As noted by other reviewers, this reading of Hegel is a post-Nietzsche, post-Marx, post-Heidegger one (meaning it incorporates or synthesizes these post-Hegel, though influenced-by-Hegel, strains of thought). It is therefore scorned by some Hegel 'purists' like Mr. Trejo below. However, having read quite a few commentaries on and interpretations of the Phenomenology I can say that this one is the most well-written, in the sense that it illuminates some very difficult Hegelian concepts (like "Spirit" or Geist itself) in a searingly direct manner. I have also never read another writer so convincing in their argument as to Hegel's essential rightness in his description of the Concept which brings closure to the riddle of Western metaphysics.

I would agree with the 'purists' in not taking this book as the 'definitive' interpretation of Hegel - it can't excuse not reading Hegel in the original, or other commentaries - but I would call it essential within the spectrum of Hegelian thought.

Interestingly, this book shows Hegel, though famously critical of Kant, to be essentially the extender of the Kantian philosophy to it's logical conclusion which is the completion of the Concept of Experience, identified as Time itself (ZeitGeist). That is, Human Time, initiated by Human Desire, as the Absolute Subject constructing itself rationally via reflection on it's Object-negating activity or creativity, not in the classical notion of a rational Time as existing somehow outside or independently of a Subject).

Kojeve's reading however, though convincing in it's demonstration of anthropologically necessary Historical development toward Hegelian 'harmony' between Subject and Object, leaves out Hegel's attempt at the absolute identity of the Object itself. This can be read in two ways that Kojeve touches on. First, in the truer-to-Hegel sense that the Object is necessarily different from the Subject to ensure the ability of the Subject to realize itself as Self, as free Subject of Object-negating, creative, activity. Another way to read this is as simply Kojeve's dismissal of Hegel's Philosophy of Nature and it's more cosmic attempt at spiritualizing the notion of matter. Either way, as many Hegel commentator's have noted, one is left, though certainly further enlightened as to the nature of subjectivity, with a sense that there is still something 'out there' and unknown, ala Kant's 'thing-in-itself'. This can be understood as the Heidegger-influenced side of Kojeve's reading.

My own conclusion at the moment is that both Hegel and the existentialist school following him ala Heidegger and Kojeve can be understood as essentially philosophers of subjectivity in the Western tradition who have rationally illuminated, but also exhausted the questioning of the Self about it's nature. As our great contemporary philosopher in the Continental tradtion Jurgen Habermas has noted, it's high time to move beyond the philosophy of monological subjectivity. For fresh thinking in this area and where to pick up the pieces after Hegel, Heidegger, Kojeve, etc. (rather than taking the nihilistic road of 'post-modernism') I highly recommend Habermas's _The Philosophical Discourse of Modernity_. Habermas as successor to this line of thought is convincingly stated in the opening chapter "Modernity's Consciousness of Time and It's Need For Self-Reassurance" and in his call for moving on to a paradigm of "Intersubjectivity" and Reason understood anew as Communicative Action.

As noted by other reviewers, this reading of Hegel is a post-Nietzsche, post-Marx, post-Heidegger one (meaning it incorporates or synthesizes these post-Hegel, though influenced-by-Hegel, strains of thought). It is therefore scorned by some Hegel 'purists' like Mr. Trejo below. However, having read quite a few commentaries on and interpretations of the Phenomenology I can say that this one is the most well-written, in the sense that it illuminates some very difficult Hegelian concepts (like "Spirit" itself) in a searingly direct manner. I have also never read another writer so convincing in their argument as to Hegel's essential rightness in his description of the Concept which brings closure to the riddle of Western metaphysics.

I would agree with the 'purists' in not taking this book as the 'definitive' interpretation of Hegel - it can't excuse not reading Hegel in the original, or other commentaries - but I would call it essential within the spectrum of Hegelian thought.

Interestingly, this book shows Hegel, though famously critical of Kant, to be essentially the extender of the Kantian philosophy to it's logical conclusion which is the completion of the Concept of Experience, identified as Time itself (ZeitGeist). That is, Human Time, initiated by the emergence of specifically Human Desires (i.e.; for recognition), as the Absolute Subject which constructs itself rationally via reflection on it's Object-negating or given-negating activity or creativity, not in the classical notion of a rational Time as existing somehow outside or independently of a Subject).

