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After exiting a short-lived dismal marriage Jude then meets and falls in love with his cousin who ultimately leaves her husband and moves in with him. There is no "happily ever after" in this novel. Sue, his lover, has sexual problems that need the ministrations of Dr. Ruth, who unfortunately was not available at the time. Sex is repellent to her, and so she and Jude live fairly platonic lives; lives that are not made easier by society's negative reaction to their living in "sin".
Jude and Sue are nice, if not psychologically whole, individuals. You wish them well, but Thomas Hardy has decided to sacrifice them to his philosophical views. He burdens the poor couple with society's repressive attitudes toward women, the lower classes, and marital nonconformity. A novel that begins with the hope of springtime, ends in a winter of despair.
It is a pessimistic, depressing story that examines Victorian sexual and societal mores, and for this it was condemned by many critics. Hardy was so affected by this criticism that he never wrote another novel. Instead he successfully turned to poetry, although his pessimism was again apparent in some of his verses (Read for instance his elegant poem "God's Funeral"). Some of the novel is a bit melodramatic, but that is a common trait of many works of the period. My credulity is strained somewhat by the basically non-sexual relationship of Jude and Sue. Sue is described as an attractive, intelligent and even flirtatious woman. Put simply, I could not fall in love with such a lady, and live with her as brother and sister.
I enjoy many Victorian novels because they combine outstanding literature with an exposition of the society of the times. Hardy is one of England's best. Highly recommended, and I strongly suggest that you buy the Norton Critical Edition of this work. In addition to the novel text you are provided with interesting information about the author, and a collection of contemporary and current reviews of the novel.
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Dewey was a capable enough performer that in 1924 he was booked for a solo performance in the cultural heart of America. In the audience was the noted music critic Deems Taylor. Taylor commented upon what he perceived as Dewey's contrived emotional stage effects, but this flaw was dwarfed by a more essential one: suffering from laryngitis, Dewey's voice totally shut down halfway through the program. A thoroughly mortified Dewey was forced to take stock of his career, and as a second choice he decided to pursue a law degree. Columbia University of the 1920's enjoyed a plethora of great legal minds, and even the frustrated singer came to develop a passion for law and the potential theatrics of the courtroom.
Dewey's rapid ascent through the law profession was abetted by two factors: his labors on behalf of New York City's struggling Republican party, and the patronage of George Z. Medalie, who would become Dewey's legal and political rabbi. Medalie, a major character in this treatment, enjoyed a thriving private law practice, but he was drafted for one of the city's frequent, and usually unsuccessful, forays against organized crime, which literally held New York in a stranglehold in the 1920's and 1930's. Medalie, who had once consulted for Dewey's firm, brought this "prodigy" into his investigations of the seamy criminal underbelly of New York including, as it turned out, the disappearance of Judge Crater.
Not even Medalie could have imagined what kind of courtroom tiger he had unleashed. It was to Dewey's advantage that few intrepid souls wanted to tackle the dangers of addressing organized crime, particularly when corruption pervaded the police department and the courts. Dewey became New York City's district attorney in 1935, prosecuting famous gangsters, politicians, and public figures with a take no prisoners approach. Smith describes several of the most famous investigations in considerable detail, but it is Dewey's style that is most intriguing: a workaholic perfectionist whose "when in Rome" style and prosecutorial armtwisting were not for the prudish. Dewey's face became one of the most recognizable in America-through newspapers, newsreels, and a series of Hollywood B-movies in which Dewey lookalike actors reenacted the more famous of his investigations.
After the substantive defeats of Hoover in 1932 and Landon in 1936 many Republican voters in the 1940 primaries turned to the fresh aggressive look of Dewey. By May 1 Dewey stood at the head of the pack, but May 1940 proved to be his undoing. Smith observes that it was not a Republican challenger who derailed Dewey's victory train, but Hitler himself. After the disaster of Dunkirk, Dewey became "the first American casualty of the Second World War," as one wag put it at the time. As the war came visibly closer to American life, Dewey's youth and limited international experience became glaring obstacles to his White House hopes. Defeated for the nomination by Wendell Wilkie, Dewey captured the New York state house in 1942. A genuinely compassionate man, Dewey's lengthy tenure as governor was marked by fiscal conservatism and social reform. His vision was remarkable: he predicted the postwar housing shortage and developed a state surplus for postwar needs. He saw the fiscal possibilities of a better highway system and sowed the seeds for what would become the interstate highway system by his advocacy of the New York State Thruway, which now bears his name.
Had Dewey's ambition been quenched in Albany, he would probably be remembered as one of the most effective state leaders of the century. Regrettably for his posterity, it is his unsuccessful runs for the presidency in 1944 and particularly 1948, when he "snatched defeat from the jaws of victory," that most Americans associate with Dewey. Smith does not psychoanalyze the 1948 event, as many historians do, nor does he demonize Truman, whom he credits with conducting a masterful if brutal campaign. Smith concedes that Dewey's 1948 campaign was too ethereal, but in the final analysis Dewey was a victim of himself. Like Nixon, he was not a natural gladhander, and his perfectionism in crafting his speeches not only resulted in a wooden product but devoured time better spent in personal appearances.
