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I have read his diaries, speeches, FBI files, everything I could find....THIS was the BEST.
The author is truly a Che fan, but he still points out mistakes Che made, but the best thing is he provides everything in its context. He builds the background of where Che came from, what his life was. The reader FEELS 50's 60's Latin America so you can really emphasize with the actions and emotions of the integral characters.
Sum it up, even though it was a factual biography I still was totally engrossed reading 500 some pages in about 3 days, and still re-reading it.
A pleasure.
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This is a very short book but at the same time it is very easy to get in to because of the conflicts that occur. This book is very funny especially the conversations between Jack and Algernon. The story is a political and social satire and a look at the upper British society. I thought that the story was great because of the humor but at the same time the story was kind of sneaky which drew me into the story even more. I would suggest the book to anyone.
Is that clever?
It's perfectly phrased! and quite as true as any observation in civilized life should be."
This is just one of the many jocular exchanges and epigrams in this short but brilliant social satire. Wilde wryly and cleverly gets his claws into the upper caste and its twisted moral etqieuette, romantic relationships, and self-critically the propensity for sententious moral (and aesthetic) self-guidance.
Dispensing with politeness and social convention through his farcical dialogue, Wilde unleashes his comic criticism on all types of hypocrisies and spurious norms. The Importance of Being Ernest is always subversive and funny, but never crude or sophomoric.
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The worst fault by far is that the printing of the paintings is consistently too dark. Three examples: The blue colors of: "Myself at the age of Ten when I was a Grasshopper Child" (p.202) are much too dark. It is even worse with: "Ghost of Vermeer of Delft which can also be used as a Table" (p.222) Here the figure of Vermeer is in points indistinguishable from the backround and the sky is much too orange, instead of yellowish. The worst example is that of "The Last Supper" (p.488) where the apostles on the extreme left and right of the painting can barely be distinguished. There are many other examples of this. I made this comparison using several other books and exhibition catalogues, and have also seen the three paintings I mentioned as examples in person more than once.
A close examination also reveals that both paper and binding are not of high quality. I have a feeling this book will not stand the test of time. One way to tell a good Art Books when the paper is a higher weight. Judging from the paper, I have a feeling it will yellow in a few years. This is, incidentally, true for other Books that I own published by Taschen. Also, a book this heavy should really have a stronger binding.
Annoying also is that there is no alphabetic index of the paintings. Unless you know the year a painting was created, as they are in chronological order, there is no way to find it except by paging around.
Despite these complaints, I still like the Book because it includes paintings I have never seen before. If however, you want to see the paintings of Dali as they really look, get "Dali: The Work, the Man" instead. It suffers from none of the faults I have descibed, but is not as comprehensive. It's worth the extra money. In collecting Art Books I have found that higher quality Books stand the test of time.
You will not be disappointed with this book and I think you'll agree that the quality is excellent, with a solid binding and beautiful reproductions of all of his paintings in chronological order. There are also a great deal of photographs (and paintings) that I've never seen before, and I thought I was a huge fan of Salvador Dali.
"Dali, The Work The Man" is also a very well-made book, which may be printed on a slightly heavier grade paper, at the most. However, the Taschen book is far more detailed and also excellent quality. "Dali, The Work The Man" costs ten times as much and only has half the content.
I truly thought there must have been some mistake when I ordered it.I still question the price as being far too low, so I advise you to hurry up and get this before the publisher realizes their huge mistake. Perhaps we are dealing with a publisher who really isn't greedy at all--that's my impression here.
I couldn't be happier with my purchase of this book and highly recommend it.
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The plot reminded me of LeCarre's "Perfect Spy" or Deborah Crombie's "Kissed a Sad Goodbye" with it's the twists and turns and links between the present action and the events of the past. I found it a challenge to keep things straight at times, but I anticipated almost every plot twist before it happened with a few exceptions, so either I'm pretty good at deciphering mysteries, or the plot isn't as confusing as some critics have suggested. I also think it helped to read the book in a 24 hour period.
I recommend this book. It's head and shoulders above many other mysteries I've read lately by "famous" authors.