Kojeve's reading however, though convincing in it's demonstration of anthropologically necessary Historical development toward Hegelian 'harmony' between the Subject and it's Object, leaves out Hegel's attempt at the absolute identity of the Object itself. This can be read in two ways that Kojeve touches on. First, in the truer-to-Hegel sense that the Object is necessarily different from the Subject to ensure the ability of the Subject to realize itself as Self, as free Subject of Object-negating, creative, activity. Another way to read this is as simply Kojeve's dismissal of Hegel's Philosophy of Nature and it's more cosmic attempt at spiritualizing the notion of matter. Either way, as many Hegel commentator's have noted, one is left, though undoubtedly further enlightened regarding the nature of subjectivity, with a sense that there is still something 'out there' and unknown, ala Kant's 'thing-in-itself'. This can be understood as the Heidegger-influenced side of Kojeve's reading.

My own conclusion at the moment is that both Hegel and the existentialist school following him ala Heidegger and Kojeve can be understood as essentially philosophers of subjectivity in the Western tradition who have rationally illuminated, but also thoroughly exhausted the questioning of the Self about it's nature. As our great contemporary philosopher in the Continental tradtion Jurgen Habermas has noted, it's high time to move beyond the philosophy of monological subjectivity. For fresh thinking in this area and where to pick up the pieces after Hegel, Heidegger, Kojeve, etc. (rather than taking the nihilistic road of 'post-modernism') I highly recommend Habermas's _The Philosophical Discourse of Modernity_. Habermas as successor to this line of thought is convincingly stated in the opening chapter "Modernity's Consciousness of Time and It's Need For Self-Reassurance" and in his call for moving on to a paradigm of "Intersubjectivity" and Reason understood anew as Communicative Action.

As noted by other reviewers, this reading of Hegel is a post-Nietzsche, post-Marx, post-Heidegger one (meaning it incorporates or synthesizes these post-Hegel, though influenced-by-Hegel, strains of thought). It is therefore scorned by some Hegel 'purists' like Mr. Trejo below. However, having read quite a few commentaries on and interpretations of the Phenomenology I can say that this one is the most well-written, in the sense that it illuminates some very difficult Hegelian concepts (like "Spirit" itself) in a searingly direct manner. I have also never read another writer so convincing in their argument as to Hegel's essential rightness in his description of the Concept which brings closure to the riddle of Western metaphysics.

I would agree with the 'purists' in not taking this book as the 'definitive' interpretation of Hegel - it can't excuse not reading Hegel in the original, or other commentaries - but I would call it essential within the spectrum of Hegelian thought.

Interestingly, this book shows Hegel, though famously critical of Kant, to be essentially the extender of the Kantian philosophy to it's logical conclusion which is the completion of the Concept of Experience, identified as Time itself (ZeitGeist). That is, Human Time as the Absolute Subject constructing itself rationally via reflection on it's Object-negating activity (creativity in transforming the given or present), not in the classical notion of a rational Time as existing somehow outside or independentaly of a Subject.

Kojeve's reading however, though convincing in it's demonstration of anthropologically necessary development toward Hegelian 'harmony' between Subject and Object, leaves out Hegel's attempt at the absolute identity of the Object itself. This can be read in two ways that Kojeve touches on. First, in the truer-to-Hegel sense that the Object is necessarily different from the Subject to ensure the ability of the Subject to realize itself as Self, as free Subject of Object-negating, creative, activity. Another way to read this is as simply Kojeve's dismissal of Hegel's Philosophy of Nature and it's more cosmic attempt at spiritualizing the notion of matter. Either way, as many Hegel commentator's have noted, one is left, though certainly further enlightened as to the nature of subjectivity, with a sense that there is still something 'out there' and unknown, ala Kant's 'thing-in-itself'. This can be understood as the Heidegger-influenced side of Kojeve's reading.

My own conclusion at the moment is that both Hegel and the existentialist school following him ala Heidegger and Kojeve can be understood as essentially philosophers of subjectivity in the Western tradition who have exhausted the questioning of the Self about it's nature. As our great contemporary philosopher in the Continental tradtion Jurgen Habermas has noted, it's high time to move beyond the philosophy of the monological subject. For fresh thinking in this area and where to pick up the pieces after Hegel, Heidegger, Kojeve, etc. (rather than taking the nihilistic road of 'post-modernism') I highly recommend Habermas's _The Philosophical Discourse of Modernity_. Habermas as successor to this line of thought is convincingly stated in the opening chapter "Modernity's Consciousness of Time and It's Need For Self-Reassurance" and in his call for moving on to a paradigm of "Intersubjectivity" and Reason understood anew as Communicative Action.

