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A great introduction to an exuberant tale for the young, especially for boys. It's not a wimpy fairytale by any means, even if there is a princess and kissing at the end. Warhola and Thompson do a commendable job. Should be reprinted!
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The book Shiloh, a realistic fiction book, is a great book. Shiloh, by Phyllis Reynolds Naylor is about this boy, Marty, who found a dog. [...]Naylor made the characters in her book as real as she could. With Marty, the main character, you can hear what he is thinking. You can't literally hear him think, but the book says what he is thinking. If you have read Jade Green, also by Naylor, you probably know what I am saying.
This book is all about animals. It talks about animal abuse and how to try and help animals that were abused. All through the book Marty knows Judd Travers is abusing Shiloh, the meanest guy in town. He tries to tell his parents but they will not believe him. So they give Shiloh back to get more abused.
Shiloh is a very touching book. I suggest that you read it. Any body would really like it. It would be especially be good if you love animals.
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Alice through the Looking Glass is similar to the prequel, yet glaringly different. The whole book revolves around a chess game, and so the character's actions correspond to moves on the chessboard. Alice joins in the game, starts out as a white pawn, and proceeds to move until she becomes a queen. At each square, she meets a new character, but in one chapter, characters from the previous book are in this one too. An important thing to know in this famous classic is that everything is backwards. It makes sense since Alice is on the other side of a mirror, yet she encounters difficulty sometimes in understanding this. But in the end, she manages to become a queen and to checkmate the red king. Both books are very enjoyable, and I strongly advocate both children and adults to read it. Enjoy!! Cheers!!!!! : )
AAIW is about a young girl named Alice whose boring day with her sister is interrupted when a white rabbit runs by her saying, "Oh dear! Oh dear! I shall be too late!" Alice's curiosity is aroused, but surprisingly not to a great degree. This is the first hint to the reader that Alice is not an average child, as she seems to believe that a talking rabbit is quite normal. She does become intrigued, though, when the rabbit produces a clock from his pocket, so she follows it down its hole and enters a world of wonder. I loved the story from this point on. It is filled with such unbelievable creatures and situations, but Carroll's writing style made me want to believe in a world that could be filled with so much magic and splendor. There was never a dull moment in the story, and each page was filled with more excitement. I will offer a warning, though. This story is not for those who like a neatly packaged plotline. It is written in a somewhat discontinuous nature and seems to follow some sort of dream logic where there are no rules. However, I enjoyed the nonsensical pattern. Without it, a dimension of the story would be lost. It offers some insight into the mind of a young, adventurous, fearless girl, and Carroll seems to be challenging his readers to be more like Alice.
The second text in this book, TTLG, is again a story about Alice. In this adventure, Alice travels through a wondrous world on the other side of her looking glass. As in AAIW, Alice again encounters absurd creatures, such as live chess pieces and talking flowers. The land she travels through is an oversized chessboard, which gives this story a more structured plot than AAIW. The chess theme provides Alice with sense of what she must accomplish in the looking- glass world, and it provides the reader with a sense of direction throughout the story. Alice's goal is to become a chess queen, so the reader knows that when she becomes queen, the story will be over. However, just because the story has some structure does not mean that it is not just as wild and marvelous as its predecessor. I enjoyed all of the characters. They seem to have an endless supply of advice that people in the 21st century can still learn from. My favorite example is when the Red Queen says, "Now, here, you see, it takes all the running you can do, to keep in the same place. If you want to get somewhere else, you must run at least twice as fast as that!" Maybe what Carroll is suggesting is that if we read more nonsensical, unbelievable stories like his, we won't be so afraid to be adventurous and fearless like Alice; so that the next time a white rabbit runs by us, we might just see where it leads us.
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I only write all this because I'm afraid readers who would truly enjoy this book may be turned away, not wanting to read a book about fishing. It's a beautiful story, beautifully told.
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Dante's Hell differs from the traditional view of everyone together amongst flames. Here the dead receive different punishments based on their sins. Thus, the lustful are caught up eternally in a whirlwind, and astrologers and magicians have their heads reversed (so those who tried to fortell the future can only see their past). Nowhere, however, does anything seem wrong. The dead are placed into Hell not by an unjust God, but by their own decisions and actions. INFERNO is a slow beginning, most of the grace and beauty of the Comedy lies in the subsequent volumes, PURGATORIO and PARADISO. However, this first volume has a solid role in the allegorical significance of the Comedy. Dante wrote not just a simple story of quasi-science fiction, but a moving allegory of the soul moving from perdition to salvation, the act which the poet T.S. Eliot called "Mounting the saint's stair". While INFERNO may occasionally lack excitement on the first reading, the next two volumes thrill and upon reading them one can enjoy INFERNO to the fullest.
