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Move over Bill Henderson, Katrina Keneson, and Larry Dark. Watson's in the house!
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In fact, the supporting characters are far more interesting than the hero and heroine. "Under the Greenwood Tree" is really a tale of young love, and although Hardy touchingly illustrates the yearning and naivete of his lovers, both characters remain at arm's length. This is particularly true of Fancy, the heroine, whose emotions do not become apparent until close to the tale's end.
Hardy would explore many of "Greenwood Tree's" themes more effectivly in later books, but this novel is more than just a warm-up act. The decline of English country life- one of Hardy's greatest themes- has never been as tellingly illustrated as in the sub-plot of the Mellstock Quire, and the contented, ironic ending rings as true as any of the fatalistic horrors to come.
This is a story of established customs breaking down through the interloper: a new vicar in town. Structurally divided into Winter, Spring, Summer, Autumn, it follows the natural rhythms of the earth and of society. Hardy revels in his descriptive powers.
Filled with nostalgia and that increasingly fashionable concept - "Englishness", and seasoned with wisdom and wit, this is truly fabulous - a mini-masterpice in a similar bag to, say, Mrs. Gaskell's "Cranford".
"Under the Greenwood Tree" was deservedly Hardy's own favourite among his novels.
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Overall, this collection shows Frost's concern with nature and rural life. Many different animals and plants are celebrated: ants, cows, birch trees, etc. Many of the poems have a beautiful musical quality, and the collection as a whole shows an interesting variety of meter and rhyme schemes.
I'll just mention a few of my favorite poems. "Acquainted with the Night" is a hauntingly melancholy sonnet. "A Patch of Old Snow" well demonstrates Frost's keen observing eye and way with figurative language. "The Rose Family" has a comic playfulness that I found quite Seussian. "Fireflies in the Garden" is a humorous short poem with an interesting AAA BBB rhyme scheme. Overall, an enjoyable and rewarding collection by an essential American poet.
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Clotel would have historic interest simply by virtue of the fact that William Wells Brown appears to have been the first African American to write a novel. But it's not merely a literary curiosity; it is also an eminently readable and emotionally powerful, if forgivably melodramatic, portrait of the dehumanizing horrors of slave life in the Ante-bellum South. Brown, himself an escaped slave, tells the story of the slave Currer and her daughters, Clotel and Althesa, and of their attempts to escape from slavery. The central conceit of the story is that the unacknowledged father of the girls is Thomas Jefferson himself.
There is an immediacy to the stories here--of slave auctions, of families being torn apart, of card games where humans are wagered and lost, of sickly slaves being purchased for the express purpose of resale for medical experimentation upon their imminent deaths, of suicides and of many more indignities and brutalities--which no textbook can adequately convey. Though the characters tend too much to the archetypal, Brown does put a human face on this most repellent of American tragedies. He also makes extensive use (so extensive that he has been accused, it seems unfairly, of plagiarism) of actual sermons, lectures, political pamphlets, newspaper advertisements, and the like, to give the book something of a docudrama effect.
The Bedford Cultural Edition of the book, edited by Robert S. Levine, has extensive footnotes and a number of helpful essays on Brown and on the sources, even reproducing some of them verbatim. Overall, it gives the novel the kind of serious presentation and treatment which it deserves, but for obvious reasons has not received in the past. Brown's style is naturally a little bit dated and his passions are too distant for us to feel them immediately, but as you read the horrifying scenes of blacks being treated like chattel, you quickly come to share his moral outrage at this most shameful chapter in our history.
GRADE : B
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As in most of Chesterton's biographies, the story of the subject's life is of minor interest here, compared to a philosophical and artistic description of the subject's works in the context of his time and "modern times." Chesterton is interested in the writer as a thinker, as a creator, and as a moral agent. In defending Stevenson and Chaucer, he argues for his view of Christianity, poetry, love, and artistic humility. If you want his religious views in a purer form, go to the brilliant Orthodoxy or Everlasting Man. If you want a detailed narration of the lives of the writers in question, look elsewhere. And even for this style of biography, I think his book on Dickens was the best I've read. But I found his opinionated description and defense of Chaucer and his times also very interesting. And while he does not scatter brilliant sayings like rose petals at a wedding, as in his best books, (reading Everlasting Man, I wanted to copy every other sentence) a few blossoms do flutter down, like the following, which also explain Chesterton's method:
"The truly impartial historian is not he who is enthusiastic for neither side in a historical struggle. . .The truly impartial historian is he who is enthusiastic for both sides. He holds in his heart a hundred fanaticisms."
"The greatest poets of the world have a certain serenity, because they have not bothered to invent a small philosophy, but have rather inherited a large philosophy. It is, nine times out of ten, a philosophy which very great men share with very ordinary men. It is therefore not a theory which attracts attention as a theory."
Author, Jesus and the Religions of Man (July 2000)
d.marshall@sun.ac.jp
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However, most botanist may not be pleased to know that little attention was paid to plant viruses. Again, many potential buyers may be demoralized by the rather high price that this virology-set demands.
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These conditions are conceptualized as mechanisms to reduce the gap between "social" and "private" rates of return, the key operating concepts in the analysis. Indeed, any old economic undertaking can provide private gains, but the "social" costs or benefits of this undertaking will affect the society's well-being, and a given discrepancy between the two rates of return means that a third party will absorb benefits or costs of this undertaking (an example would be the lack of intellectual property rights for inventions, leading to copying and piracy by third parties). A lack of strong property rights gives these third parties the institutional incentive or imperative to absorb social costs or benefits, and if private costs exceed private benefits then no rational chooser would ever undertake any risky new private economic activity (trade, inventions, investment, etc.). In a sense, then, the analysis becomes a refreshing neoliberal justification for strong government power.
Population growth serves as a convenient control variable for this analysis, because by holding population growth constant across all the countries concerned, the authors are able to pinpoint their causal variable (parity between private and social rates of return) in the cases where it spurred the rise of capitalism (England and the Netherlands). Population growth serves as a control because the authors show that the rise of the Western World happened only after the second population boom in the period being studied (16th Century) - the fact that it didn't happen during the first population boom (10th through 13th Centuries) means that population growth alone cannot be seen as accountable for modernity. But how did the two population booms differ from each other? Only during the second one were England and the Netherlands able to provide per capita growth by providing a climate of incentives and protections (rule of law, property rights, insurance companies, joint stock companies, etc.) that reduced the gap between private and social returns and laid the groundwork for the industrial revolution to begin.
The evidence provided to back up this causal argument comes in two primary forms: citations of historical scholarship (often quoting large passages out of encyclopedias) that are given a "new" economic spin, and a great deal of quantitative evidence, in the form of graphs and charts, to verify the cycles of population growth and economic growth and recession being identified. The authors admit that the quality of statistical data from the early period under study is rather dubious, but if one can grant the integrity of the historians that uncovered such incomplete and partial data then one can probably take this data as high-quality evidence of the trends being identified.
The authors are intentionally ambiguous about their theoretical implications. Clearly, they seek to refute Marx by showing that technological change alone could not have been the cause of capitalist development, since this change itself was a symptom of both population growth and a favorable institutional climate (what Marx would dismiss as the superstructure). However, it's not clear how much they wish to refute neoliberal theory, since they follow much of its logic regarding the role of incentives in economic growth. They admit that Adam Smith himself went too far in his laissez-faire beliefs, since a weak state would not be able to provide the kinds of efficient economic organization that our authors advocate. But their analysis does not clarify just how strong of a state is required for such organization, especially in the information age economy.