The books images are very very disturbing. I will never be the same, little kids should not see this. Good Lord all the humanity. Please do not read it if you are weak of heart. If you are satomasikist then go right ahead.

This slim volume contains over forty drawings and paintings done by David Olere. He did these works from personal remembrances of his time at Auschwitz death camp. The text is written by his son, Alexandre, who was not at the camp, but hiding out with his mother.

Olere spent his time in the camp working in the crematorium. He would bring the bodies from the chambers and put them in the ovens. His story is not told as most stories are. His story is told through his pictures and his son's writing. Both are horrific to witness. "Witness" is an important word in this book. Through Olere's art, the reader witnesses what he witnessed. Through Oler's words, the reader becomes a witness. The father and son force the reader to look at the horror, and not turn away.

The images are not for the faint of heart, but the faint of heart should witness this book. Everyone should witness this book. Oler writes that his father died in his eighties but not of a disease. He died from a broken heart when university professors began to deny the Holocaust altogether.

"Witness: Images of Auschwitz" is a small, terrifying book. I suggest it to anyone who thinks we should "get past" the horrors of World War II, and the events of September 11, 2001.

Quote:
"I did not survive to rewrite the history
Of the Second World War
And explain how it came about and why.
I have no idea. I have no opinions.

I survived just to show you what it is like
Every day in the camp.

I say, "What it is like," not how it was.
To me it still is. I am in it.

Every morning I start all over again from
The Hell Train on.

Every night, I struggle for my next breath
Of fresh air."
--page 26

I first saw this book when I was visiting the Holocaust Museum (in Washington) and it was equally disturbing as all the displays/exhibits in the museum. The illustrator is a very talented artist, and the author of the text was very poetic. It's an extremely powerful piece of work, both terrifying and also touching. Specifically, I remember the pictures of the phases of the gas chamber, and the text entitled something like "How Many More?" which was a prayer. An incredible book, but only for mature audiences.

La dama aux Camelias is Marguerite Gaultier, one of the most desirable courtesans in Paris with a very expensive taste. This is a sad love story of her affair with Armand Duval, a man that could not satisfy her demands for luxury but who could fulfill her need for being love and love but life is a too complicated of a matter. This novel is based on a true love story from Duma's life and in this edition of the book you could find quite some good links between the story and the events in real life of Alexandre, fils

This is the touching story of the romance between Armand Duval, Dumas' alter ego, and the beautiful courtisan Marguerite Gaultier. Marguerite sacrifices her own happiness for Armand's sake, only to result in a tragic conclusion. Dumas, fils, has written a moving and engrossing book that reveals the effects of love on human nature. I highly recommend "La Dame Aux Camelias."

Probably one of the most romantic love stories ever told, La Dame aux Camélias describes the love between a young man and a "prostitute", as we would call her today. Quite against her will, Marguérite falls in love and even gives up her profession for Armand. Still, in the eyes of society, represented by Armand's father, she remains a prostitute. Old Duval demands that Marguérite leave her one and only love. Only then she reveals to her lover's father that this first love is definitely going to be her last... absolutely heart-breaking, marvellous language, one of the finest works of literature ever written. Highgly recommendable!!!!! The only book that ever made me cry.

It was a long book for such a short book.

Don't get me wrong, this is a classic book well deserved for that title.

It is a very complicated and intricate story with mystery, love and evil.

You have a woman, Hester Pryne, who is beyond her time. Strong, beautiful, stubborn, honest and a mother without a father.

There is the father, the priest Dimmsdale, a man tormented by his secret. He is weak and is broken down by the secret he feels he cannot tell and tormented each day by it.

The long gone husband, Roger Chillingworth, sinister and revengeful. All he can think about is tormenting the two lovers, to break them down slowly.

There parallels and many themes that are very subtle and unnoticeable. Beautifully written with delicate underlying dialogue that tells it's own story.

This isn't a book for everybody. In order to really understand this book, you need to understand theme, archetypes, motifs, and the relevance of light and shadow. As my American Literature teacher says, bring you own experiences into the story; you will understand it a lot better.

