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How we did without it before is unknown!
Here, Warren Roberts display a very lucid understanding of the chronological events of the French revolution as it unfolded and has written a key account, linking it specifically to the lives of two artists who were inextricably linked up with the key events.
The book is divided into 5 sections. An introduction outlines the situation that France found herself in shortly before the French revolution took place. Then the next section focuses in on the key events of the revolution, linking them up to practically all of the chronological engravings of J Prieur. The true value of this book really is in the 60-odd historical tableaus drawn by Prieur and the marrying of the somewhat confusing chronological events of the French revolution to these tableaus. The author gives a thorough description of each historical tableau within the text, not in the captions, and this is what makes the book so readable. With hindsight, Prieur apparently recorded quite faithfully all the key events iand this contemporary visual evidence is the closest that we have to unbiased visual documentation of the period. The third section gives a very comprehensive essay on Roberspierre and the various factions within the French republic. This is then followed by a section on J.L. David and his accomplishments. Most readers will probably be familiar with David's biography and there are no surprises here. A concluding section brings all the threads together.
The two artists selected and contrasted here are J.L. David and J. Prieur, both Jacobin members and the contrasts in their abilities and fortunes could not have been more dramatic. Both artists worked for the revolution and recorded them, David in a painterly academic style which created the classical movement in art whilst Prieur was an unremarkable jobber, whose 60-odd historical engravings are now housed in the present Carnavalet museum, Paris, and has been rescued from relative obscurity by Roberts in this enlightening and entertaining book. While David survived the revolution, Prieur was beheaded shortly after completing his last scene.
I came away with a good understanding of the French revolution due to the complete empathy that Roberts gives to the period.
The only complaint that I have is that the book is physically quite small and hence, the reproduced engravings are small, too, hence 4 stars.
Highly recommended even for the layperson.
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This is the 2nd in the Krull and Hewitt's "Lives of ..." series. The book contains 19 chapters on 20 writers in birth order: Murasaki Shikibu (973?-1025?), Miguel de Cervantes (1547-1616), William Shakespeare (1564-1616), Jane Austen (1775-1817), Hans Christian Andersen (1805-1875), Edgar Allan Poe (1809-1849), Charles Dickens (1812-1870), Charlotte & Emily Bronte (1816-1855 & 1818-1848), Emily Dickinson (1830-1886), Louisa May Alcott (1832-1888), Mark Twain (1835-1910), Frances Hodgson Burnett (1849-1924), Robert Louis Stevenson (1850-1894), Jack London (1876-1916), Carl Sandburg (1878-1967), E. B. White (1899-1985), Zora Neale Hurston (1901?-1960), Langston Hughes (1902-1967), Isaac Bashevis Singer (1904-1991)
This is a perfect book for young adolescents and pre-teens who as they grow and mature frequently feel awkward. Krull introduces us to the idiosyncrasies of the literary. Some of the authors were loners, eccentric, a wee bit peculiar. Michael Jackson's behaviors might seem normal when held in comparison. Some retreated into themselves. Some sought out adventures. Some as adults were unsuccessful at the ordinary.
Some worked at a young age to support the family. Some took daily walks, very long daily walks. Some were not healthy and therefore wrote in bed. There were some similarities and some differences, but they all shared a singular conviction to write and write they each did well.
Hewitt's delightful portraits of the writers are precious. My favorite portrait is of Frances Hodgson Burnett of "The Secret Garden" fame. Her hat is the secret garden.
Given the high price of the book, I was surprised that Krull did not include a list of the authors' books and/or poems and the publication years. END
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The rest is more familiar, made complex by innovative structure, ambiguous narration and a startling use of imagery. this is not a simple tale of man's good and evil side; in its admission of an ungraspable, shifting, multifarious existence, shown here in character, place and language, where metamorphosis is the only rule, we can see why Nabokov considers Stevenson a master. And yet the book also works as a lean, compelling thriller, even if, like everyone, you already know the twist. Emma Letley's introduction and notes are over a decade old, and need updating.
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When young and naive Jim Hawkins is given a treasure map from the mysterious old pirate, Billy Bones, adventure and trouble are not far behind. Soon Jim finds himself aboard a ship with a villainous crew led by the cunning and mendacious pirate, Long John Silver. Greed and the lust for gold driving the pirates, they have murder in mind when they reach the dubious Treasure Island.
Skillfully yet simply written, Robert Louis Stevenson gives us an alluring tale that sparks the imagination. With its dastardly plot and mothly crew of rogues and villains, it entrances the reader, and keeps them wanting more. "Treausure Island" is the perfect read for anyone just wanting a good, exciting story.
