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## Download PDF The Cave and the Light: Plato Versus Aristotle, and the Struggle for the Soul of Western Civilization, by Arthur Herman

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The Cave and the Light: Plato Versus Aristotle, and the Struggle for the Soul of Western Civilization, by Arthur Herman

The Cave and the Light: Plato Versus Aristotle, and the Struggle for the Soul of Western Civilization, by Arthur Herman



The Cave and the Light: Plato Versus Aristotle, and the Struggle for the Soul of Western Civilization, by Arthur Herman

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The Cave and the Light: Plato Versus Aristotle, and the Struggle for the Soul of Western Civilization, by Arthur Herman

Arthur Herman has now written the definitive sequel to his New York Times bestseller, How the Scots Invented the Modern World, and extends the themes of the book—which sold half a million copies worldwide—back to the ancient Greeks and forward to the age of the Internet. The Cave and the Light is a magisterial account of how the two greatest thinkers of the ancient world, Plato and Aristotle, laid the foundations of Western culture—and how their rivalry shaped the essential features of our culture down to the present day.
 
Plato came from a wealthy, connected Athenian family and lived a comfortable upper-class lifestyle until he met an odd little man named Socrates, who showed him a new world of ideas and ideals. Socrates taught Plato that a man must use reason to attain wisdom, and that the life of a lover of wisdom, a philosopher, was the pinnacle of achievement. Plato dedicated himself to living that ideal and went on to create a school, his famed Academy, to teach others the path to enlightenment through contemplation.
 
However, the same Academy that spread Plato’s teachings also fostered his greatest rival. Born to a family of Greek physicians, Aristotle had learned early on the value of observation and hands-on experience. Rather than rely on pure contemplation, he insisted that the truest path to knowledge is through empirical discovery and exploration of the world around us. Aristotle, Plato’s most brilliant pupil, thus settled on a philosophy very different from his instructor’s and launched a rivalry with profound effects on Western culture.
 
The two men disagreed on the fundamental purpose of the philosophy. For Plato, the image of the cave summed up man’s destined path, emerging from the darkness of material existence to the light of a higher and more spiritual truth. Aristotle thought otherwise. Instead of rising above mundane reality, he insisted, the philosopher’s job is to explain how the real world works, and how we can find our place in it. Aristotle set up a school in Athens to rival Plato’s Academy: the Lyceum. The competition that ensued between the two schools, and between Plato and Aristotle, set the world on an intellectual adventure that lasted through the Middle Ages and Renaissance and that still continues today.
 
From Martin Luther (who named Aristotle the third great enemy of true religion, after the devil and the Pope) to Karl Marx (whose utopian views rival Plato’s), heroes and villains of history have been inspired and incensed by these two master philosophers—but never outside their influence.
 
Accessible, riveting, and eloquently written, The Cave and the Light provides a stunning new perspective on the Western world, certain to open eyes and stir debate.

Praise for The Cave and the Light
 
“A sweeping intellectual history viewed through two ancient Greek lenses . . . breezy and enthusiastic but resting on a sturdy rock of research.”—Kirkus Reviews
 
“Examining mathematics, politics, theology, and architecture, the book demonstrates the continuing relevance of the ancient world.”—Publishers Weekly
 
“A fabulous way to understand over two millennia of history, all in one book.”—Library Journal
 
“Entertaining and often illuminating.”—The Wall Street Journal

  • Sales Rank: #449450 in Books
  • Published on: 2013-10-22
  • Released on: 2013-10-22
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.51" h x 1.36" w x 6.35" l, 2.12 pounds
  • Binding: Hardcover
  • 704 pages

From Booklist
Herman (How the Scots Invented the Modern World, 2002) boils Western philosophy and culture down to two competing notions: the idealism of Plato and the empiricism of Aristotle. Plato, says Herman, asks, “How do you want your world to be?”; Aristotle, on the other hand, asks, “How do you fit into the world that already exists?” Walking through two and a half millennia of Western thought, Herman emphasizes that the two philosophies—the material and the spiritual aspects of existence—have repeated themselves through Western history, waxing and waning and remaining in tension with each other to the present day. Romanticism? Poetry? Totalitarian dogmatism? That’s Plato. The U.S. Constitution? The Manhattan Project? Modern consumer culture? That’s Aristotle. If it sounds like a sweeping polemic, that’s because it is; Herman seems to revel in overbroad claims, particularly when he’s talking about modern phenomena. Beneath all the broad assertions and polemic showiness, however, lies a serious argument for the primacy of Plato and Aristotle and the essential dynamism of a culture that embraces both philosophies.

Review
Praise for The Cave and the Light
 
“A sweeping intellectual history viewed through two ancient Greek lenses . . . breezy and enthusiastic but resting on a sturdy rock of research.”—Kirkus Reviews
 
“Examining mathematics, politics, theology, and architecture, the book demonstrates the continuing relevance of the ancient world.”—Publishers Weekly
 
“A fabulous way to understand over two millennia of history, all in one book.”—Library Journal
 
“Entertaining and often illuminating.”—The Wall Street Journal
 
Praise for Arthur Herman
 
Gandhi & Churchill
Finalist for the Pulitzer Prize
 
“You finish the book knowing that you can evaluate the world today, particularly modern India, with more knowledge and insight.”—USA Today
 
“Scrupulous, compelling, and unfailingly instructive . . . a detailed and richly filigreed account that introduces the Anglo-American reader to many facts and vivid if little-known personalities, both English and Indian.”—Commentary
 
Freedom’s Forge
 
“A rambunctious book that is itself alive with the animal spirits of the marketplace.”—The Wall Street Journal
 
How the Scots Invented the Modern World
 
“Professor Herman demonstrates an infectious and uplifting passion for his subject. Unlike many academics, he is a natural writer, weaving philosophical concerns seamlessly through a historical narrative that romps along at a cracking pace, producing a text that is highly accessible without compromising the rational quality of his argument.”—The Guardian

About the Author
Arthur Herman is the bestselling author of Freedom’s Forge, How the Scots Invented the Modern World, The Idea of Decline in Western History, To Rule the Waves, and Gandhi & Churchill, which was a 2009 finalist for the Pulitzer Prize. Dr. Herman taught the Western Heritage Program at the Smithsonian’s Campus on the Mall, and he has been a professor of history at Georgetown University, The Catholic University of America, George Mason University, and The University of the South at Sewanee.

Most helpful customer reviews

110 of 128 people found the following review helpful.
Enquire Within About Everything...
By FictionFan
In this comprehensive view of the last 2,500 years, Arthur Herman sets out to prove his contention that the history of Western civilisation has been influenced and affected through the centuries by the tension between the worldviews of the two greatest of the Greek philosophers, Plato and Aristotle. And for this reader at least, his argument is a convincing one.

The book covers so much in terms of both philosophy and history that a full review would run to thousands of words. Happily that's not going to happen here, dear reader. I will simply say that, from knowing virtually nothing about philosophy, I now feel as well informed as if I had done an undergraduate level course in the subject.

Herman starts way back at Socrates and brings us right up to the philosophers of the late twentieth century. He begins by giving a fairly in-depth analysis of the chief insights of both Plato and his former pupil Aristotle, using Plato's metaphor of the cave and the light to show how their views diverged. He shows Plato as the mystic and idealist, believer in the divinity of Pythagorean geometry, advocate of the philosopher king, believing that the route to the light of wisdom is available only to some through contemplation and speculation and that these few should set rules for the rest to follow. Aristotle is shown as the man of science and common sense, believing that there is much to be learned from an examination of life in the cave itself and advocating that all men (sorry, women, you'll have to wait a couple of millennia) should be involved in government with the family at the heart of society.