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Card's short fiction has always exceeded in power, beauty, and universalism the long fiction which he produces at such a prolific rate. This is mainly due to his tendency to explain nuances of his characters in his longer works literally, rather than allowing the reader to understand them through diligent observation. In his short fiction, however, he routinely abandons this "lowest common denominator" method, much to the empowerment of his prose.
The appeal of Card's work is similar to that of film wunderkind Steven Spielberg. At his worst, he is unflinchingly manipulative, such as in the story "Lost Boys," the original source for his later popular novel (cf. "The Color Purple"); at his best, his narration remains remote enough not to overpower with sentimentalism, as in "Unaccompanied Sonata" (cf. "Schindler's List"). A few works seem to be unnecessary literary exercises taken to extremes ("Damn Fine Novel") but, as is Card's trademark, a constant theme of sin/redemption runs through most of the stories. While drawing upon the Mormon experience, Card is unafraid to avoid simple moral chiaroscuro in favor of the gray areas for which good fantastic fiction is so well tailored.
The perfection of some of these tales lies in the simplicity of the telling. Card seems to have adhered to the ethic that informs Native American and Far Eastern oral traditions, wherein the narrator becomes only an instrument for the audience, and never intrudes as either arbitrator or alibi. It is in their peculiar mixture of triumph and tragedy that Card's stories delight, whether described through whimsy or dread.
The book's five segments, roughly described respectively as horror, science fiction, fantasies, parables, and miscellanea, comprise most of the author's published (and some unpublished) works up from 1977-1990. Particularly recommended: "Unaccompanied Sonata," "Quietus," "The Porcelain Salamander," A Plague of Butterflies," "Gert Fram."
The book is divided into sections, each with a unifying theme: horror, classic science fiction, fantasy, parables, religion & ethics, and a mix of miscellaneous works. "The Changed Man," "Flux," "Maps in a Mirror," "Monkey Sonatas," and "Cruel Miracles" were also published as individual paperbacks, but "Lost Songs," which contains, among other things, the original short version of "Ender's Game," is only available in the comprehensive hardcover edition.
Every facet of OSC's brilliance is displayed in this collection. His longer works, while also brilliant, have an unfortunate tendency to lag at points, but in short form he shines. Though not all the stories are of equal quality (hey, everyone has bad days), none are bad, and many are things of beauty and power. My personal favorites include "A Thousand Deaths," "Freeway Games," "Saving Grace," "Kingsmeat," "The Porcelain Salamander," "The Best Day," "I Think Mom and Dad Are Going Crazy, Jerry," and, of course, "Unaccompanied Sonata."
Be aware: some of these stories contain graphic and disturbing images. They also contain disturbing ideas. But no one writes speculative literature better than OSC at his best, and this book has a lot of his best.
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Very few important scenes were cut out of the audiobook. There's one scene in the paperback where Theodore is meeting with Comstar to broker a deal on gaining some mechs. In that scene he presents Frederick Steiner, who was captured back in the 4th Succession War and who would later become Precentor Martial Focht, to them as a gift. That was the only major scene I thought should have been kept in but if you hadn't read the Warrior books then it would have made no sence. So I understand why it wasn't there. Overall I really enjoyed this audiobook. This would make a perfect companion to any roadtrip or just when you need to keep yourself entertained while painting your miniatures. The complete "Return of Kerensky" trilogy is also available.
Well, if you feel that way, 'Heir of the Dragon' is the book you need. For the first time, some fairness is brought into the Battletech series. Mr. Charrette shows you the universe from inside of the Draconian empire. The book's written with a deep understanding of Japanese way of life and the Kuritas are actually described as human beings rather than mindless animals that must be exterminated at any price.
Before you read this book, it is absolutely necessary that you read the previous volume - 'Wolves on the Border'. If you haven't read 'Wolves...' (I made that mistake), many things that happen in 'Heir...' will be difficult to understand. In fact, it's a good idea to keep 'Wolves...' at hand while reading 'Heir...' to refresh your memory occasionally. Even if you don't like 'Wolfes...', don't let it keep you from reading 'Heir...' It's much better, I promise!
'Heir of the Dragon' is the book that awoke the fascination about Japan in me. And it helped me hold through the Battletech series until my patience was rewarded by the Clan wars.
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