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The miracle that Bolt achieves with this play is to bring alive the conflict of ideas and principle that the mundane question of Henry's irregular marriage occasioned. This is a wordy play, but Bolt is a master of words, and there are enough pithy and memorable exchanges here to fill a book of quotations. The real historical characters were fascinating, and if Bolt has streamlined the story and simplified some of the rough spots that just serves to heighten the dramatic intensity of the inevitable tragic end. As a man of consience, More cannot renounce his faith. He is torn between serving a King to whom he owes allegiance and saving his soul, and the King gives him no out. Even after renouncing his office and refusing to make any public statement about the marriage he is hounded by the King's menions and finally imprisoned in the Tower of London.
The cast of characters that seal his fate are not - with the possible exception of Cromwell - evil men. The King is selfish but willing to forgive if More will take the oath. Richard Rich, More's former student whose perjured testimony finally condemns him, is merely venal and willing to sell his self-respect for advancement. More's best friend, who goes along just to be left alone, simply doesn't want to risk his life and title and can't understand More's stance. Even his family has trouble coming to terms with why he will not bend. Knowing from the beginning how this will all end adds a layer of complexity to the actions of those characters who try to influence More and/or benefit themselves.
Finally, to return to the language of the play, this is really great writing of a particular kind. Bolt has the ability to sum up complex arguments in a few telling phrases and to find memorable turns of speech that make actors want to say the words and audience members want to hear them. This is simply one of the best plays of its kind ever written and I can't imagine it ceasing to be performed.
There is the criticism that Bolt made Sir Thomas unrealistically good and considerably more tolerant than he actually was, but Bolt admits this himself in the introduction included with the edition I read. In this play, historic events and of Sir Thomas More's personality are taken and molded slightly to provide a demonstration of one's man dedication to his faith and his conscience. The dialogue is brilliant, the characters are well realized (within the heroic structure for which Bolt was aiming), and--despite what some may consider a boring premise, certainly not me--the plot and issues are fascinating. It really made me think, and I've come back and read it several times when I feel like I need an idea to ponder. A marvellous play to see performed as well, especially when there is a very capable actor in the title role.
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It is my opinion that no book can actually make someone fall in love with you. But a book can help you make the other person, the object of your desires, realise that they have feelings for you, if they indeed exist below the surface.
Patience is required, however. Some of the techniques in this book take weeks or longer to play out effectively. But trust me, they do work.
And, while the object of my affections has yet to declare her love for me, I can see the day coming and have this book to thank for helping me not blow everything by being impatient.
This is truly a great book and I highly recommend it!
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The novel begins with the sale of Michael Henchard's wife and child to the highest bidder at a local summer fair. Henchard is drunk and his wife, tired of his habits, decides to leave with the sailor who bids on her and her daughter. Henchard wakes up the next morning, somewhat remorseful for what he has done and vows not to drink for twenty-one years.
The very next chapter picks up the story nineteen years later, with the return of the wife and child into Henchard's life. Henchard is now quite wealthy and is such an important man in his community, he is now Mayor of Casterbridge. From here, a series of wrong decisions and misunderstandings lead to the devastating conclusion.
Hardy is well known for his tendency towards gloomy endings and this book certainly fits the mold. But he is also well known for his lyrical descriptions of the English countryside and describing a way of life which had disappeared even in his own time. There were beautiful passages about the hay carts being driven through town, loaded so high that people on the second floor of homes could reach out and touch the top of the hay. Small details abound, describing the sound of rain on trees and the smell of the local foods. But perhaps the most significant aspect of the novel for me was the feeling that Henchard had wished for everything that had happened to him, and all of his wishes came true, and thus ultimately his downfall. These wishes were almost all made in a rash moment, when perhaps a minute or more of reflection could have produced a clearer head. Yet Henchard lives by his instincts, since for almost twenty years they seemed to serve him well.
I would recommend this book to any serious literature lover and I believe it serves as a good introduction to his other works. His books serve as a bridge from Victorian literature to modern literature, with no happy endings guaranteed.
Hardy is a gifted author. He writes in a clear style with vivid descriptions that really bring the setting alive, without making the reader (at least this reader) feel inundated with borning, unnecessary detail.
The thing that I look for most in a novel, however, is quality characterizeations, and this book had them in spades. Dialogue was used effectively to flesh out characters. These are not stock characters, either. These people have flaws and shades of grey. They seem as though they could be real. I found that I could relate to the characters, and I did empathize with them, even when I didn't agree with their choices. Everyone had clear motivations. The characterization of Henchard shows that Hardy clearly understood the notion of the tragic flaw and the tragic hero/anti hero.
Students who have to read this book as part of their English class may find it a bit on the long side. I would urge you to stick with it; once you get through the initial chapters the book will pick up (a commonality that all British classics seem to share). The book is easy to follow and understand. It is a key novel that marks the shift from Romantic Age to the Victorian Age, so it's an important read for anyone who has a serious interest in English Literature.