Herman takes these rival viewpoints (which I have grossly oversimplified and can only hope that I've got the basics approximately right) and shows how each has achieved ascendancy at different points in history. And what a journey he takes us on! The fall of Greek civilisation, the Roman Empire, the birth and rise of Christianity, the Dark Ages, the Middle Ages, Renaissance, Reformation, Enlightenment, Revolution and on past the rise of totalitarianism to the end of the Cold War. Phew! At each step along the way, he discusses the leading philosophers of the time, linking the chain of development of the various schools of thought back in a continuous line to one or other of Plato and Aristotle - occasionally both - and showing how the thinkers of the time affected the politics of nations. To my personal delight, he pays considerable attention to the Scottish contribution to the Enlightenment.

This is not just a history of philosophy and philosophers though - like philosophy itself, it covers just about every area of human interaction. The book provides the clearest overview I have ever read of the rise and development of Christianity, the divisions and schisms, the beliefs of the various factions. Herman leads us through from the Old Testament, St Paul, St Thomas Aquinas, Abelard, Erasmus - well, you name them, they're here. He tells us about the people as individuals as well as their beliefs, so we learn about their backgrounds, where they were educated, whom they were influenced by and whom they in turn influenced.

On politics, amongst many other things, Herman writes in depth about the philosophers of the French Revolution, the founding of the American constitution and the rise of Nazism and fascism. He convincingly argues that the twentieth century history of the parallel rise of democracy and totalitarianism was seeded in the divide between Aristotle and Plato over two millennia earlier. Again the links in the chain are carefully connected - from Plato to Karl Marx, from Aristotle to Karl Popper.

The third main strand is science, and again Herman leads us through the ages, showing the close interconnection between the development of science and philosophy, together with the influence of scientific advancement on religion and politics - and vice versa.

Herman's writing style is amazingly accessible considering the breadth and depth of the information that he conveys. He doesn't over-simplify, but explains clearly enough for the non-academic to follow his arguments. My review suggests that he treats each of the strands separately, but in fact he tells the story in a linear fashion, weaving all the strands together, so that a very clear picture is given of the different stages of development of each at a given point in time. At points where it might all get too confusing, he takes the time to repeat the basics to put them into the context of the period he's discussing, meaning that this poor befuddled reader didn't have to keep flicking back to remind herself of who believed what.

There is so much in the book that I found this review particularly difficult to write. If I have given any idea of how impressive I found it, then the review has worked. That's not to say I didn't disagree with Herman from time to time. On occasion I felt he was stretching his argument a bit too far, perhaps, and once or twice he would make a sweeping statement completely dismissing conventionally held views in favour of his own. And towards the end I felt he was allowing his own political viewpoint to show through a little too much, in favour of 'Aristotelian' capitalism as opposed to 'Platonic' socialism for instance (though he pulled that back a little in his conclusion). But the very fact that, by the end of the book, I occasionally felt in a position to question his stance showed me how much I had gained from reading it. Not the lightest read in the world, but for anyone who wants to understand the fundamentals and history of Western philosophy, highly recommended.

(Phew! Made it in less than 1000 words - just! Apologies!)

Arthur Herman has been a Professor of History at various universities in the US and was a finalist for the Pulitzer Prize in 2008 for his book Gandhi and Churchill.

NB This book was provided for review by the publisher, Random House.

258 of 314 people found the following review helpful.
Neither Beautiful Nor Good
By InterestedObserver
I regret having to provide a negative review for a book that takes the Ancients seriously, but I do feel some responsibility to put forward a more critical opinion in order to counterbalance the general praise Herman's book has received so far, both in this review section and in the media at large.

Herman proceeds from a delicious but ultimately fraught grand thesis: Plato the idealist and Aristotle the realist have determined the structure of Western Civilization through their diametrically opposed philosophical inquiries. In staking this position, Herman has adopted a rather standard interpretation of the relationship between the two great Greeks in their metaphysical and epistemological studies. Plato, so the story goes, believed in mysterious entities called Forms (Eidos) available only to the intellect and whose presence provides the foundation for all material beings. Aristotle, so the story continues, eschewed the Forms for an empiricism that begins with particular material beings as the most real beings and then proceeds toward generalizations, not unlike the inductive method scientists employ today and whose methodological validity can be traced all the way back to Aristotle himself.

From reading Herman, you would not gather that this strict demarcation between the two philosophers is at best a contentious claim and at worst an outright deception. The last paragraph of Roger Kimball's review in the Wall Street Journal points toward this problem with "The Cave and the Light," but fails to stress just how large a problem it really is. Kimball quotes Book VII of The Republic, a worthy selection, and comments that "Plato isn't the thoroughgoing Platonist he is sometimes taken to be." Right. Whether Plato actually believed in the Forms as metaphysical entities is debatable---his Seventh Letter indicates that he did not---and whether Aristotle believed that his own inquiries were as opposed to his master's as Herman holds is likewise debatable. Herman takes the words Plato puts in his interlocutors' mouths as Plato's own, a juvenile mistake and one that indicates a fundamental inability to read a Platonic dialogue. Herman's entire thesis depends upon this very shallow interpretive approach. Where deep thought and a deft touch are required, Herman substitutes light skimming and a heavy hand.

My verdict may seem harsh, but when one puts forward such a bold claim as Herman has---and hopes to reap monetary and laudatory rewards from such a claim---then one invites criticism. While "The Cave and the Light" is a book of popular philosophy and not a text by an actual philosopher, I do not see how a serious person could, in good conscience, recommend this book to anyone who prefers the truth over convenient narratives designed to sell en masse.

171 of 217 people found the following review helpful.
Author's selective burning of Plato and Aristotle creates much heat, little light, and lots of misinformation
By J. A Magill
After most revolutions tire of fighting their enemies, they begin executing their friends. Having led the "Terror," Saint-Just stepped to the Guillotine. Trotsky's final reward came in the form of an ice pick to the ear. The National Review stalks GOP party meetings in search of "Republicans In Name Only" (RHINOs) whom they can declare outside the "Big Tent" and target for defeat. American conservatism may claim many enemies on both sides of the isle, but in his new book, The Cave and the Light: Plato vs. Aristotle and the Struggle for the Soul of Western Civilization, American Enterprise Institute scholar Arthur Herman argues that they have focused far too much on modern targets. Herman's previous worked sought to rehabilitate Joseph McCarthy. Here he has bigger fish in mind. Now he sets his sights on ancient greatest thinkers. Using a blizzard of charges from the calumnious to the absurd, Herman struggles to explain why all that is dangerous in modern thought, from Communism to radical Islam, finds its roots in the work of Socrates' chief student, Plato, even as all that is right (Capitalism, freedom, etc) springs from Plato's chief student, Aristotle. In this simplistic dichotomy can also be found the central flaw of Herman's thesis; few readers with much familiar in his portrait of either of these ancient thinkers, let alone his often specious summaries of the great philosophers who came after them.