I loved this book. I resent being told I have to read anything. But I still found pleasure out of it. In this book Hester commits adultery and is forced to wear an "A" declaring her sin. You will see early on the hypocrisy of the town. Why not make someone where an "L" for liar or an "T" for theif? Hester is a complicated character. She is not trashy like I first expected. Not at all. This book has a lot of symbolism that I found beautiful. There are plenty of twists in this book. Don't watch the Demi Moore movie of The SL. It is completley different from the book. I recommend this book to everyone.

A fairly good book. However, very little is seen of D'Artagnan and his friends. This particular book focuses more on the court intrigues of Louis XIV. If you are a great fan of the series (six books in all), you should add this book to your collection. If you are a casual reader, you might not be as interested.

A reviewer says there are 5 books to the English translation series starting with 'The Three Musketers'. There is, or rather there was a sixth. Titled 'The Son of Porthos'. I have a very old copy of this book, but have never seen it printed in over 50 years I have been looking for it. Why? For adventure and pleasure in reading, you cannot beat Alexander Dumas and his Musketers. (The movies dont hold a candle to the books.)

For those trying to read The Musketeers Saga: I was thoroughly confused by the placement of Ten Years Later in the series and the reviews listed on this page. In the original French, there are only three (3) books - 1. The Three Musketeers 2. Twenty Years After and 3. Ten Years Later. That's it - no more. But when translated, most English editions split the behemoth Ten Years Later into a Trilogy (and some four - which make it all the more confusing!).

So the reading list should be 1. The Three Musketeers 2. Twenty Years After and 3a. The Vicomte de Bragelonne 3b. Louise de la Valliere and 3c. The Man in the Iron Mask. Five books - that's the total series!

I highly recommend the Oxford University Press': Oxford World's Classics editions - which has the complete unabridged and annotated versions of all of these books...

Fairy tales get us into the psyche of a culture. Americans see themselves as Paul Bunyan and Johnny Appelseed, conquoring the frontier. This book introduces us to the Russian psyche. It shows us how they look at things--the world, society, life, family, and government.

Some of the stroies are charming, such as the fabel of the Turnip and the Honey-pot. Other stories made absolutley no sense. But I had fun trying to crack these weird nuts.

I enjoyed the translation. It is not as energetic as Seamus Heaney, or J. B. Phillipws, but it is readable, athough you realize that you are reading a translation.

C. S. Lewis, in his preface to "The Lion, the Witch, and the Wardrobe," mentions that as children we read fairy tales, then we outgow them. Then, as adults, we come back to these stories and read them with different eyes. I had that experince with this book.

Afanasyev has assembled an absolutely wondeful collection of Russian folktales, animal tales and even epics. The stories are great to read, but there are a lot of them. I felt like something may have been lost in the translation, and tht's the only reason i didn't give this book a five.

What the Grimm Brothers did for fairy tales in Germany, Afanas'ev did for Russia. Over the course of his lifetime(1826-1871), he collected countless of these wonderful little stories from common folk, just as the Grimms did. This collection contains stories of adventure and enchantment, animal fables and more. Included are stories of Vasilissa and Baba Yaga, the witch whose house was built on chicken feet, and the famous story of the giant turnip. There's even some stories about vampires. But be prepared, this book is huge! And every bit of it distinctly Russian.

Dumas' profound knowledge of French history is amazing. When reading his books, one should always look beyond the plot and read between the lines. He describes the era of intrigues and struggle for power in such a fascinating, colorful and dramatic way that one can only wonder at his talent. What is the aim of any book, anyway? Dumas' readers become part of his stories. The wit with which he puts history down on paper truly makes him one of the greatest historians of all times!

Dumas' profound knowledge of French history is amazing. His every book is something more than just a love story. While reading his books, one should always look beyond the plot and read between the lines. Dumas describes that era of intriques so colorfully and in such a witty and fascinating way that it really makes him one of the greatest historians of all times! It's true about all his books - and what is the aim of a book, anyway? Dumas can make any reader be a part of his books!

yes its a good book, king henry sits in his castle fagging around, his brother d'anjou wants to be a king, because he's got nothing better to do all day long and has no playstation 2. bussy in love with somebody else's wife and wants to score so is her husband. chicot king's jester is so smart and perceptive that i think the writer of this book used chicot instead of his real name, bussy dies, because he won't give up monsoro's wife and monsoro is so h0rny and because of it very angry. oops i just read you entire book

This book offers an interesting insight into the Second Russian Revolution. It is a collection of essays written by the military leader of the Ukranian anarchists who fought first along side of and then against the Bolsheviks. Mr. A. Skirda also deserves a mention for his excellent translation.

