerising study of the phenomenon of synchronicities: events that we today tend to describe as "incredible coincidences" or dejavues without actually realising that there could be a meaning, a "code", which can reveal to us either things about to happen or can function as warnings about the future, or even, "messages" about ourselves and what we can do to alter the "higher destiny" which is the part of fate we actually can manipulate.

In the hi-tech, fast paced and materialistic modern world all this may sound like another book for "weirdos", but it can't be dismissed as others in its genre exactly because synchronicities are something mostly everyone notices at one point of life or another, and the more aware you are about them the more apparent they become.
Being a natural sceptic the first time i picked up this book i abandoned it after only being 1/3 into it becuase i felt it wasn't compatible with my own personal system of beliefs and understanding. It was only after i started noticing some startling synchronicities myself that i read it (through this time) again , only to realise that there's way more to synchronicities than, well, meets not only the eye but any of our senses.
I tend to think that the "truth" (whatever that may be) is not only something one can "learn" but it's also something one can feel and i consider both processes equally important.

The author divides synchronicities into 17 categories and studies them providing in the process numerous truly incredible examples about them. At certain parts of the book it's the examples themselves that steal the show and you may find yourself recognising situations that are in one way or the other familiar to you but you hadn't paid attention when they happened. Attention is of primary importance as you will find out if you go ahead and read it. Frank Joseph attempts to find what most of us would call a "rational explanation" about synchronicities. He's never dogmatic (to his credit) about his own thoughts and his book reads like a conversation with the reader making it one definite "cantputdowner".
In the end what he proposes is essentialy that the reader examines this his/herself and explain it in his/her terms. It doesnt actually matter how one decides to explain synchronicities he muses, what matters is that there is a different dimension of reality present for everyone waiting to be explored, discovered and deciphered.
Put this book in your bag of valuable tools.

Unity Temple is a National Treasure and it is treated as such by Mr. Siry. His research is unrivlaed in Wright circles and his writing is clear and concise. All aspects of the design and execution are included and discussed in a complete manner.

One only wishes that there were more, large color photographs to parallel the excellent writing. Would there be a second eiition with them? If one is really interested in the subject and not just the images, this is the book for you.

Nabokov, in his Lectures on Russian Literature, suggested that Dostoevsky be knocked off the canon of Russian writers, especially in favor of Turgenev, whom Dostoevsky hated. The reason was that Nabokov was against the "novel of ideas" because, he would say, it managed to achieve neither.

Demons is, of Dostoevsky's novels, the most ideological, yet still it is masterfully pulled off. Let it be known, however, that at times, the plot suffers at the expense of ideology, just as one has to expect, BUT THE IDEAS!

This book, although in my opinion it has the nuance of neither, is a perfect bridge between Notes From the Underground and The Brothers Karamazov. The intelligentsia, you suspect, are trying to build the positivistic paradise that the Underground man railed against, but as the novel progresses, you realize that the idealist vision has already been lost by Stepan Trofimovich, that all that remains is his desire to feel alive, even if that means inflicting every sort of pain. This is the same type of monster that Ivan warns against, and identifies himself with--if he were to act--in the Grand Inquisitor.

Also, please note, I tried once to read it in an older translation, and gave up somewhere in the 100s. This one I plunged through with little trouble.

Dostoevsky's tackling political novel is given new life in this fresh translation. This work has been unilaterally been praised for capturing Dostoevsky's power and subtlety. This story is about the political and philosophical ideas that swept Russia in the second half of the 19th century. These demons, then, are ideas, that legion of -isms that came to Russia from the West: idealism, rationalism, empiricism, materialism, utilitarianism, positivism, socialism, anarchism, nihilism, and, underlying them all, atheism.'' Dostoevsky, taking as his starting point the political chaos around him at the time, constructs an elaborate morality tale in which the people of a provincial town turn against one another because they are convinced of the infallibility of their ideas. Stepan Trofimovich, an affable thinker who does little to turn his liberal ideas into action, creates a monster in his student, Nikolai Stavrogin, who takes his spiritual father's teaching to heart, joining a circle of other nihilists who will justify any and all violent excesses for the sake of their ideas. Stavrogin aims for a systematic corrupting of society and all its principles so that out of the resulting destruction he may raise the banner of rebellion. A chilling foreshadowing of Stalinist years. This is a work of art in literature!