Refugees from Philosophy 101 will recognize the first portion of Herman's argument: from the Agora forward one can trace most philosophical disputes back to Aristotle's rejection of his teacher Plato. Yet for Herman this 2,400 year old disagreement is fundamentally Manichean: everything good, beautiful, and light arose from Aristotle, while all that is pernicious, destructive, and dark can be traced back to Plato. If that argument appears simplistic, it sounds no less so after 700-plus pages. In Herman's construction, Aristotle is "the father of modern science [and] logic... [who] looks steadily forward," while over on the dark side, "Plato...[spoke] for the theologian, the mystic...One gave us the US Constitution, the Manhattan Project and shopping malls. The other gave us Chartres Cathedral but also the gulag and the Holocaust." Aristotle is nothing less than Jefferson's intellectual grandfather. And Plato fans? "Pol Pot [and] the Ayatollah Khomeini...[a] huge admirer of Plato's Republic." Kohmeini's favor must for Herman be particularly important, earning as it does more than one mention. And if this were not enough, he further poisons the pot by naming a variable rogues gallery as Plato fans: Robespierre, Marx, and - for good measure - Hitler. Thank goodness for us, Aristotle came along to rescue us from Plato's clutches: "Plato looks constantly backwards, to what we were, or what we've lost or to an original of which we are the pale imitation or copy...Aristotle, by contrast, looks steadily forward to what can we can be rather than what we were. His outlook is by its nature optimistic: "The universe and everything in it is developing towards something continually better than what came before," including ourselves. It is truly a "philosophy of aspiration," and for Aristotle the world we make for ourselves continually reflects it. In that sense, Aristotle is the first great advocate of progress - and Plato, creator of the vanished utopia Atlantis, the first great theorist of the idea of decline.

Only the very cautious reader will note this passages red flags with regard to Herman's method. The quotes used come not from Aristotle but from Bertrand Russell's much criticized A History of Western Philosophy. Yet, as often as not Herman favors controversial secondary sources that fit his program and shows little patience for wrestling with complex original texts.

On the page, Herman's Aristotle is funhouse-mirrored into an unrecognizable Jeffersonian caricature. Consider for example his assertion that "Aristotle concludes that power belongs best with the people [my emphasis]." This claim would no doubt come as a surprise to many, not least of all Aristotle. For Aristotle no one political scheme was "best." Instead he divided governing schemes into three categories: Monarchy (rule of the one), Aristocracy (rule of the few), and Polity (rule of the many). Each possess strengths and weaknesses. Aristotle then further divided these into the "virtuous" (which strive for the "common advantage) and the"deviant" (where those in power serve not the general interest but only their own). He lays this scheme out in Book III of The Politics: "Tyranny is a kind of monarchy which has in view the interest of the monarch only; oligarchy has in view the interest of the wealthy; democracy, of the needy: none of them the common good of all." As for "Polity," for Aristotle the rule of "the many" is hardly popular sovereignty as understood by any democrat, whether modern or back in ancient Athens. His "many" was not our many. Ancient Athenian democracy was far more democratic than any modern state that embraces that particular term. In Athens citizenship included every militarily trained Athenian male over age eighteen. Unlike our system of delegated political power, every Athenian citizen could count himself among the assembly and cast his own vote on any matter of legislation or policy. Athenians likewise distrusted delegation of judicial power and juries could consist of as many as 6,000 members.

One such Athenian mass jury condemned Socrates to death for expressing thoughts with which the majority disagreed. No surprise then that Plato and Aristotle alike saw free wheeling Athenian democracy as dangerous. Yet Herman considers only Plato's distrust for mass rule. Contrary to his argument, however, Aristotle likewise saw the masses as lacking the proper virtue to rule. As he clearly states in Book VII of The Politics, "The citizens must not lead the life of mechanics or tradesmen, for such a life is ignoble, and inimical to virtue. Neither must they be farmers, since leisure is necessary both for the development of virtue and the performance of political duties." Thus Aristotle's understanding of citizenship isa far cry from either that of Ancient Athens or our modern liberal image. Even mass citizenship, for Aristotle, means citizenship by a particular elite. Whether by ignorance or duplicity, Herman is all too willing to exploit such linguistic confusion around such terms to further his argument. Nor is this the end of Herman's efforts to prettify Aristotle and demonize Plato.

Intent on dragging these ancient thinkers into every modern dispute, Herman conflates Aristotle with capitalism (and, of course, Plato with communism). While Aristotle saw the ownership of private property as ennobling and Plato saw great inequality between classes as a pernicious source of social friction, it is anachronistic to associate either with modern capitalism. Modern capitalism depends on far more than mere ownership. Neither thinker would likely much understand our modern belief in a natural right of property ownership. Yet Herman will have none of such fine distinctions. Consider for example, his description of the multitudinous virtues of a middle class Eighteenth-century English merchant: "Far from creating a poltroon, the Eighteenth Century saw the world of commerce creating a man who might have stepped out of the pages of Aristotle's Ethic. This was someone intellectually alert and morally centered, regardful of others by habit and therefore not inclined to extremes of behavior...Above all he is inclined to be tolerant of others [my emphasis], whether they are Christians or Muslims or Jews." A reader must wonder whether our merchant's Catholic neighbor- denied the right to own property until 1788 and enfranchised only in 1829 - would share Herman's rosy assessment. Such simplified schemes, however, remains essential to Herman's "history" of ideas: from Aristotle through Locke to the Framers flows all the "right" ideas, all realized - apparently- through the ennobling virtues of capitalism and private property. And private property is what inspires those dangerous shadows which lurk in our culture's darker corners: Plato and his intellectual children.

In Herman's tracing of Plato's "dangerous" thinking, he borrows liberally from Karl Popper. Herman, like Popper, sees Plato's flaws arising from multiple points, though primarily the Philosopher's anti-empiricism. For Plato, "truth" is deduced not through observation but through pure reason. The world exists not as a series of competing opinions, as in a democratic forum, but as an absolute, an absolute only recognizable if the world is properly understood. Of course, one can delete Plato's "truth" and replace it with a system built around racial superiority or class conflict, which is how Herman, and Popper in The Open Society and its Enemies, lay everything from Auschwitz to the Gulag at Plato's long-dead feet (not surprisingly, Herman never mentions that the second volume of Popper's work traces other modern evils back to Aristotle).

Not that Herman's simplistic division of Plato and Aristotle is wholly baseless. On the contrary, readers will recognize his view of their central conflict, with Plato's method of understanding reality through pure thought against Aristotle's reliance on empirical observation. Here again, however, in demonizing the former and polishing the latter, Herman fails to properly understand the strengths and weaknesses of either man's system. Certainly, one of Aristotle's contributions to thought is the importance of systemic understanding gained through observation. Aristotle's scheme, however, falls short in its dismissal of innovation. Just as understanding the point of biology is to allow one to maximize understanding and utilization -- but not improve -- of the animal's structure, so Aristotle understood the city. By analyzing various constitutions one can pick and choose from among their features; for Aristotle, however, imagining that one can come up with something wholly new is pure fantasy.

Yet Herman fails to understand the syncretic light thinkers have derived - and continue to derive - from mixing Plato and Aristotle's contradictory world views. Consider the American Framers who Herman would place squarely in Aristotle's column. Following Aristotle's method they derived their understanding of government through empirical inquiry: the experiences of the 13 colonies and states, Great Britain's Parliament, the failure of the Articles of Confederation, republics both extant and ancient. The Framers' aspirational understanding of rights, however, was pure Platonic universalism: "We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness." Likewise, when Martin Luther King Jr. offered his dream of universal justice, he was drawing from a Platonic understanding of an ideal for which humanity must eternally strive.