While this book is certainly not of any philosophical weight, it offers several interesting arguments against the state and capital. Makhno also includes in his essays contemporary events, and his commentary. This is almost a handbook for organisation along eglatarian lines.

I found this book well worth the short read time. It has given me invaluable insight into the methods of the Bolsheviks and their "counter-revolutionary" opponents. I say this is a "must-read" for anybody interested in the Second Russian Revolution and the Soviet State that followed.

This book presents some excellent essays by Nestor Makhno, military leader of the anarchists in the Ukraine during the Russian Civil War. Makhno's work is not well-known, but he explains anarchism quite lucidly and gives the reader good reasons to prefer it over capitalism and state socialism.

I had never read Nestor Makhno until I got this version of his works from AK Press, and was only vaguely familiar with his name. Now I know who he is -- the most brilliant anarchist writer of the past two hundred years. While Stirner may offer more lessons on life, Makhno offers more lessons on revolutionary struggle -- lessons which the feuding factions of would-be anarchists today would do well to learn from. I recommend this whole heartedly to every anarchist everywhere. Get this book now!

Bill White Public Relations Coordinator Utopian Anarchist Party

Though it's rather slow to get going in the initial chapters, Oscar Wilde's "Picture of Dorian Gray" builds up into a splendidly effective piece, written in highly polished prose. Dorian Gray, who is suggestively described as "charming" and "beautiful" ... is painted by his friend and admirer, Basil Hallward. Dorian, a self-centered social luminary whose character is reminiscent of Narcissus, makes a bizarre sub-Faustian wish which tragically comes true: that his beautiful portrait may age, while he retains his youthful looks. The conclusion is disastrous, the culmination of a narrative containing elements of murder, suicide, blackmail, a confrontation in a grimy alley and an episode in an opium den. The characters are very well sketched out, particularly the triad of Dorian, Basil and the intellectual cynic, Lord Henry, Dorian's mentor and the mouthpiece of some of Wilde's most cutting amoral opinions. The style is, typically, marvellous, characterised by brilliant exchanges and aphoristic gaiety. Wilde lacerates English bourgeois culture, the conceptions of sin and virtue and the attitudes towards art of his time with tremendous aplomb. Some of his quips are patently snide, sometimes mysogynistic, as in: "Woman represents the triumph of matter over mind, while man represents the triumph of mind over morals." Oh, isn't that just despicable?! I love it!

This sophisticated but crude novel is the story of man's eternal desire for perennial youth, of our vanity and frivolity, of the dangers of messing with the laws of life. Just like "Faust" and "The immortal" by Borges.

Dorian Gray is beautiful and irresistible. He is a socialité with a high ego and superficial thinking. When his friend Basil Hallward paints his portrait, Gray expresses his wish that he could stay forever as young and charming as the portrait. The wish comes true.

Allured by his depraved friend Henry Wotton, perhaps the best character of the book, Gray jumps into a life of utter pervertion and sin. But, every time he sins, the portrait gets older, while Gray stays young and healthy. His life turns into a maelstrom of sex, lies, murder and crime. Some day he will want to cancel the deal and be normal again. But Fate has other plans.

Wilde, a man of the world who vaguely resembles Gray, wrote this masterpiece with a great but dark sense of humor, saying every thing he has to say. It is an ironic view of vanity, of superflous desires. Gray is a man destroyed by his very beauty, to whom an unknown magical power gave the chance to contemplate in his own portrait all the vices that his looks and the world put in his hands. Love becomes carnal lust; passion becomes crime. The characters and the scenes are perfect. Wilde's wit and sarcasm come in full splendor to tell us that the world is dangerous for the soul, when its rules are not followed. But, and it's a big but, it is not a moralizing story. Wilde was not the man to do that. It is a fierce and unrepressed exposition of all the ugly side of us humans, when unchecked by nature. To be rich, beautiful and eternally young is a sure way to hell. And the writing makes it a classical novel. Come go with Wotton and Wilde to the theater, and then to an orgy. You'll wish you age peacefully.