Dostoevsky, as the great historian of Russia Richard Pipes notes, hated Socialism and Socialists more than all else under the sun. This is a continuation of his bombardment of collectivists and utopianists that began with "Notes from Underground" and continued with "Crime and Punishment." Dostoevsky, a Christian and a Russian patriot (in the best -- Roger Scrutonian -- sense of the word) -- rejected anything and everything that would make men and women into mere social ciphers, cogs in the machine of history, into "means" rather than "ends" (to use the terminology of Kant).

Dostoevsky's primary inspiration for this novel came from an absolutely horrid novel by one Nikolai Cherneshevsky called "Chto Eto", or "What is to be Done?" An early bit of Russian utopianism, it was a precursor of the vicious theories Lenin/Stalin would deploy to "drag" Russia into the 20th century (indeed it was Lenin's favorite novel). The fact that some 66 million would be killed on the grand march to utopia was irrelevant (as the lunatic Shigalyov states in Dostoevsky's novel, "from unlimited freedom, I ended with unlimited despotism. . ." the solution] to the problems of mankind is to grant absolutely freedom to one-tenth and turn the remaining nine-tenths into a herd).

This echoes, of course, the magisterial "dialogue" between Christ and the Grand Inquisitor on the nature of human freedom in The Brothers Karamazov. But this novel is relevant for more than its attack on socialism and communism -- both of which, outside of Cuba, China, and a couple of bookstores in New York City and maybe California -- have collapsed precisely because they could do no more than create misery and murder. What makes The Demons -- indeed, the entire Dostoevsky corpus -- particularly relevant in this first decade of the 21st century is his take on the Russian intelligentsia/liberals of the 1840s -- a group characterized by out and out hatred for their country, which created the conditions for the rise of nihilism, terrorism, and bolshevism in the 1860s-1890s. Those 1840s intellectuals, like the "intelligentsia" of today's America, adopted a "blame Russia first" attitude toward all internal and external problems -- glorying in Russia's humiliations, and cursing her victories. It's not a far leap from Dostoevsky's Stepan Verkhovensky to the likes of Lapham, Vidal, and Moore. The real threat to one's community, Dostoevsky argues, is not the farmer or the factory worker who attends church, votes Republican, and drinks his beer in a tavern, whose sons and daughters march to war because they believe it their duty to the country that bore and sustained them, but those who, cloaking themselves in the false-prophet mantle of "dissent," spit and sneer at the foundations of community, or what Russians would call sobernost -- the things that makes Russia Russia, the things that make America America. Dostoevsky's work is both warning and antidote. It's no wonder he was banned by Lenin; one doubts he is discussed around the smart parties of Manhattan today.

A brilliant piece of writing. I truly enjoyed this book.March has created a vivid world with a minimal amount of words and a very interesting style of poetry. I don't know that I've ever read an extended poem (for lack of a better word, it doesn't really qualify as an epic) that had me so involved and so interested in the story being told. The illustrations are amazing in this edition of the book as well. Highly recommended!

This wonderful narration of one truly wild party sparks the imagination of unforgettable nights. It is written in a style that lends itself to being read aloud, as the dramatic content is high. Art Speigelman's illustrations make this night one book to remember, and add to the collection. This book will remind everyone of the night that they let their hair down and partied like the never had before, only to have to face the consequences.

The wild party is a brilliant poem that pre-empts the beats' sense of rhythm and love for the low-down and dirty elements of modern life. Even though it was written six decades ago, it is fantastically modern. With a pulsuating, driving style that includes violence, humour and excitement, The Wild Party grips the reader from beginning to end. Spielgelman's illustrations, although nice and evocative, do not match the pure intensity of the writing. Well done to Spielgelman for finding this 'lost classic' and re-publishing it (although on the spine his name gets top billing which seem a little self-centred seeing as the books power lies entirely in the words, not the pictures. Indeed the writing is so bitingly vivid that the pictures are unneeded). I have read this book over a hundred times and it never fails to quicken my pulse and ressurect my love for poetry.

L. Frank Baum's enduring story is wonderfully presented in this elegant edition and the Washington Post called Lisbeth's The Wizard of Oz "the loveliest edition imaginable."

However, the assessment of the local kids is the drawings are "weird." Perhaps intended for a more adult audience, the illustrations are beautiful--I enjoyed them--but their idiosyncratic style may not appeal to the younger set.

The characters pictured in the illustrations are dramatcially reinterpreted by the artist, however this may disappoint some viewers. The Scarecrow will look nothing like any scarecrow you've imagined. The Witch of the North is difficult to identify. This fresh point of view will be enjoyed by some but is sure to disappoint others.