Smith describes Dewey's personal life as that of, well, a rich suburban Republican. Early in his career Dewey made the acquaintance of journalist Lowell Thomas, who gradually drew him into the social circle of Quaker Hill, an exclusive mountain community near Pawling, New York, north of the city. Dewey remained a presence in Republican circles until his sudden death by heart attack in 1971. He labored to keep his party moderate, campaigning vigorously for Eisenhower and against the Taft wing. Smith brings to light several interesting anecdotes of Dewey's later years. In 1970 a coterie of leading congressional Republicans, deeply concerned about the style and direction of the Nixon White House [read Haldeman and Ehrlichman], nominated their former party leader to speak privately with the president. Dewey apparently agreed to approach Nixon, but his sudden death intervened. Smith also records that the widowed Dewey courted Kitty Carlisle Hart [then a panelist on the popular TV program "To Tell The Truth"] and asked her to marry him. [The question was still under negotiation at the time of his death.] On the last day of his life, in Miami, he played golf with Carl Yastrzemski. His final regrets, it appears, had less to do with presidential campaigns and more to do with his belief that he had worked too hard and played too little.
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Unfortunately, many of Eliot's references are arcane, and not easy for the lay reader to pursue. For example, few modern readers happen to have a copy of Webster's play "White Devil" or excerpts from Shackleton's account of the Antarctic expedition readily available on their shelves. Hence, the virtue of this particular edition: in addition to Eliot's original poem and original notes, this book includes the relevant passages from every single work Eliot quotes in the "Wasteland", all translated into English. For the first time I have seen in print, this book allows the reader to understand this magnificent poem in light of the full scope of its allusions. A triumphant achievement!
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The Norton Critical edition is particularily good, containing reviews and poems of and about Thomas Hardy, a major advantage when trying to understand the atmosphere that produced this novel.
Though the novel is heavy in description, the description is not out of place. In fact, it is essential to the storyline.
All in all, I enjoyed this book, and it made me think and reflect on the values that I believe are truly important.
Hardy does a splendid job of illustrating Tess's strength as she goes from innocent girl to pure woman. Though she is not as educated as Angel, in terms of theory, her experience with Alec Stokes D'Urberville has given her a deeper knowledge of life and acceptance. Ironically, it is this experience which captivates and, predictably enough, repulses Angel.
Hardy's narrative is a powerful one in this particular tale. It is clear that this is Tess's story and we, as readers, witness her painful journey. Through his subtle and understated use of irony, we come to realize the hypocrisy of Angel and wonder about the diabolical nature of Alec.
What Hardy does emphasize in this novel is the unwavering hand of Justice which allows the novel to come to a bittersweet end and lets no one escape its strong, yet objective, sense of judgement.
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The remaining three articles are still worth a quick read though. I found in one article, "How the Right Measures Help Teams Excel," ideas that I hadn't seen anywhere else (for example, the team "dashboard"). And, the "How High is Your Return on Management?" article might give managers a moment of reflection on whether or not they have a good ROM and what they can do to improve it.
As I stated before, much of this is merely highlights though. Do not expect to be able to use this book as a primary source to implement any of the measures. It's a tease that gets you excited (at least it did me), but doesn't provide much of a game plan for bringing it all about.
Still, if what you want is a quick overview and a few case studies where these principles and tools have been applied, by all means, read this. It's worth at least that much.
So many books are merely ONE GOOD ARTICLE embedded in a thicket of verbiage. Chopping away through such a jungle of verbosity for the gist-of-it-all often proves tedious and disappointing. (Blessed are the laconic!) This book, on the other hand, just serves up a bunch of 'gists' -the pure meat and potatoes of ideas. Happily, the HBSP has published several other collections of this sort on such topics as knowledge management, change, and strategies for growth. Each of these is collection of first-rate 'gists'. Reviewed by Gerry Stern, founder, Stern & Associates, author of Stern's Sourcefinder The Master Directory to HR and Business Management Information & Resources, Stern's CyberSpace SourceFinder, and the Compensation and Benefits SourceFinder.
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Getting used to the language isn't as difficult as some other reviewers are saying... At least it wasn't for me (and I'm an eighteen year-old high school student). You'll struggle through the first few pages but once you've got an ear for it the language comes natural (somewhat like reading Shakespeare - it takes time to adjust). I found nothing tedious about the book other than the somewhat unfocussed book of the Sangrail.
The characters are awesome, the language is awesome, the plots and emotions are awesome. If you read this from beginning to end you'll walk away with a sincere compassion for the characters and the inevitable death of the times.
I can't imagine bothering with a modernized version - the classic text is just so sweet.
The reason why this edition of Le Morte D'Arthur is an absolutely necessary part of any collection is for its stunning illustrations. Anna-Marie Ferguson must have dreamed of Camelot when she was a child for there is simply no other way to explain the attention to detail, the romantic cast to all that we see. As real as Arthur and Lancelot may have seemed to us before, they become infinitely more human in the hands of Ferguson. I never tire of walking to my shelves and pulling out this book to just flip through it. To track my fingertips down the smooth sweep of colors and the beautiful images that really bring Camelot to life.
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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.
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.