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The girl's voice is vivid and real, her experiences easy to imagine.
The illustrations sometimes try to look like a child's ink sketches in a diary and sometimes are double-page color depictions of incidents in the book.
I think the placement of the glossary at the beginning is great. I enjoyed the author's note at the end also.
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The story telling in X-Force is fast paced and teeming with satire. All in all, the book manages to be interesting and hold one's attention, but Id recomend you run to your local comic book store and leaf through the first few pages of the first trade paperback to see if this is really your bag, as the book deals with mature subjects and contains tons of graphic death scenes.
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This is just what she does with Elinor and Marianne Dashwood. The central theme of this novel is not the love between a boy and a girl; it is about the love between two sisters and how they come to a better understanding of each other when they are forced to endure similar situations and handle them in completely different manners.
When each sister, through dissimilar circumstances, discovers that the happiness she had believed she would find in marriage is not to be, it at first appears that Elinor is rather cold and heartless - more worried about propriety than feelings - and that Marianne is more in touch with her emotions and would rather express her grief than take into account how her display will affect those who love her...
As for the relationship between the sisters, at the beginning, Marianne seems to pity Elinor for her lack of esteem for art and poetry, and she believes that Edward is not worthy of her. Elinor, while seeing the youthful faults of her sister, always keeps a sense of humour and does everything out of love for her and the rest of the family. In the middle, Marianne believes that no one has ever suffered as she, and continues to pity Elinor for her inadequacies...
This is a wonderful and deeply moving novel that should be read more than once to be thoroughly understood and appreciated.
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The book overall was good, but There were one or two things I didn't like, such as Gary Paulsen doesn't explain the camping site very well. He just says that it has a fort, and a fire pit, and the usual camping site stuff. He should have described into detail the fort, and the fire pit, and all the rest of it. Another thing I didn't like was the fact that he introduced the two problems at once. It isn't very realistic that Derrick was holding the radio during his sleep, and the lightning bolt just happened to hit right as the two were sleeping. One thing I did like was the non stop action the whole time after the introduction of the problem. Brian is constantly chasing a raft, or pulling on the raft. I really liked the action of this book.
I would recommend this book to anyone who likes wilderness survival, or action books, or who just like to try to figure out how to overcome a problem. You are constantly guessing how he will get out of a problem or if he will get out of problems.
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The protagonist is a loathesome little priss. Austen herself says so in her letters. Fanny Price is neurotic and oversensitive where Austen's other heroines are brash and healthy. Even Austen's own family found the ending as odd and disappointing as do subsequent generations of readers.
So there's a puzzle to be solved here. The answer may lie in the fact that this book was written when, after a lifetime of obscurity, Austen found herself, briefly, a huge success. As is so often the case with writers, the success of her earlier book may have given her the courage to decided write about something that REALLY mattered to her--and what that was was her own very complex feelings about the intensely sexual appeal of a morally unworthy person.
This topic, the charm of the scoundrel, is one that flirts through all her other books, usually in a side plot. However, the constraints of Austen's day made it impossible for her to write the story of a woman who falls for a scoundrel with a sympathetic viewpoint character.
So what I think Austen may have decided to do was to write this story using Edmund--a male--as the sympathetic character who experiences the devastating sexual love of someone unworthy. Then, through a strange slight of hand, she gives us a decoy protagonist--Fanny Price, who if she is anything, is really the judgemental, punishing Joy Defeating inner voice--the inner voice that probably kept Jane from indulging her own very obvious interest in scoundrels in real life!
In defense of this theory, consider these points:
1. Jane herself loved family theatricals. Fanny's horror of them and of the flirting that took place is the sort of thing she made fun of in others. Jane also loved her cousin, Eliza, a married woman of the scoundrelly type, who flirted outrageously with Jane's brother Henry when Jane was young--very much like Mary Crawford. The fact is, and this bleeds through the book continuously, Austen doesn't at all like Fanny Price!
To make it more complex, Fanny's relationship with Henry Crawford is an echo of the Edmund-Mary theme, but Austen makes Henry so appealing that few readers have forgiven Austen for not letting Fanny liven up a little and marry him! No. Austen is trying to make a case for resisting temptation, but in this book she most egregiously fails.
2. Austen is famous for never showing us a scene or dialogue which she hadn't personally observed in real life, hence the off-stage proposals in her other books.
Does this not make it all the more curious that the final scene between Edmund and Mary Crawford in which he suffers his final disillusionment and realizes the depths of her moral decay comes to us with some very convincing dialogue? Is it possible that Jane lived out just such a scene herself? That she too was forced by her inner knowlege of what was right to turn away from a sexually appealing scoundrel of her own?
3. Fanny gets Edmund in the end, but it is a joyless ending for most readers because it is so clear that he is in love with Mary. Can it be that Austen here was suggesting the grim fate that awaits those who do turn away from temptations--a lifetime of listening to that dull, upstanding, morally correct but oh so joyless voice of reason?
We'll never know. Cassandra Austen burnt several years' worth of her sister's letters--letters written in the years before she prematurely donned her spinster's cap and gave up all thoughts of finding love herself. Her secrets whatever they were, were kept within the family.
But one has to wonder about what was really going on inside the curious teenaged girl who loved Samual Richardson's rape saga and wrote the sexually explicit oddity that comes to us as Lady Susan. Perhaps in Mansfield Park we get a dim echo of the trauma that turned the joyous outrageous rebel who penned Pride and Prejudice in her late teens into the staid, sad woman when she was dying wrote Persuasion--a novel about a recaptured young love.
So with that in mind, why not go and have another look at Mansfield Park!
While I have enjoyed other books by Austen, this one is unique among them in that the plot structure is, for the most part, quite complicated; and, what singles "Mansfield Park" out artistically is its style, as opposed to its story. Some passages are exceptional; for example, the scene where the main characters stroll about Sotherton Court approximates the scene at the county fair in Flaubert's "Madame Bovary" in its complexity, orchestration, and execution. Parts of "Mansfield Park" are simply exquisite.
Unfortunately, the denouement is something like a train wreck. The last 1/3-1/4 of the book is stylistically dull, though structurally sound, and the last twenty or so pages read like Cliff Notes. The ending should have been much longer in order to resolve the various, complicated elements of the plot with the stylistic grace of the first 2/3s of the novel. The uneven execution sets "Mansfield Park" a step below the best of Austen's (approximate) contemporaries (Flaubert and Dickens, for example), but "Mansfield Park" still makes the short list of my favorite novels.