I also felt the illustrations don't tell the story as well as the edition by Michael Hague or the original edition with W. W. Dinslow. (This is more important to the younger, read-to crowd, than the older, I can read it myself crowd.)

My daughter asked that we return the book and get a different edition for her. I would urge you to carefully consider the sample pages, except the sample pages don't cover a broad range of the illustrations included with this edition. The sample pages do include an image of the dramatic and striking cover. Unfortunately, in the judgement of several reviewers from 4 to 40, the other illustrations were noticably more "weird" than the cover and I don't think the sample pages represent the overall reading/viewing experience scrupulously.

The Wizard of Oz written by L. Frank Baum is a wonderful book about a young girl who goes on an adventure full of excitement and fun. Dorothy the main character lives on a small country farm in Kansas with her Aunt, Uncle, and small dog, Toto. One day a twister comes over their country farm and whisks Dorothy along with her little dog away to a make believe land called Oz. There she is greeted by the people who live there. She asks them how she can get home to Kansas. They tell her that the Great Oz will help get her home. But before she heads on her way to Oz the Good Witch of the North kisses her on the forehead and says that with that kiss no one can harm her. So she and Toto head on their way to Oz. On her way she meets The Scarecrow who wants a brain, a Woodman made of tin who wants a heart and a Cowardly Lion who wants courage. These four new friends eimbark on an adventure to the great city of Oz. Will they all get their wishes? Find out when you read the Wizard of Oz. I loved this book because not only did it have fantasy but it is a great book for all ages. I recomend it to anyone who loved being a child.

In this classic, Baum describes the tale of poor Dorothy, who is hurled by a cyclone away from her uncle and aunt in Kansas into a strange and magical world of wizards and witches. Fortunately Dorothy has the help of several companions that she meets in this new world - a stuffed scarecrow who wants brains, a tin woodsman who wants a heart, and a cowardly lion who wants courage. Together with Dorothy - who wants a return trip to Kansas - they travel to the emerald city where Oz is wizard, to ask him to make their wishes come true. Their journey is fraught with adventures, and when they finally meet Oz they discover a terrible truth, that leads them into even more challenges and adventures. The magical fantasy of this tale has pleased readers of all ages for a century, and it's not hard to see why. Baum spins a wonderfully enchanting tale that includes wicked witches, flying monkeys, talking mice, and other fantastic creatures.

Is this book more than just a fantasy thrill? Some literary critics have proposed that Baum - a strong believer in individualism and self-confidence - is working with themes about self-esteem and self-reliance. This is quite plausible, especially considering that the brains, heart and courage sought by the scarecrow, woodsman and lion are abilities that they clearly already possess - they just need to recognize them and use them. And Dorothy herself discovers that when the wizard can't help her, she must and can rely on herself. Other literary critics have claimed that "The Wizard of Oz" needs to be read as an elaborate political allegory where the various characters represent various social classes and financial structures - a not impossible suggestion, but one that's somewhat difficult to defend. Ultimately, however, "The Wizard of Oz" is best enjoyed as a wonderful story. That doesn't mean it is any less of a contribution to English literature, because when appreciated as a brilliant story, you're sure to come back to it again and again, as are your children and grandchildren. It's precisely this universal appeal that makes "The Wizard of Oz" a true classic.

Though this book set out what it was meant to do, I was nevertheless disappointed after finishing it. Enright and Ryan do describe in good detail the stalking and sinking of Japan's secret "supercarrier." However, the writing style struck me as amateurish, filled with meaningless detail probably meant to provide a human touch but instead distracting. A tougher editor could have tightened this book up and increased the suspense.

I disgree with some of the previous reviewers. This is a great read for adventure and it is true. It competes well with fictional Tom Clancy novels. A small U.S. submarine under an unlucky Captain sinks the largest ship in the Japanese Navy.
Shinano was the sister ship to the battleship Yamato (A Glorious Way to Die) and converted into a carrier, the size of one of our nuclear carriers today. The Japanese intended to confront the U.S. Navy with the tremendous firepower of the Shinano. Instead a lowly submarine sinks the Shinano on her maiden voyage.
Regardless of whether the submarine captain Enright or Ryan wrote the story, it is great adventure. Enright is certainly frank in his views, even about his own shortcomings. Both the Japanese and American sides are presented here and this makes it good reading. One understands the fog of battle, after reading about the pursuit of the carrier. A good quick read which is not fiction.

