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In "The Last Good Man," Mr. Lyons is generous. He invites us into the secret fears and desires of his characters; we move quite close to them. The stories deal with questions of separation, jealousy, temptation, selfishness, violence and corruption. Our nearness to the characters pulls us into these questions, and we come away asking what we might do in similar circumstances. These stories are about dark and edgy subjects, but they are not draining. Instead, they are accessible, provoking, even uplifting. After we read them, we feel better for having read them, we take them with us as we move through our day and, like a slightly mysterious memory, we hold onto them for a long time.
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NB. The authors have a link to their codes for LGCA; however, the book does not touch on the actual implementation of the theory: readers who want to model LGCA hydro for themselves will have to implement and modify the codes without the benefit of much explanation.
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Sir Henry, who had jilted her in the past, aided and abetted by his gayblade buddy, Lionel, stages a risky rendez-vous repossess his old love letters and trinkets before his impending marriage. But Lavinia does not swoon at his feet, begging his return, which annoys his masculine ego. Ah no, poor Henry sees the amorous tables turned upon himself. Much of the novel is like a play: there are "scenes" and "acts;" there is a preponderance of dialogue that would make this work a pleasure to stage. Sand spares nothing in villifying French 19th century "Society," with its highly restrictive women's roles and impossible demands placed on the fair sex.
So which suitor will win la belle Lavinia: panting and repentant Sir Henry or a rich young Count--equally besotted? This novelette of 45 pages seems a cleverly disguised treatise/expose on the foibles and injustice of French society, at whose tyrannical hands George Sand herself may have suffered. But expect a surprise ending, for Lavinia may do that which real women dare not. Almost mortally wounded in affairs of the heart, Lavinia will remain true to her instinct of self-preservation: physical and moral. This a fast read, which may appear lite, almost trite; but this piece actually simmers with Sand's scathing denunciation of her constricted world.
The characters, locales, action and dialogue all led this reader to make comments like "Has Vance been taking notes in our corner cafe?" or "How did he get my Uncle Stanley down on paper so well?" Yet, Vance swears it's all fiction.
Except for the most urbanized readers (those who have no sense of nostalgia and no experience with it), anyone who picks up this book is in for a delightful read. I enjoyed becoming acquainted (or reacquainted) with colorful characters, many of whom put the "care" into character. Fiction? Perhaps. Truth? Indeed.