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Dr. Jekyll and Mr. Hyde is one of those stories, like Frankenstein and Dracula, that seemingly everyone has heard of and believes they understand("mythopoetic " in the language of Joyce Carol Oates). Much like the aforementioned works, the actual details of the story may come as a surprise to those who assume they know the story based solely on the popular understanding. For that reason alone I think the book is worth reading.
Dr. Jekyll is a respected if somewhat reclusive London doctor who has, through the course of years of experimentation, managed to create a solution which brings to the fore his evil alter-ego. Unlike many gothic literary villains, Hyde is not imbued with superhuman strength or exceptional gifts of any kind. In fact he is of a smaller and less imposing stature than most men. What he does possess however is a complete lack of compunction with regards to others. Hyde for example ruthlessly runs down a small child who gets in his way. As is the case with Frankenstein, Dr. Jekyll creates something that he can't control and which eventually destroys its creator.
The inhumanity that the fictional Hyde displays can be seen in the non-fictious world on a daily basis. As such, there is a realism to the story which is missing from many horror stories past and present. The fact that such a short and captivating work exists in an attractively packaged edition makes this one classic that will be a joy to read for all.
He uses a very wide range of vocabulary. Stevenson uses many 19th Century terms that seem weird and different to me.
One thing bad about his writing is his punctuation. He uses way too many semicolons and comas. He makes one sentence out of six or seven sentences.
This book was not the best book I ever read, but was not the worst either. it was mediocre. however It was miles ahead of Dracula. Dracula is boring, whereas Dr. Jekyll and Mr. Hyde is fast paced, quick, and fun to read. its pritty morbid which is kind of a down side, but Since it is very short it is a good book on my list.
Joyce Carol Oates's introduction is worthwhile, especially for those readers who know the story, as most English-speaking people do, in its basic framework, but who have not yet actually traveled the dark road with Dr. Jekyll and his friends.
It is a pleasure to read a classic book in such a carefully crafted edition. Too often books such as this are printed in cheap editions with narrow margins and lousy type; this one fits comfortably in the hand and is easy on the eye as the reader is drawn into this allegorical nightmare.
This review refers to the University of Nebraska Press edition only.
Stevenson's 'Treasure Island' is reckoned to be his best book but, for sheer descriptive weight, superb characterization and sharp, sharp dialog, 'Kidnapped' is the one for me. In brief, 16-year-old orphan, David Balfour visits his uncle in order to claim the inheritance, left by his father. The uncle, having failed to kill him, arranges for David to be kidnapped by a ship of thugs and villains and taken to the Carolinas to be sold into slavery. While navigating the Scottish coast, the ship collides with another boat and the crew capture the lone survivor, a swashbuckling Highlander called Alan Breck Stewart. David and Alan become friends and escape their captors. On land again, Stewart is accused of murdering a rival clan member and he and David must now cross the Scottish mountains to reach safe haven and for David to reclaim his inheritance.
The descriptions of the Scottish countryside are truly marvelous and the sense of pace and adventure keeps the reader hooked right to the end. I notice that one reviewer likened this section to 'a tiresome episode of The Odd Couple'. Perhaps it's worth bearing in mind that The Odd Couple was written a few years AFTER Kidnapped ! (In any case, I doubt that a written version of the television series would stir anyone's emotions like Kidnapped can). To most readers the historic aspects, along with the fact that the couple are being hunted by British redcoats is enough to maintain interest, suspense and pace.
Read and enjoy !
This is the story of a young man overcoming adversity to gain maturity and his birthright. It moves right along, in Stevenson's beautiful prose. Read, for example, this sentence from Chapter 12: "In those days, so close on the back of the great rebellion, it was needful a man should know what he was doing when he went upon the heather." Read it out loud; it rolls along, carrying the reader back to Scotland, even a reader like me, who doesn't know all that much about Scottish history. Kidnapped is by no means inferior, and in many ways superior to the more famous Treasure Island.
Only two points I would like to bring up: I bought the Penguin Popular Classics issue, and have sort of mixed feelings. Maybe some day I'll get the version illustrated by Wyeth. I'm not sure whether this book needs illustrations, though. Stevenson's vivid writing is full of pictures.
In Chapter 4, David makes a point of saying that he found a book given by his father to his uncle on Ebenezer's fifth birthday. So? Is this supposed to show how much Ebenezer aged due to his wickedness? If anybody could explain this to me, please do.