This division between the empirical and the reasoned likewise occurs when readers engage in the age-old argument of which of these thinkers is closer to the "modern" view. At first glance, Herman seems correct that it is Aristotle. A closer examination, however, breeds doubt. Where Aristotle defends women's subordination as nature's dictate, The Republic implicitly recognizes the potential for gender equality. In a passage subject to much academic debate, Plato's Socrates reasons that women of each class should engage in the same mental and physical training as men. The same problem can be seen in Aristotle's praise for the virtues of slavery (an often cited antebellum justification for that `peculiar institution') juxtaposed with Plato's belief in the universal quality of human reason. Perhaps the strongest example of the potential found in mixing these intellectual rivals comes from one of the thinkers Herman most despises, Jean Jacques Rousseau.

For Herman, Rousseau is nothing less than Plato's most dangerous disciple. Rousseau is the man responsible for the Terror of the French Revolution, anarchism, Communism, Nazism and just about every other ill - impressive work for the son of a Genevan watch maker. Focusing on Rousseau's most famous book, The Social Contract, Herman argues that Rousseau follows closely in Plato's footsteps. "This was Plato in the raw, the unflinching moral absolutist who denounced the corruption of his native Athens and admired the austere warriors of Sparta. It was the would-be Philosopher Ruler who wanted to banish the arts and private property..." Now it is worth pausing here to note that, far from imagining himself as a "would-be Philosopher Ruler," Plato seems to have shown no appetite for engaging in politics beyond his academy, his only foray coming when as an old man he served as adviser to the king of Syracuse and his son's tutor. Moreover, even a cursory read demonstrates that Rousseau argued for a state not ruled by a king on high, but of free citizens engaged in self rule. Nor did Rousseau's method rely on Plato's pure reason. From the beginning of The Social Contract Rousseau draws on empirical evidence to support his understanding of the "state of nature" even as his ideal society borrows liberally from his native city-state of Geneva. Even the work's most famous line demonstrates the power found in utilizing both Aristotle and Plato: "...taking men as they are and laws as they may be...," an extraordinary mix of empirical examination and aspirational reason! Unfortunately Herman chooses not to engage Rousseau's actual thesis, but instead settles for his usual salvos of character assassination, shoddy analysis, and outright misrepresentation (as when he falsely claims that Rousseau's ideal state will abolish private property), all as part of his broader assault on Plato.

Herman's use of Rousseau to attack Plato (and vice-versa) demonstrates the core of his book's shortcomings:he condemns thinkers he doesn't like by attacking them for not being modern, even as he beatifies those of whom he approves by drowning them in a sea of anachronistic modern thought . Instead of trying to understand Plato and Aristotle in their own ancient context he seeks to drag them into our peculiar modern left-right political dichotomy, the former always in his scheme on the wrong side even as the latter is in every sense on the right. Consider for example his argument that sets Plato up as the grandfather of the modern welfare state:
Hegel is the true godfather of the nanny state, or welfare state - with Plato standing beside him at the baptismal font. Unemployment insurance, health and safety regulation, minimum wage laws and aide to dependent children, the income tax and federal deposit insurance: all these become justified as the State acting to protect us from ourselves, because the State is our Better and Higher Self.
Of course, one might look to the actual origins of the welfare state in Bismarck's realpolitik efforts to counter his social democrat opponents or, as described in President Lincoln's more generous practical thesis, that "The legitimate object of government is, to do for a community of people, whatever they need to have done, but can not do, at all, or can not, so well do, for themselves - in their separate and individual capacities." In such a formulation, the welfare state is no Leviathan, but instead the reflection of the members of a community acting collectively in purist of what they see as their individual self interest.

Herman, however, colorblind in his worldview, only perceives the world through the lens of a black and white conflict. In this duelist construction every thinker must be understood in the context of our current argument, their particular context merely incidental. Yet dismissing ancient thinkers for their failure to share our world view or understanding them exclusively as progenitors of our ephemeral disputes leaves the modern reader intellectually bereft, albeit feeling smugly superior. It tautologically condemns ancient thinkers for the sin of being ancient. One does not further his or her understanding by projecting our modern and post-modern ideas backwards onto thinkers for whom they would be somewhere between inconceivable and absurd. Instead of bending philosophers' works to suit our particular tastes by dragging them into our now, we do better extending our imagination in an effort to appreciate them in their own context. Yes, this demands a challenging feat of imagination. At the same time, It forces us to wrestle with the thinkers of the past instead of burying them.

***Review published in Open Letters Monthly (openlettersmonthly.com)

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^ Download Heart of Dixie (Loveswept), by Tami Hoag

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Heart of Dixie (Loveswept), by Tami Hoag

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Heart of Dixie (Loveswept), by Tami Hoag

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Heart of Dixie (Loveswept), by Tami Hoag

#1 New York Times bestselling author Tami Hoag mixes mystery and romance in this moving classic novel of a missing woman and the search that brings together the unlikeliest of lovers.…

She was a blond goddess, a box office megastar. Every woman wanted to be her; every man wanted to bed her. But over a year ago Devon Stafford vanished without a trace. As a biographer, Jake Gannon had taught himself to follow the clues of a person’s life story like a detective. As an ex-Marine, he was accustomed to being firmly in control. But when his car died in a little town called Mare’s Nest on the Carolina coast, he had to admit he’d come to a dead end.

There he met a .38-toting tow-truck driver named Dixie La Fontaine. She was no celebrity, but Dixie had an irresistible sex appeal all her own. What did this down-to-earth woman know about a missing movie star? Surprisingly, quite a lot. And Jake was going to uncover it all…if Dixie didn’t end up shooting him first.

  • Sales Rank: #1908971 in Books
  • Brand: Hoag, Tami
  • Published on: 2008-04-29
  • Released on: 2008-04-29
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.86" h x .75" w x 4.24" l, .31 pounds
  • Binding: Mass Market Paperback
  • 288 pages

About the Author
Tami Hoag's novels have appeared regularly on national bestseller lists since the publication of her first book in 1988. She lives in Los Angeles.

Excerpt. © Reprinted by permission. All rights reserved.
Chapter One


The Porsche sped along the coastal highway north of Charleston. Jake Gannon sat back in the butter-soft leather seat, his right hand on the steering wheel, his left arm resting on the frame of the open window. To his right, the Atlantic stretched into infinity, bluer than the sky and dotted with whitecaps. The cool air that blew through the car was scented with the crisp tang of the sea.
On one level Jake could appreciate the beauty around him. But for the most part his mind was focused on more important things. Jake Gannon tackled every task with an eye to perfection. So far, perfection concerning this business wasn't even a dot on the horizon. The trail had gone utterly cold. It was as if Devon Stafford had simply ceased to exist.

The need for discretion was making his task difficult as he homed in on the area she might have run to. He couldn't flat out ask anyone if they had seen her because questions that blatant would alert too many people, not the least of whom might be Ms. Stafford herself. But he would gladly suffer the inconvenience of anonymity if it meant being the one to find the missing actress and chronicle the story of her rise to fame and her subsequent flight from it.

In three short years Devon Stafford had rocketed to the top, from would-be star to household name. She had become America's darling of both the large and small screen, scoring three big wins in feature films and landing her own weekly television series—Wylde Time, the tales of Chyna Wylde, trauma surgeon and amateur sleuth. She had become the latest idol to emulate, the world's newest icon of sex appeal and glamor. And then she had vanished.

All that was known was that she had argued with her producers over having gained a couple of pounds when she'd quit smoking. Hardly a reason to turn her back on success, but she had gone nevertheless. No one had seen or heard from her in a year.