_The Picture of Dorian Gray_, a story of morals, psychology and poetic justice, has furnished Oscar Wilde with the status of a great writer. It takes place in 19th-century England, and tells of a man in the bloom of his youth who will remain forever young.

Basil Hallward is a merely average painter until he meets Dorian Gray and becomes his friend. But Dorian, who is blessed with an angelic beauty, inspires Hallward to create his ultimate masterpiece. Awed by the perfection of this rendering, he utters the wish to be able to retain the good looks of his youth while the picture were the one to deteriorate with age. But when Dorian discovers the painting cruelly altered and realizes that his wish has been fulfilled, he ponders changing his hedonistic approach.

_Dorian Gray_'s sharp social criticism has provoked audible controversy and protest upon the book's 1890 publication, and only years later was it to rise to classic status. Reminiscent of a Greek tragedy, it is popularly interpreted as an analogy to Wilde's own tragic life. Despite this, the book is laced with the right amounts of the author's perpetual jaunty wit.

The Club Dumas is an interesting mystery revolving around Lucas Corso's attempt to authenticate a couple of manuscripts. One is a chapter of "The Three Musketeers" apparently handwritten by Alexandre Dumas. The other is a copy, perhaps "the" copy of "The Book of the Nine Doors to the Kingdom of Darkness," rumored to be co-authored by none other than, um...Satan.

Perez-Reverte does a commendable job in at least one aspect; the character of Corso is one of the best I've come across. Being a rare book finder and authenticator is no job for a saint. He bends rules when necessary, but avoids dirtying his hands with some of the more unsavory aspects of job. In fact he's rather cowardly, only willing to attack those weaker or unsuspecting. Nonetheless I found myself pulling for him right away, even if it was just to see how far he might get before the inevitable smackdown. Corso drives the book and makes it a joy to read.

The plot however starts to lag toward the end. Some have accused the Dumas plot line of being anti-climatic; but maybe that's the point the author was trying to make. However, The Nine Doors plot fell apart. I was expecting a lot more from that particular thread and it just seemed to stop without any resolution.

Read it and enjoy Corso's exploits, but don't bank on a lot of bang at the end.

The Club Dumas is an interesting exercise in the craft of fiction. It tries, ultimately unsuccessfully I think, to blend a complex, deliberately artificial mystery plot with a number of elements of more serious fiction that are simply diminished by the artifice. An interesting cast of characters (especially Lucas Corso, the book hunter) is set in motion with multiple, seemingly unrelated, objectives which, over the course of the novel, come together in unexpected ways. There are multiple mysteries to solve and nothing is really as it seems. The reader is titillated constantly and kept expectant and in the dark. It isn't until the last few pages of the book that the mystery(s) are resolved - one after another in a cascading sequence of not very satisfactory revelations.

That being said, it is important to note that I enjoyed almost every page of this book. From the inside information on antiquarian book dealers and forgers to the details of Alexander Dumas's working habits to all the esoteric details of Satanic manuscripts from the Middle Ages, the story is packed with detail that few book lovers can avoid finding interesting. But the story itself is ultimately unconvincing and the reader is left with very little emotional investment in the fate of the characters.

If one doesn't mind an artful tease, knowing that the book won't go all the way, then this is still an interesting, if not satisfying, reading experience.

This was a very odd book unlike anything I've ever read. Fortunately, it was a very intruiging odd book, but also a book that required a vast literary background to really understand. Every other word seemed to be an allusion to some famous classic. Besides the fact that you MUST have read The 3 Musketeers before this book, other recommended titles include: The Count of Monte Cristo, Twenty Years After, Paradise Lost, Dante's Inferno, Mutiny on the Bounty, Notre Dame de Paris, Cyrano de Bergerac, etc. etc...
The story line--I supose it sort of existed--went something like this: Lucius Corso is a cynical old bibliophile wrapped up in a mess involving two ancient manuscripts and murder. Lots of it. You'll enjoy this book if you've done some classical reading, and if you don't mind learning a bit (a lot!) as you go along...about about ancient book binding and printing, how the 3 Musketeers was written, and of Dumas himself. I also found Corso's sneaking suspicion that he might himself be a character in a novel to be entertaining, especially when he wanted to "kick the head of whoever was writing this rediculous script." However, the ending was confusing, especially if you didn't stop to think about what was happening...but the last line was very fitting: "and everyone gets the devil he deserves".