Through this novel I came to the understanding of Irony and oxymoron. Hardy totally wrote with a sense of awareness of human characteristic and he had a amazing style of mixed humour with tragedy.
His protagonist,Michael Henchard's life was under the microscope of Hardy.
I love the way the story began I quote:"ONE evening of late summer, before the nineteenth century had reached one-third of its span, a young man and woman, the latter carrying a child, were approaching the large village of Weydon-Priors, in Upper Wessex, on foot. " I love the Englishness and the sense of intriguing events that would follow...
In brief, Michael Henchard was a drunk who sold his wife and daughter at the fair. Later he realised his mistakes he work real hard and eventually became the mayor of Casterbridge. His life took another twist 20 years later when his wife and daughter came back to his life plus a few more other characters adding on the complexity of his life.Soonafter events unfolded and many things became to go against his way and then came his downfall. Indeed Michael Henchard's rise and fall were filled with compelling details and his encounters with numerous intestering people.
What I love most about this novel was the way Hardy depicted Henchard's behaviours and thoughts and totally enhanced his weak character and irresponsibleness with dashes of ironies. His sardonic literary style were brilliant and at the same time he also vividly described the scenery and situations. Another greatest of Hardy was his ability to create innovative characters still account for in modern contemporary days and he was a pioneer in analysising human's weakness and blended it into his creation. It's a vintage classic,psychoanalytic and intriguingly written ,a must read for all books lover.
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The story moves along well, though drags out a bit in the emotions of the characters who don't die. At the risk of sounding sexist, I'd almost think this one was written for the fairer sex, rather than we bloodthirsty mechwarriors! The dying begins in this novel, but there's not nearly enough, and it's disappointingly handled as well. This one's a good read, and a must read, but Gressman could have done better.
Come on, you didn't think I'd give it away, did you? Sorry. You're gonna have to read it for yourself.
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In reading the book I think a little bit of a democratic bias comes out, just a little, but enough to notice. I also thought it interesting that they had far more details of the Gore group then the Bush camp, it follows the perception that the Post is somewhat liberal in its views. The book is an overview that came out almost 10 minutes after Gore hung up the phone on the second concession call so there are a few more details out now that they did not get in the book. Overall it is a good effort and a readable book, but not the end all be all on the subject.
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Again, I've gone through nearly 30 books about 9/11. After you get past the austere black cover, this paperback falls with a thud.
Simply put, this book tries too HARD to be profound. You see images you've seen before, such as the sequence of shots of one of the jets slamming into the south tower of the WTC. Nothing new.
Two things bug me: Layout and content.
In the layout, you get the feeling the editors are trying to SLEGEHAMMER the reader with the obvious. I hate this. For example, in some essays, certain words and phrases are laid out into single lines, as if they are poetry. Then there is the awful decision to use fonts of varying sizes to EMPHASIZE certain passages. This is a pretentious device that, I'm sorry, calls TOO MUCH ATTENTION to itself. It is completely unnecessary and smacks of a patronizing tone intended to magnify the depth and gravity of what occurred on 9/11. We all know about that dark day. We DON'T need it pushed into our faces under the umbrella of "literary art."
Meanwhile, about the Chomsky essay: It's short but it's awful. It's laid out, again, in a way that feels like "padding." His message reads like an "I told you so" lesson. Here's what he does: He points to America's "sins" of the past and then turns them around in a way that makes you want to believe that it's NOW THE UNITED STATES' TURN TO SUFFER. This is horrible. His opinions are the stuff of fiery pamphlets handed out on street corners. (BECAUSE WHO WOULD PAY FOR THIS?)
OK, what's good about this book? Well, some of the transcripts of phone calls and a handful essays from victims and witnesses are well done. Why? Because they ARE NOT pretentious. But when others try to be "inspirational," they end up stating the obvious. I can't help but feel most writers were given an outlet to "vent" their own emotions, which have more relevance to the writer than to the reader.
If you want more for less, pick up the December 2001 issue of American Heritage Magazine. There you get five-star opinions about 9/11 from individuals of world repute. It has a "permanence" this book lacks and it doesn't feel rushed together.
In sum, it's fine to read what people like Joan Rivers, Deepak Chopra, Richard Dreyfuss and others "feel" about 9/11. But is it worth PAYING for? You can't judge quality by "good intentions." This is a rush-to-market volume featuring opinions from most who have (or who will have) little if any impact on our lives. Why not opinions from Giuliani, Bush, Blair, Sharon and Arafat, even those recorded by the news media in the AFTERMATH of 9/11? Why not more views from individuals who can effect CHANGE? This book could have been GREAT.
Trust me, this is NOT the definitive book of "think pieces" about 9/11/01.
If you disagree, fine. It's your money. But my advice is to borrow before you buy. There are other books worth buying. This one isn't.