As a biographer, Jake had to unearth the secrets of people like Devon Stafford. Not to expose them in the way of the tabloid reporters, but to find out what made them tick, to bring to the surface all the hidden dreams, the emotions that drove them, the pasts that haunted them; to show both their polished surfaces and the hairline cracks that ran beneath those surfaces. To present the famous to their public as ordinary people who had for whatever reason become larger-than-life legends.

It was a career he more or less had fallen into, but he had discovered in short order that he was good at it and that he liked it. For the past six years, ever since leaving the Marine Corps, he had made his living at it, writing as A. J. Campion. He saved his own name for the day when he would finally get a mystery novel sold and published. Mystery was his first love, but biographies were in some cases mysteries in their own right. Like now. Devon Stafford was a mystery, one he had every intention of solving.

Never mind that people had hunted for her like bloodhounds the first few months after her disappearance from Hollywood. He was going to find her. Devon Stafford was his objective, and with the thorough perfectionism he was known for, he had dug for every scrap, every tidbit of information about her, no matter how insignificant, no matter how trivial. When Jake Gannon set an objective, he attained it. Period.

He admitted having personal reasons for wanting to be the one to find the actress and convince her to tell her story through him. He had been captivated by Devon Stafford the first time he'd seen her on a movie screen. She was drop-dead gorgeous with her wild waist-long mane of thick icy blond waves, her vibrant green eyes and bee-stung lips that begged a man to kiss them. Her body was the stuff of dreams—reed-slender and strong with subtle curves. She was Venus in a leotard. She was Aphrodite. She was perfect. Like every other red-blooded man on the planet, he felt his hormones go on overload every time he watched her on the screen.

But there was something else about her that made her special. Beautiful women weren't difficult to find. There were plenty of beautiful women who never achieved the kind of fame Devon Stafford had. There was something else about her, an intangible, a special something that made her seem almost incandescent on the screen. She had a way of touching the heart of every person watching her. It was that special something Jake most wanted to try to capture in print. He wanted to examine the puzzle that was Devon Stafford and explain her to the world in a way that would make all the pieces fall into place.

But first he had to find her.

Suddenly the Porsche gave a lurch and sent up a racket that sounded as if someone were hammering under the hood. Jake bolted forward on his seat, muscles in his broad shoulders tensing to the hardness of granite, his eyes intently searching the gauges for signs of distress. The temperature gauge had gone off the scale. The sports car gave another buck and a cough and steam began to billow out from under the hood.

"Don't you dare," Jake commanded in a low, tight voice.

His big hands tightened on the steering wheel in a punishing grip. He glanced around quickly to see where he was. Somewhere between Nowhere and Oblivion; nothing but ocean and empty road as far as the eye could see. Damn, damn, and triple damn. Ahead a green sign indicated the exit to a place called Mare's Nest and he breathed a small sigh of relief.

"If you get me to Mare's Nest I'll buy you a new bug guard," he promised. "I'll rub leather conditioner into all your upholstery. I'll hand-polish every wheel spoke."

The Porsche rolled off the highway and down a two-lane road. Ahead lay rippling dunes set with stringy grass. Three or four miles ahead, sitting out on the tip of a little thumb of land jutting into the Atlantic, was Mare's Nest. So close and yet so far.

"Come on, come on," Jake chanted, moving in his seat like an oversize jockey trying to urge a little more out of his mount. The Porsche would not be coaxed. It shuddered and hissed and locked up its power steering as its engine shut down altogether. The car lunged off the road and sank its front wheels rim-deep into the soft white sand.

Jake hurled himself out of the vehicle and stood beside it, glaring at it, as if he could intimidate it into starting again just with the ferocity of his scowl. It didn't work. The car hissed at him like a cat. Growling, he gave in to the urge to kick a tire. Then he calmed himself with an iron will and did the only thing he could do in view of the fact that he had absolutely no skill with machines. He climbed back inside the car, reached for his cellular phone, and prayed that Mare's Nest had a tow truck.

Dixie hummed along with a Bonnie Raitt tape, feeling supremely free and happy. It was Friday. The pale winter sun was fast sinking in the west. The day had been pleasantly warm, but cooler weather was rolling in. It was going to be a perfect night to bundle up and take a walk along the deserted beach, then snuggle up on the couch with a quilt, a book, and a big mug of rich hot chocolate. Maybe Sylvie Lieberman would come up to the house for a game of Scrabble. Maybe Dixie would be able to coax her cousin down from the attic for dinner. Regardless, it was going to be a fine evening. All was right with her world.

She shifted down for the curve and the big truck growled and rumbled up the gradual incline, purring as if it recognized the victim it had come to rescue. Dixie whistled under her breath at the sight of the sleek midnight blue Porsche 928S4. Very nice. Not the car to suit her needs at the moment, but very nice indeed. It was also very motionless.

Flipping on the truck's flashing yellow beacon, she passed the Porsche and pulled over behind the stranded car. California plates, she noted with a slight frown. Probably a tourist.

She climbed down and rounded the hood, getting her first look at the car's owner. He had emerged from the shell of sleek metal and tinted glass and had stopped in mid-stride to stare at her. His handsome mouth hung open. He looked to be the quintessential California male: mid-thirties, perfectly good-looking in a perfectly blond, All-American way, with a perfect body decked out in perfect clothes. Big, broad-shouldered, slim-hipped, he looked like ninety percent of the men she'd known in California, only cuter. There was something irresistible and sweet in the look of utter confusion that knitted his brows together above his aviator sunglasses. The sea breeze fluttered through his straight golden hair, tossing it carelessly over his forehead. He glanced briefly at his car, giving Dixie a view of a strong profile that was rugged and tanned. Robert Redford had nothing on this guy.

"Oh, no, Dixie," she whispered under her breath as a dangerous feeling of weakness ribboned through her. "No California men for you."

As if he would even be interested, she thought with a mix of satisfaction and disappointment. Men who looked like that liked women of the Barbie doll variety, which she was not and had no desire to be.

"What happened here, sugar?" she drawled, strolling past him. She stopped at the nose of the Porsche and planted her hands on her hips, her gaze going from man to car as if an answer from either would satisfy her. "You blow a hose? A belt? Or is it something worse?"

He stared at her suspiciously for a long moment before finding his voice. "I called for a tow truck," he said stupidly.

Dixie smiled. "And you got one. It's that big red and white thing with the flashing light on top and the cables and winches and boom all stickin' up out the back."

His gaze flicked over his shoulder to the truck and back again. Once more, those straight golden brows pulled together in consternation. His square chin jutted forward aggressively. He jammed his hands at the waist of his tailored tan slacks. "But you're a woman."

"So I...

Most helpful customer reviews

0 of 0 people found the following review helpful.
Cute but no depth
By Christy Cat
Cute story the characters are sweet, but very predictable. Interesting to see where Tami Hoag has come from and to see how much she has grown as an author. Not my favorite of her early romances, but it was light hearted and a quick read.

0 of 0 people found the following review helpful.
Light entertainment
By Connie R. Johnston
A cute story, predictable ending. If you're in the mood for light entertainment you'll enjoy this book.

5 of 5 people found the following review helpful.
An Early Hoag Favorite
By JM
Heart of Dixie captures the phenomenon of a beloved Hollywood starlett Devon Stafford, whose final role is an astonishing disappearing act. On the hunt for this manufactured actress, biographer Jake Gannon breaks down in his precious Porsche along the beautiful Carolina coast. Stranded and mechanically incompetent, the nearest town of Mare's Nest dispatches Dixie La Fontaine, a captivating poficient towtruck driver to the rescue. The dapper metropolitan is shocked by her female presence and expertise not to mention awestruck by her incredible natural beauty.

