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how God can take an obvious tragedy and turn it into something beautiful if only we love and have faith placing all things in God's capable hands. My faith was not what it should have been, but after reading Charlie's story I can tell you it has increased a hundredfold. I wish I could have known Charlie, but thanks to Mary Jo, I now feel like I do. Not only has my faith deepened in this wonderful God we have, but by the time I finished this book I knew without any doubt in my mind that I wanted to become a physician, not only to help relieve suffering, but to help those who's suffering seems almost unbearable to know that there truly is such a thing as redemptive suffering and I believe with all my heart that Charlie is responsible for the saving of many souls. I only pray that my life's work as a physician and healer of the body can also bring about a comfort and healing to the soul. I begin my studies to become a doctor later this year. Thanks Charlie, you just scored another big TOUCHDOWN because your beautiful story has changed my life forever and brought me closer to Jesus.


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"Bel-Ami" is hardly an original premise. How many books written through the years discuss the idea of a rural man heading to the city to make it big? That is exactly what happens with this book in the form of main character Georges Duroy. After a five-year stint in the French army, Duroy moves to Paris to make his fortune. Regrettably, Duroy is languishing in a lowly job as a railroad clerk until he meets his old army buddy Forestier. From this point forward, Georges is on the fast track to success. Forestier gets him a job at a scandal rag named "La Vie Francaise" where Georges rapidly ascends the ranks from lowly reporter to chief editor. Along the way, Duroy engages in all sorts of amorous adventures with women both high and low on the Paris social register. By the time the story ends, Georges is within sight of the highest positions in French society, all accomplished through sheer cunning and social maneuvering.
There are so many themes running through this sordid tale of the decadent Third Republic that it is impossible to adequately describe them all here. The introduction to this Penguin edition, written by translator Douglas Parmee, does a good job of showing how incidents in Maupassant's life appear in the character of Georges Duroy. The protagonist's rural background, his experience in France's North African expeditions, his work as a reporter and the subsequent expose of the seediness of journalism, the numerous affairs, the social positioning, and the philosophical musings on death are all expressions of Maupassant's personality and activities. I do hope, however, that Maupassant was not as big of a cad as Georges Duroy because this character may be one of the biggest jerks in the history of literature.
You cannot help but hate Duroy. He has little self-control except when he realizes that holding off on a conquest might mean self-advancement. Georges takes his mistress to the same theater where he picks up prostitutes, takes money from people without paying them back, corrupts women of high moral standards, sleeps with his boss's wife, seduces his boss's daughter, and physically assaults his mistress. There is just no way to sympathize with this guy, and the fact that he gains riches and fame is particularly galling to anyone with any sense of decency. But that is the message De Maupassant is trying to convey; that the complete decadence of French society during this time allows the likes of Duroy to succeed, and to succeed with a smile. Witness the scene towards the end of the book when Walter, Duroy's boss, grudgingly accedes his daughter to Georges's slimy scheme. "He will go far," says Walter, with more respect for Duroy's distasteful achievement than disdain for his lack of morals.
Another theme in the book, and one that runs through the pages like a 400-pound gorilla, is hypocrisy. The propensities for backstabbing, lying, and blatant disregard for self-realization in "Bel-Ami" is laugh out loud astonishing. These are shallow, manipulative people without a shred of decency, and Maupassant never passes up an opportunity to expose these despicable people. The hypocritical stance of the characters and situations often vie with powerfully descriptive passages of Paris and the French countryside, which are truly beautiful to read and have probably accounted for thousands of tourist trips to that country. The characters in "Bel-Ami" may be of no account morally, but they move and live in an environment of unsurpassed beauty.
Maupassant's knowledge of his own impending death weighs heavily in the story. Two sections highlight his musings on mortality: the monologue of the poet Norbert de Varenne and the death of Forestier. For the author, his slow deterioration from a disease made death a daily reality. What seemed to worry De Maupassant the most about death was not punishment from God but the idea of nothingness and being forgotten by the living. Of course, death makes no impression on Georges Duroy, who experiences only a moderate twinge over the passing of Forestier before making a play for that man's wife in order to improve his social position.
I am elated that I discovered this author. Guy De Maupassant is a brilliant writer whose early death robbed the world of a great talent. Although his short stories are considered some of the best ever written, do not pass by this novel. I have rarely seen an author who can write about mundane, daily situations with as much aplomb (see the scene about the fencing party as a prime example). De Maupassant's masterful abilities make this ordinary plot strikingly original and I will revisit this author again in the future. You should too.



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Through his time there, Nouwen discovers that the monastery is not built to solve problems, but to praise God in the midst of them.