I believe that the best translation of INFERNO to get is that of Allen Mandelbaum, which is published by Bantam (ISBN: 0553213393). Mandelbaum's verse translation melds a faithful rendering of the Italian with excellent poetry, and has been praised by numerous scholars of Dante, including Irma Brandeis. Here's an example from Canto XIII, where the poet and Virgil enter a forest where the trees are the souls of suicides:
"No green leaves in that forest, only black;
no branches straight and smooth, but knotted, gnarled;
no fruits were there, but briars bearing poison"
Mandelbaum's translation also contains an interesting introduction by Mandelbaum, extensive notes (which are based on the California Lectura Dantis), and two afterwords. The first of these, "Dante in His Age" is an enlightening biography of Dante and how he came to write the Comedy while in exile. The second "Dante as Ancient and Modern" examines Dante both as a wielder of classical knowledge and as a poet working in a new and distinctly late-Medieval style (the "dolce stil nuovo") which broke poetry out of the grip of Latin and made it something for people of every class.
Inferno is the story of Dante (same as the author) who becomes lost (spiritually/mentally) at the age of 35 and finds himself at the base of a path leading him on a long and wonderous journey. Dante meets Virgil (see the Aeneid) and Virgil becomes Dante's guide through Hell. Along the way Virgil explains why certain people are being punished and Virgil will communicate with his contempories (as Dante will communicate with his own.)
Ciardi's translation keeps in touch with Dante's terza rima rhyming scheme. This is a strict translation, where some words may seem slightly out of place. There are liberal translations out there, but not in such a wonderful rhyming pattern. Ciardi also ends each Canto (chapter) with infomation as to characters and information that readers may not know. (As Inferno was written in the 1300s.)
And, if nothing else and you're really bored from reading this, try to figure out where you would fit in Dante's Hell.
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But "Dracula" is neither flawless nor innocuous. It's a scary read, and sometimes a dense one - as the book progresses, the excitement is increasingly broken up by literally pages of speechmaking and other nineteenth-century affectations. While these may be interesting to a student of literature or history, they're static to the modern thrillseeker, and I found myself confused as to whether the author meant the characters' extreme statements of love, hate, allegience, etc. to be taken seriously.
This is the dilemma of "Dracula". It's a good scare and an interesting read, but the length and breadth of the book convinced me that there must be more to it. The characters seem too obviously stereotyped - the men in their valiant, unselfish approach to villainy and the women in their purity - to be serious, and the plot proceeds along a course so obvious that it seems the author must be mocking himself. But that's the problem with reading a classic after you've seen the rip-offs: the classic seems old and overdone, a cheap parody of itself.
Still, classics have a lot to offer. Beyond the fantasy element, "Dracula" offers a mixture of the traditional epic tale of man against the evil beast without, and the modern introspection of man against the evil beast within. Despite its flaws, it is a worthwhile read.
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I can't tell you anymore, because you have to read the story, it's an absolute must. It's my favorite of Elizabeth George Speare's books, and I've reread it 10-11 times.
were going back in time? That is how I felt while I was reading this book about a 16 year old girl who has to move to the unfamiliar Connecticut colony to live with her relatives because her father has died and she has nowhere else to go. Everything is so different from her sunny Carribean home where she has lived most of her life.
This book takes place in 1687 in a small town in Connecticut called Weathersfield, a stern puritan community. Kit Tyler, the 16 year old, comes to live with her Aunt and Uncle after her father's death. Even after she settles in to her new life, she starts to feel caged like a bird. She is unhappy and unliked by the townspeople because she acts so differently. For example, she wears expensive silk dresses, knows how to swim and becomes friends with the local witch. She meets the local witch, named Hanna, in the meadows, by the swamp, the only place Kit can feel completely free. Her association with Hanna and the fact that Kit is different form the townspeople cause her to be accused of witchcraft. Can she prove to them she is not guity of witchcraft before it is too late?
The reason I like the book was because of the strong, action-filled plot. I also liked reading this book because it had portrayed the time period in which it took place accurately. The book seemed very plausible that a town in those days could panic and accuse a stranger of being a witch. I also liked the book because I liked the main character. Kit is someone that I would like to have met because she is independent, and wants to be accepted for being different. One thing I didn't like was the town's atmosphere. The atmosphere was dark, and strict, and loaded with witch hysteria.
I would recommend this book to people who like the genre of historical fiction, and particularly the time period of witchcraft. This book would appeal to those in sixth to eighth grade who are studying this time in American history. This book is more for teenage girls than boys given it female main character and narrator. There is also a love story in the subplot that would appeal to those who like romance. If you have read and liked the novel "The Scarlet Letter", this is another good book to read.
The climax of the story is when the main character is tried for being a witch. This review is not going to give away the outcome of the trial, but it is a strong finish to a well told story that will not disappoint the reader. I guarantee it! The conclusion will leave you feeling that almost anyone could be found guilty of breaking strict traditions in this stern peritian community where this book takes place. Can Kit escape the town's accusations and find happiness in this cold region, so unlike her native home?