Many humorous altercations break out followed by escalating sensual innuendo as Gannon is brought back to quaint little Mare's Nest. The lead and local characters are well seasoned and vividly developed. You can feel yourself sitting in a booth at the Magnolia Bar tasting the local flavors. All the meanwhile a tumultous romance develops between Gannon and La Fontaine. While falling madly in love for each other, the guilt is mounting from both Jack and Dixie as they are each harboring a secret from one another.

While Heart of Dixie lacks the intensity and depth of my top Hoag favorites Cry Wolf and Lucky's Lady, it is still an excellent read. A very quick read at that. I completed this one within a few hours in two nights. The beautiful scenery and down to earth atmosphere gives you that home sweet home yearning. As a desert girl I long for the shoreline, so a romantic story like this is a treasured escape. Moreover, the ending is entirely worth reading the book for! A brilliantly beautiful finale to this lovestory to tug at your heartstrings.

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Kamis, 26 November 2015

# Download Golden Fool (The Tawny Man, Book 2), by Robin Hobb

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Golden Fool (The Tawny Man, Book 2), by Robin Hobb

Golden Fool (The Tawny Man, Book 2), by Robin Hobb



Golden Fool (The Tawny Man, Book 2), by Robin Hobb

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Golden Fool (The Tawny Man, Book 2), by Robin Hobb

Prince Dutiful has been rescued from his Piebald kidnappers and the court has resumed its normal rhythms. There FitzChivalry Farseer, gutted by the loss of his wolf bondmate, must take up residence at Buckkeep as a journeyman assassin.
 
Posing as a bodyguard, Fitz becomes the eyes and ears behind the walls, guiding a kingdom straying closer to civil strife each day. Amid a multitude of problems, Fitz must ensure that no one betrays the Prince’s secret—one that could topple the throne: that he, like Fitz, possesses the dread “beast magic.” Only Fitz’s friendship with the Fool brings him solace. But even that is shattered when devastating revelations from the Fool’s past are exposed. Bereft of support and adrift in intrigue, Fitz finds that his biggest challenge may be simply to survive.
 
Praise for Robin Hobb and Golden Fool
 
“Fantasy as it ought to be written . . . Robin Hobb’s books are diamonds in a sea of zircons.”—George R. R. Martin
 
“[Robin Hobb] ranks near the top of the high fantasy field. . . . [She] juggles all the balls with aplomb, besides providing spot-on characterizations.”—Publishers Weekly
 
“Solid storytelling with warmth and heart.”—The Kansas City Star


From the Hardcover edition.

  • Sales Rank: #49069 in Books
  • Brand: Hobb, Robin
  • Published on: 2003-12-09
  • Released on: 2003-12-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.87" h x 1.24" w x 4.14" l, .73 pounds
  • Binding: Mass Market Paperback
  • 720 pages
Features
  • Great book!

From Publishers Weekly
Blindness comes in many forms. For angst-ridden FitzChivalry Farseer, the blindness isn't physical but rather an inability to gauge character. Fitz, the hero of this second volume in the trilogy that began with Fool's Errand (2002), reluctantly returns, disguised as a servant, to Buckkeep town in the Six Duchies to be skill-master to Prince Dutiful, the king-in-waiting. Fitz is mourning the loss of his wolf bondmate Nighteyes, hating his disguise, worrying about his foster son's behavior in Buckkeep and frantically trying to learn enough about the Skill to stay ahead of the prince during their training sessions. Fitz jumps from crisis to crisis like a bowling ball tossed onto a trampoline-his failure to look deeply at others' motivations plunges him into a morass of poorly thought-out actions and badly managed confrontations. The harder Fitz tries, the worse his situation gets. The author juggles all the balls with aplomb, besides providing spot-on characterizations. The intrigue and double-dealing of the Farseer royal court are spider webs of interconnections, while the plot itself keeps the reader bouncing from one theory to another, right up to the somewhat abrupt ending. The writing may not be quite as fine as that in Hobb's Assassins series (Assassin's Apprentice, etc.), but this latest nonetheless shows why she ranks near the top of the high fantasy field.
Copyright 2002 Reed Business Information, Inc.

From Booklist
A stout and good if not independently readable continuation of Hobb's Tawny Man trilogy, Golden Fool follows Fool's Errand [BKL D 15 01] closely in the real world as well as its predecessor's fictional realm. FitzChivalry Farseer is back at work as apprentice to master assassin Chade, but the master is nearing the end of his life. Nor is that the young assassin's only problem. The rescued Prince Dutiful isn't living up to his name and in his dereliction threatens to disclose his secret and scandalous possession of beast magic. Moreover, Farseer's wolf bondmate, Nighteyes, is dead, and the valuable companionship of the Fool (formerly known as the Tawny Man) is threatened not only by the Fool's own quirks of character but also by a number of deadly secrets he holds. Altogether, there is enough intrigue of both the martial and magical variety to keep the characters up to their tailbones in alligators and readers turning pages--effects Hobb has yet to fail at producing. Fantasy readers know this, and librarians should react accordingly. Roland Green
Copyright © American Library Association. All rights reserved

Review
Praise for Robin Hobb and Golden Fool
 
“Fantasy as it ought to be written . . . Robin Hobb’s books are diamonds in a sea of zircons.”—George R. R. Martin
 
“[Robin Hobb] ranks near the top of the high fantasy field. . . . [She] juggles all the balls with aplomb, besides providing spot-on characterizations.”—Publishers Weekly
 
“Solid storytelling with warmth and heart.”—The Kansas City Star

Most helpful customer reviews

120 of 127 people found the following review helpful.
reads like life, and yet not quite like life
By Mennonite Medievalist
I find I shouldn't leave the Fitz books without saying goodbye in a review. The series as a whole is perhaps my favorite story to come out in the last decade. Fitz is a splendid protagonist, the Fool perhaps the greatest fantasy character of all time. The Assassin trilogy in particular renewed my faith in the emotional power of story, after I thought I'd been pretty well jaded by adulthood. I could hardly put those down; I could hardly put Fool's Fate down, but read most of it off in one compulsive and completely irresponsible afternoon.
Hobb makes you read. I think it's because she drives the story with major secrets, but keeps feeding you partial resolutions throughout, so that you can hope the end of the next chapter is a good stopping place (you tell yourself you hope this, but of course, you don't), yet when you reach that resolution, another tension has begun. She interlocks her plot-tensions brilliantly--a wonderful writer.
Fool's Fate reads less like a novel than like an autobiography. Fitz, Dutiful, Chade travel oversea to slay the dragon Icefyre (or to prevent the slaying, as the case may be) and win for Dutiful the lovely, cool, and politically-advantageous hand of Narcheska Elliania. The dragon element of the plot--indeed, the novel's ostensible driving force--is resolved with 200 pages to go, however (as opposed to Assassin's Quest, the final book of that trilogy, when Verity flies off with 20 pages to go); the remainder of the book finds Hobb clipping off, one by one, all the taut ropes of Fitz's life, so that we see Fitz, at the end, slack and content in a situation of his own deep liking.
When I was reading the book, I liked this, because I've been with Fitz from the beginning, and am frankly more interested in him than I am in the quest for the dragon. I want him to find answers for his life, for my sake and for his. But in the end, I have two complaints about the extended denouement: Hobb answers too many of his life's questions, and she does not answer them in sufficient depth. I give you, for example, the Old Blood/Piebald scenario, which we had been led to care about in the first two books of this series, but which resolves itself in this book thoroughly and with scarcely a mention. Fitz wasn't there to see it. As an autobiographical ploy, this makes sense (a lot of things which affect our lives we aren't around to see to completion), yet as a device in a novel, it leaves the reader unsatisfied. The ending is far too cursory; months, seasons, years go by in pages.
What this amounts to is a lack of integration between Fitz's personal life and the novel's plot, a notable difference from the Assassin trilogy, where Fitz's life and identity were the plot. Perhaps because of this, Hobb's justly-lauded emotional machinery begins to clank (especially apart from the excellent character Thick). Sometimes I just didn't buy the character motivations, felt instead like "of course this had to happen for plot purposes," as if plot led character, not vice versa. Despair and the joy of discovery--the source of much tumult and plot-generation in the first four books--are gone. Perhaps Fitz is too old for either of those things. One hopes not.
Do these complaints mean that you shouldn't read the book? No, no. Hobb is still Hobb; there are lovely--even perfect--plot twists (e.g., the relationship the Fool wants with Fitz), delicate emotional moments (e.g., a reconciliation between Thick and Fitz), a richly-detailed fantasy world (welcome to the Outislands), and a lot of people you can't help but come to like.