During the years before the outbreak of World War II, the Japanese navy constructed two super-battleships, the Yamato and Musashi. There was a secret third ship, the Shinano, that was to be included in this class. However, with the rise of the aircraft carrier, it was decided to convert the Shinano from a battleship to a carrier. Measuring almost 900 feet in length, Shinano was the largest aircraft carrier in the world, and she held that distinction until the United States launched the USS Enterprise in the 1960s. Cloaked in secrecy, the conversion took place. Crewmembers were threatened with imprisonment or execution if they muttered even the slightest words about the existance of Shinano. Due to the extreme secrecy of her construction, many essential tests, which would later prove to be fatal, were not conducted on Shinano. For example, the watertight integrity of the bulkheads and seals were never tested properly.

An ocean away, Captain Joseph F. Enright and his submarine Archer-fish, were leaving for the boat's fifth war patrol. Captain Enright had been haunted by the memory of failing to sink an enemy carrier earlier in the war while serving as commander of the submarine Dace. Feeling inadequate as a commander, he asked to be relieved of command. After serving at the American submarine base on Midway island as a relief crewman, he finally got his chance to command his own boat again, and he was determined to make sure that he didn't repeat his earlier mistakes this time around. Taking up his patrol station along the main Japanese island of Honshu, Archer-fish awaited action. This particular area of ocean had become known as the "hit parade", due to the large number of sinkings by American submarines. On Tuesday, November 28, 1944, Archer-fish sighted a large enemy vessel with four escorts. This proved to be Shinano. Unable to run at maximum speed due to only eight of her twelve boilers being lit, and also suffering from a problem with her propellers, Shinano was limited to a speed of approximately eighteen knots. What ensued over the next several hours could only be described as a classic game of cat and mouse. Enright and Archer-fish desperately tried to keep up with the Shinano while trying to anticipate any course changes she might make. Finally, at 0300 hours on Wednesday, November 29, 1944, the Archer-fish was ready to fire.

A spread of six torpedoes leapt from her torpedo tubes, each being fired at eight second intervals. Four explosions rocked the Japanese carrier while Archer-fish dove for the safety of the depths. The ship was mortally wounded. Her protective bladder had failed to stop the torpedoes, and, in the words of Enright, they cut through the bladder "like a sword through butter". Later that morning, the Shinano, with her bow raised high out of the water, slipped below the surface of the Pacific Ocean. Her maiden voyage had lasted all of seventeen hours.

This is a very exciting book. The format is excellent, with the chapters alternating between the action on the Archer-fish to the action on the Shinano. The first-hand account of the action by Captain Enright leaps off the pages and places the reader directly at the conning tower during the attack. Loaded with action and adventure, this book is a must for submarine readers.

The Pit was obviously not written recently. With its dated language and pre-PC attitudes toward sex and gender roles, it portrays a simpler time. However, when it describes trading and the risks of falling in love with a position and believing that the market is "wrong", it is as topical as the internet bubble.

While reading it, I couldn't help but compare it to Arthur Hailey novels like "Wheels" or "Airport", because this is the story of an industry told through the eyes of real people with their own foibles, loves, and idiosyncrasies. Laura Jadwin, nee Dearborn, tells most of the story. Her inner conflict between self-centered materialism and desire for "perfect" love forms the backdrop to the financial saga enmeshing her husband, Curtis. All in all, this is a good read but may move too slowly for some people--except for the climax of Jadwin's corner of the wheat market, which is as fast-paced as a Clancy novel.

The Pit is a story about the Chicago Wheat market during the early 1900's. Norris writes a historical / romance book in which Laura Dearborn finds herself in Chicago from Boston. Almost immediately, she is beset by a variety of suitors. However, she is most taken by Curtis Jadwin, a sophisticated businessman who is influential on the Chicago Board of Trade.

After marrying Laura, the conservative speculator, after making a nice profit on the wheat market, becomes obsessive over controlling it. As the story unfolds, his wealth grows in a short period of time and for a while he captures the market. Ultimately, though, the market corrects itself and he must save his fortune as well as his wife, Laura, whose love begins to flee from lack of attention from Jadwin.