Once I started reading this diary I couldn't hardly put it down!
Definately one of the better books I have read in a long time.
Also very profound remarks in this book. I'm sure I'll be reading it again.


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What was so wonderful about Henri Nouwen was that God was everywhere for him, in the simple as well as the most complex. His message of hope and love resonnates not only with his core Catholic constituents, but with Protestants like me, and I suspect, with people of other faiths as well. I have yet to read a book of his that hasn't moved me and helped me grow in my faith. This one is no exception. Definitely a keeper and one to be reread!


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The book is well organized into chapters each focusing on the life of one individual artist. The author skillfully and humorously connects information about artists' personalities, preferences, and lifestyles with how they affected their most well known artworks. It recreates each one's position in history, telling how the artists were seen by the general population in their day, or even their reputation among curious or superstitious neighbors. Readers will be able to see for themselves that famous artists were real people who did mess up once in a while. The author explains a time when Leonardo Da Vinci decided to try out a new painting method, saying, "The technique resulted in disaster...(he hadn't read all the way through to the part that said "don't try this on walls")."
The author's voice helps compliment the content in several ways. Kathleen Krull's words strike a tone that is warm, chatty, and friendly, making you feel as if she were talking with you in the same room. Her gossip extends not only to the basic facts but also to many specific details abou the artists' lives. Showing the passion and tragedy in his life, she remarks about the artist Vincent van Gogh,"Van Gogh imposed a condition of near starvation on himself and would go for days without food so he could afford to buy art supplies." In addition, every sarcastic or humorous comment made on the part on the author helps readers to feel they are getting to know an actual person rather than a cold, vague historical figure.
The author also ensured that the book would appeal to an audience of both children and adults. The words and explanations are engaging and humorous and immediately capture your interest, yet the vocabularly is not too difficult for children. The full-page color illustrations are vivid, clever, and bring to life each artist for the young and old alike. Because the book gives more information about each artist than is generally known, it is sure to benefit and interest a wide range of audiences.
Readers of all ages will definitely become hooked on this fact-filled and entertaining biography. Lives of the Artists: Masterpieces, Messes (and What the Neighbors Thought) retells the one of a kind stories of each of the world's most famous artists, blending historical facts with humor and captivating details. Most importantly it allows readers to recognize each individual artist through an attractive mix of their achievements, lives, and unique personalities.



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Henri also shows people how to be glad by applying the example of jesus to your life. Also, to deal with the challenges which God applies for you, only to make youself stronger.
I find it amazing that he could put all this very enlighting material into this very short read. I recommend it to anyone who wants to know more about life. To various people who want to find the ticket to extreme happiness, this book is for you!


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If nothing else, it will amuse your friends who love cats (and even those who don't).

If you know someone with a cat, this would make a very fine gift. Just don't leave it lying where their furry companion can find it - it may just give them some ideas! It would similarly make a great gift for a young person grappling with French lessons - it would give them something to astound their teacher with!

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Cole does to the sonnet what postmodern consciousness does to the self--he wrenches it, shatters it, sucks it dry, turns it inside out, and sometimes, for a moment, holds it in a quiet embrace. The central problem of his book is knowledge, which made Apollo a god but divides us from ourselves. Cole seeks to unite body and mind in a self through Arte Povera poems - rough, impromptu works "in motion, / stroking toward what [he] cannot see" ('Apollo'). But the self proves to be neither a temple for the spirit nor a sturdy Greek column, and Cole becomes a tourist and connoisseur of his own disintegration -- he is marble rubble, broken stanzas, stray glimpses of porn flicks, bouts of loveless fellatio under the pier. The poet is a Visible Man in what he calls an "erotic x-ray of my soul" ('Self-Portrait as Four Styles of Pompeian Wall Painting').
Though Cole refuses to flatter us with sweetness, he can be very funny, mingling exquisitely precise imagery with comic observation. Ancient crumbling statues resemble "bodies sinking in quicksand," but "a luckless prick / is frozen in the stucco." Scholars "eat big bowls of pasta / and drain their preposterous bowels" ('The Scholars'). Many passages are marvelous - history has "white teeth / jammed with gristle" ('The Black Jacket'); forgiveness is "so hard to swallow it unshackles us" ('26 Hands'); a house is "illuminated all night, / like the unconscious, though no one enters" ('The Coastguard Station').
Cole is determined "To write what is human, not escapist." He makes himself "at home with evil, with unexamined feelings, / with just the facts" ('Apollo'), and welcomes the "Stranger, with genitalia greased," crooning, "Come, unlace my boots; I chose you" ('Etna'). Here the nervous system is, for better or worse, the organ of the mind.