71 of 75 people found the following review helpful.
A Fantastic Finish
By S. Atkinson
Every now and again you encounter a character so profoundly moving and real that you have a hard time believing he's fictional; one who shakes you up and alters your world to the point where it makes you feel silly for getting so involved in a book, and then you reread your favorite scenes and it happens all over again, and eventually you have to stop feeling silly in order to just focus on feeling.
This book gutted me. The Fool is incomparable.
But don't just pick up Fool's Fate without having read the rest of the series. Start with the Assassin books, skip the Liveship Traders if you're in a hurry (I was), then read the Tawny Man series in order. If you read Fool's Fate on its own, you may still be struck with Hobb's fabulous storytelling and the intricate nature of her world. But you'll miss the opportunity to slowly fall in love with her characters as they grow and develop. Do not deprive yourself of getting to know the Fool through Fitz's eyes.
I think I'm in the minority; I hope that Hobb will never write another book in this series. Fool's Fate left me with such a bittersweet sense of completion that I don't see how a new tale could compare. I love the Fool, and I miss him, but I won't let my "reader's greed" for a sequel interfere with the Fool's powerful final sacrifices, and the beauty of untouched, lingering possibility.

40 of 43 people found the following review helpful.
How much can one man take?
By Richard Raley
What to say of FitzChivalry Farseer? An epic character, who's, thanks to Robin Hobb, life unfolds before us. So many different things happen within "Golden Fool" that it feels like real life. You know you had something for dinner a couple nights before but you just can't remember what.
This is fantasy at its best. It doesn't get bogged down with side plots but revels in them, the characters don't develop but live as we do, and most of all you really care what happens to any single person, whether it be Queen or cook. One of the most amazing parts is Hobb's ability to make you recall a character, even if they seem so small in the plot you still know them as a close cousin. They may pop up for but a page but you remember and enjoy every part of their character and the life they share with our hero.
You live the life of FitzChivalry as you read the Tawny Man Trilogy. You don't see the history of the Six Duchies, but embrace it through his eyes. In the first novel, "Fool's Errand" you felt just like Fitz. Reading the first half you felt like you were always catching up, as if time was flying by, trying to remember everything of old. You always were playing catch up through out the whole novel. But "Golden Fool" is different. In this novel you feel the weight of duty, each day in Fitz's life seems like a month as he dives back into the court of Buckkeep. And just so every page seems like a chapter to you, the book expands beyond its page numbers. You will sit down for hours unmoving only to stop and realize you've only read through a chapter or two in awe. You'll wonder if you will ever get through this novel just as Fitz wonders if he will ever go back to his quiet life in the country.
It is amazing work, beyond words, though I have tried. The only problem is that you must wait another year for the last piece of the trilogy. That you begin this story in the middle and you end it there too. Until a novel is written in which Fitz's soul crosses over to join those that have left before him it will never end for you, you'll always want more of him, and perhaps even after that you will cry for more of the Farseers from this extraordinary author.
Final Thought: Robin Hobb's Farseer novels are not read, they are experienced.

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Minggu, 22 November 2015

** Ebook Download The Cold Spot, by Tom Piccirilli

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The Cold Spot, by Tom Piccirilli

Chase was raised as a getaway driver by his grandfather, Jonah, a con man feared by even the hardened career criminals who make up his crew. But when Jonah crosses the line and murders one of his own, Chase goes solo, stealing cars and pulling scores across the country….And then he meets Lila, a strong-willed deputy sheriff with a beguiling smile who shows him what love can be. Chase is on the straight and narrow for the first time in his life—until tragedy hits, and he must reenter the dark world of grifters and crooks. Now Chase is out for revenge—and he’ll have to turn to the one man he hates most in the world. Only Jonah can teach Chase how to become a stone-cold killer. But even as the two men work together, Chase knows that their unresolved past will eventually lead them to a showdown of their own.

  • Sales Rank: #797084 in Books
  • Published on: 2008-04-29
  • Released on: 2008-04-29
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.90" h x .69" w x 4.20" l, .35 pounds
  • Binding: Mass Market Paperback
  • 303 pages

From Publishers Weekly
Orphaned at 10—his mother murdered, his father a suicide—Chase was raised by his grandfather Jonah, a grifter who has used Chase as a getaway driver. After Jonah shoots one of his crew during a poker game, Chase, at 21, realizing that the icy old man could easily turn on his own grandson, strikes off on his own. He works his way around the country stealing cars and driving for petty thieves until one night in Mississippi he runs up against deputy sheriff Lila Bodeen, who sees something in this brash young outlaw that she likes. Tragedy puts Chase back on the road, where he faces not only the killer but the truth—about himself and his shattered family. Piccirilli (The Midnight Road, etc.) tells the gritty, violent and dark tale in an appealingly noirish narrative style, highly economical yet bracingly intimate. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
“[Tom Piccirilli’s] prose has the visceral punch of the best pulp writers of the past century…. The Cold Spot is both funny and ferocious.”—San Francisco Chronicle.

"A powerful, hard-hittng, fiercely original writer of suspense. I highly recommend him." —David Morrell, author of Creepers

"Tom Piccirilli's fiction is visceral and unflinching, yet deeply insightful."—F. Paul Wilson, author of The Keep and Bloodline

"The Cold Spot is truly dazzling. Piccirilli has taken the mystery to a whole other level."—Ken Bruen, award-winning author of The Guards

"Blackest noir, the most minimal kind of minimalism, and at the same time deeply emotional: this is not easy to do. I loved The Cold Spot."—Peter Abrahams, bestselling author of Nerve Damage

"Lean, brutal and completely arresting, Tom Piccirilli's The Cold Spot is a bull's-eye hardboiled tale."—Megan Abbott, author of The Song is You

"The Cold Spot is crime fiction at its very best, an exceptional revenge story so vivid you feel like you're in the back seat of a getaway car with a master storyteller at the wheel."—Jason Starr, author of The Follower

About the Author
Tom Piccirilli is the author of twenty novels including The Cold Spot, The Midnight Road, The Dead Letters, Headstone City, November Mourns, and A Choir of Ill Children.  He's a four-time winner of the Bram Stoker Award and has been nominated for the World Fantasy Award, the International Thriller Writers Award, and Le Grand Prix de L'Imaginaire. 