I found this book very slow at the beginning. However, once the market traps Jadwin, the book becomes exciting and the pages fly by. Laura is a realistic character, although I didn't have a lot of sympathy for her - she come off rather spoiled and hapless. Norris's point about the addictiveness of speculating on wheat futures and the power that it has over the rest of the world is evident. A solid book and worth reading by those who like that period of time or are interested in Chicago's history.

norris thrilled me as a junior in high school with realism. "The Pit" my recent read some 17years after highschool can only be understood by someone that has gone through trading on some level. It wasn't so much greed but lust to trade. go downtown ny or chi right now and watch the faces of the boys/men /women and this novel will transcend time for anyone.

This book was an easier read than many hypnosis books on the market. There are also many relaxation scripts to help get beginners started. I have been exposed to many types of hypnosis practices and I must say that I like self-hypnosis the best, but I do feel that some exposure to a professional can be very beneficial. I have been using this book as an aid for about 4 months and I must say the changes are indescribable. I have lost weight (a lot!), become more disciplined in my studies and have a more rewarding relationship with my boyfriend of 4 years. Also, since the suggestions are my own that I am giving, then I am not as prone to accept suggestions from others and as result, I am more aware of negative energy amongst other people and don't take it on. This is a great book and in conjuction with other tools such as relaxation, some exposure to personal therapy, it can/will have amazing effects and the that is the truth!

If you care about yourself and well being, this book is for you! The book is easy to read and enjoyable. You can apply self-hypnosis to almost anything in your daily life. There's no magic in hypnosis, it's all about the positive attitude and response. The book in general has very good tips on how to relax and have a better way to live.

For two thousand years Christians and historians have searched for more accurate descriptions of Jesus of Nazareth. Following Gutenberg's printing of the Bible in the 15th century, untold millions have been able to read the four gospels, Mathew,Mark, Luke and John as they seek for the true portrait. Inspiring as the accounts are, nevertheless, these descriptions of Jesus are not identical. While the first three show a fairly similar Jesus as a humble, itinerant preacher and healer walking about the countryside with a group of followers, the gospel of John portrays a majestic, from the beginning of time figure, of the very Son of God. Frank Tribbe, from a lifetime of Bible study and travels to countries significant for early church history, has written a refreshing narrative describing Jesus as he might have been seen through the eyes of Joseph of Arimathea. Tribbe acknowledges that to write his book, he has used fiction adding to the biblical accounts. Building on the friendship of Jesus and Lazarus, he suggests that Lazarus might have been the real author of John's gospel. Tribbe's precise details of Herod's scourging of Jesus and the final hours of the crucifixion are heart-rending. Tribbe is known for his devoted years of research to the shround of Turin, the garment provided by Joseph of Arimatha for wrapping the body of Jesus for burial. Far from just a book of fiction, I, Joseph of Arimathea builds on known data to give a moving account of Jesus of Nazareth and the earliest days of Christian history.

In his richly textured historical novel I, Joseph Of Arimathea, author Frank Tribbe presents the story of the rich man from Arimathea named Joseph, a disciple of Jesus, and the person who laid Jesus' body in a tomb of rock following the crucifixion. Here is also related the experiences of the women most closely associated with Jesus and the encounter of those who met the resurrected messiah on the road to Emmaus. This vivid, engaging, highly recommended novel draws upon apocryphal New Testament texts (particularly the Gospel of Nicodemus) to recreate the life of Joseph of Arimathea, Jesus, the various disciples, Lazarus, Pilate, and others. The reader is treated to a fascinating account of the survival and earliest history of the Shroud of Turin; the "lost years" of Jesus before entering his brief public ministry as recorded in the Gospels; Joseph of Arimathea's role with respect to introducing Christianity to Britain and the west (before it reached Rome); as well as details of daily life in the first century, descriptions of travel, plausible reconstructions of ancient business practices, languages, literacy, education, and metallurgy. A unique, entertaining, and thought-provoking work of meticulous and literate fiction.

I initially approached this book with a great deal of trepidation. I had never read Dostoyevsky, and was concerned that I would get bogged down in some lengthy, mind-numbingly boring, nineteenth-century treatise on the bestial nature of man or something. I am happy to report this is not the case. Instead, and to my delight, it is a smoothly flowing and fascinating story of a young man who succumbs to the most base desire, and the impact this has both psychologically and otherwise on himself and those around him.

To be sure, the book seems wordy in places, but I suspect this has to do with the translation. And what translator in his right mind would be bold enough to edit the great Dostoyevsky? But this is a very minor problem.

What we get with Dostoyevsky is dramatic tension, detailed and believable human characters, and brilliant insight into human nature. Early in the novel our hero meets and has a lengthy conversation with Marmeladov, a drunkard. This conversation is never uninteresting and ultimately becomes pathetic and heartbreaking, but I kept wondering why so much time was spent on it. As I got deeper into the book, I understood why this conversation was so important, and realized that I was in the hands of a master storyteller. This is also indicative of the way in which the story reveals itself. Nothing is hurried. These people speak the way we actually speak to one another in real life, and more importantly, Dostoyevsky is able to flesh out his characters into whole, three-dimensional human beings.

And what a diverse group of characters! Each is fleshed out, each is marvelously complex. Razujmikhin, the talkative, gregarious, good-hearted, insecure and destitute student; Sonia, the tragic child-prostitute, with a sense of rightness in the world; Petrovich, the self-important, self-made man, completely out of touch with his own humanity; Dunia, the honorable, wronged sister: we feel like we know these people because we've met people like them. They fit within our understanding of the way human beings are.

Dostoyevsky also displays great insight into human nature. Svidrigailov, for example, talks of his wife as liking to be offended. "We all like to be offended," he says, "but she in particular loved to be offended." It suddenly struck me how true this is. It gives us a chance to act indignantly, to lash out at our enemies, to gain favor with our allies. I don't believe I've ever seen this thought expressed in literature before. In fact, it never occurred to me in real life! Petrovich, Dunia's suitor, not only expects to be loved, but because of his money, and her destitution, he expects to be adored! To be worshipped! He intentionally sought out a woman from whome he expected to get this, and is comletely flummoxed when she rejects him. His is an unusual character, but completely realized.

There is so much more to talk about: the character of Raskolnikov, which is meticulously and carefully revealed; the sense of isolation which descends on him after committing his crime; the cat and mouse game played on him by the police detective. I could go on and on. I haven't even mentioned the historical and social context in which this takes place. Suffice to say this is a very rich book.

Do not expect it to be a rip-roaring page turner. Sit down, relax, take your time, and savor it. It will be a very rewarding experience. And thank you SL, for recommending it.

This is book is one of the greatest novels written. It was however written originally as a piece of propaganda. Its author was a political conservative who was concerned about the spread of Western ideas in Russia and how they could destroy society. It was a theme that he was to return to in some of his other novels notably the Devils. The book was written at a time when novels produced in Russia had to be supportive of the autocratic system and this was passed by a state board.

The central theme is about a young student who decides to kill an older woman in his apartment block. The reason for the murder is not gain but rather to show that he is a person who is free and like a Napoleon. Dostoevsky also intended to write another novel called the drunkard at the same time. The plot of that novel involved a man who forces his daughter into prostitution because of his inability to control his urges. Instead of bringing them out as separate novels Dostoevsky intertwines the two stories and makes the young prostitute the means by which his main character can be redeemed.

The book starts with the murder and follows the gradual realisation by the police of the identity of the murderer. Although the book started out as a simple expose of the way that western ideas could corrupt the youth of Russia it grew into something else. In part that was because of the development, some time after the novel was published, of philosophical systems which stressed a moralism of self actualisation. The sorts of systems of Nietchze and Kirkagaard. It is also a novel which tends to speak to young people. At least once in a young person's life they feel like the hero, wanting to do some act which defines them as superior to the common heard, to express their freedom or individuality. Ironically they identify with the hero who is meant to be an example of a person who is redeemed by rejecting the sorts of ideas which is the reason why people now read the book.

Whilst the main attraction of the book is a message which was at variance with the reason it was written it is still a classic. Everyone has to read this as it is one of the most remarkable books written.

This book was written in 1865-1866 and shows the dark side of the human psyche. A young man (Rodion) commits a horrible, disgusting crime for two main reasons: 1) He believes that he is above the rest of humanity and that it is "permissible" for him to commit murder and 2) He believes he will be doing society a huge favor by getting rid of this old woman. He murders the old woman and is overcome with grief and guilt, although he doesn't recognize them as such. He is angry about these feelings because, as a superior human being (which is believes he really is), he shouldn't be having these kinds of emotions. The novel continues through his emotional hell and finally, at the end, his redemption through the love of a young woman. The details of this novel are incredible and, in my opinion, far surpass those found in the thriller novels of today. Dostoyevsky has a style that has yet to be equalled. This is not a "quick and easy" read, it is a somewhat heavy read, but it is (in my opinion) worth every minute of the reader's time!