Most helpful customer reviews

5 of 5 people found the following review helpful.
This book will grab you and not let go
By clifford
Tom Piccirilli's 'Cold Spot' is one of the best written thrillers I have ever come across. He weaves a concise narrative that fills in a back story with such skill that you find youself turning page after page, unwilling to put down the book. I'd say that Piccirilli spent 3/4 of this story setting it up and then 1/4 letting it unfold. So what your dealing with is an author who is toying with you, pulling back on the spring in the most nail biting way, ready to let it loose and gouge out one of your eyes.

Im knocking off a couple of stars here, because once time catches up and the story kicks in, all of the magic seems to get sucked out of the pages. All of the characters flatten out, their development which was beautiful to start with, becomes cliche ridden. Piccirilli lines up step one, step two, step three... follows through and checks them off one by one, but the passion is lacking.

Piccirilli is a first class writer worthy of respect, this however, this book just does not, in the end, work very well. So sad. I think that part of it might be that Piccirilli realized what a masterpiece he had going, ripped out the most interesting parts of the ending, and mashed them into a sequel the author nicely sets up over the last few pages.

1 of 1 people found the following review helpful.
Fasten your seat belts!
By Wayne C. Rogers
Several years ago, a friend recommended Tom Piccirilli to me, and I purchased a couple of his horror novels in paperback. The books then proceeded to sit on my shelf for over two years before I finally gave them to another friend, having never read them. I never gave the author another thought. A few months ago, Duane Swierczynski (author of The Wheelman) recommended a number of writers and book titles to his blog readers. One book that caught my attention was The Cold Spot by Tom Piccirilli, but this wasn't a horror novel. No, this was a noir novel about a young wheelman who worked with his grandfather's crew, pulling heists and bank jobs, and how he attempts to break away from the man he fears the most and to start his own life, only to have to ask his grandfather (a stone-cold killer) for help a few years later in finding the man who murdered his wife. This sounded interesting! Also, the sequel to it, The Coldest Mile, was due out, so I took a chance and ordered both of them at the same time. These two books arrived in the mail a week later and then sat on my shelf for two months while I worked my way through a number of other titles. Finally, I picked up The Cold Spot and read it in an amazing two days, which is fast for me. My eyes were crossed after I finished it. That alone says how much I enjoyed the novel. I then placed an immediate order for more of Piccirilli's books, including some of those horror novels that I never read. Let me just say from the outset that this is a damn good writer of crime fiction and I now considered myself a die-hard fan of his work!

The Cold Spot is the story of Michael Chase (a.k.a. Chase), whose pregnant mother was murdered when he was ten years old and whose father later committed suicide from the grief of the tragedy. Chase in then taken in by his grandfather, Jonah, who is a career criminal and a stone cold killer who feels nothing for his victims. Over the next six years, Jonah teaches Chase everything he knows about bank heists, robberies, the con, how to kill, and how to be the best wheelman in the country. The whole relationship between Chase and his grandfather comes to head after a successful heist. During the getaway, one of the members of the crew plays a silly joke with a fish from the nearby market, and Jonah later kills him for it. When Chase confronts his grandfather about the murder of his only friend, he can see a cold look in Jonah's eyes that warn him to back off or he'd be next in line for a bullet. That's when Chase ends his relationship with Jonah and the crew. He then heads down south to start a new life and eventually meets Lila, a deputy sheriff in a small Mississippi town. It's love at first sight for both of them. Chase straightens up his life and marries Lila and has several happy years, until the day she's killed, trying to stop a crew from robbing a diamond merchant. It's then that Chase realizes that if he wants to track down the killers and get some revenge, he's going to have to find Jonah and ask for his help.

Tom Piccirilli has created two fantastic characters in Chase and Jonah. I kept seeing a young Brad Pitt as Chase and R. Lee Emery (the drill sergeant in Full Metal Jacket) as Jonah. These are two tough men who will eventually have to face off against each other, and only one of them will walk away. Until that moment arrives, the reader is in for a thrill-ride into the dark and shadowy world of grifters and con artists and bank robbers and the world's greatest wheelman. Chase is a character you immediately root for. Though he's done bad things, he's not a bad person. He basically only fights to protect himself and his family, but God help the person who does him wrong. He'll stop at nothing to get revenge, even if it means his own death. That's a trait he got from his grandfather. And. Lila, the woman who steals Chase's heart--well, think of Sandra Bullock. Because that who Lila reminded me of and what man wouldn't lose his heart to a lady like her and then go on a killing rampage to avenge her death.

The writing in The Cold Spot is tight and fast-paced, while the action and violence hits you squarely in the chest like a .44 magnum bullet. If you enjoy noir crime novels, then this will be a book you won't be able to put down. Even better, when you do reach the last page, there's the knowledge that The Coldest Mile picks up exactly where The Cold Spot ends. God bless Mr. Piccirilli for that. Now, if he will just write more books with Chase in them, he'll have a new following of fans to praise his name and to bow down before him in homage to his magnificent writing skills. Needless to say, this novel is highly recommended to crime fiction buffs that need a shot of adrenaline to give them that fast rush of excitement.

1 of 1 people found the following review helpful.
What an awesome ride.
By J. D. Murray
Piccirilli pits his protagonists up against their own tainted souls. As well as someone that represents either their past or future. They usually come crashing together in the worst way possible, but you can't help but watch the collision. And Tom really shines writing crime/noir.

Here in The Cold Spot, we have Chase. He's a guy who is good with cars; he can rebuild and tune just about any car and make it purr like a panther of steel. He's also an up and coming driver for various "strings" of criminals that are more than happy to have him along. He knows the game -- thanks to his Grandfather, Jonah. He taught him everything he knows and loves him in a twisted tough guy criminal sort of way.

But Chase decides he wants to leave the life and go straight after meeting a beautiful and ultra competent police woman while trying to score a small-time jewelry store.

Needless to say, life for Chase doesn't stay peaches and cream. He finds himself missing the action of his old life and sees it slowly bleeding back into him over time.

And it leads him straight back to Jonah. Their love-hate relationship will be stretched, tested, bent and perhaps broken. All while Chase tries to get revenge for a wrong done to him and figure out the pieces of his past that don't quite make sense.

This is a thrilling good read and it goes by fast. Pic shows some serious chops as a crime writer and this will leave you wanting more.

Great stuff if you like crime or noir. He's highly underrated as a writer in my opinion.

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Selasa, 17 November 2015

!! Ebook Download The Magicians and Mrs. Quent, by Galen Beckett

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The Magicians and Mrs. Quent, by Galen Beckett

Galen Beckett weaves a dazzling spell of adventure and suspense in an evocative world of high magick and genteel society–a world where one young woman discovers that her modest life is far more extraordinary than she ever imagined.

Of the three Lockwell sisters–romantic Lily, prophetic Rose, and studious, book-loving Ivy–it’s Ivy, the eldest, who’s held the family together after their father’s silent retreat to the library upstairs. Everyone blames Mr. Lockwell’s malady on his magickal studies, but Ivy still believes–both in magick and in its power to bring her father back.

Yet it is not until Ivy takes a job with the reclusive Mr. Quent that she discovers the fate she shares with a secret society of highwaymen, revolutionaries, illusionists, and spies who populate the island nation of Altania. It’s a fate that will determine whether Altania faces a new dawn–or an everlasting night.

  • Sales Rank: #1543814 in Books
  • Brand: Beckett, Galen
  • Published on: 2009-11-24
  • Released on: 2009-11-24
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.20" h x 1.20" w x 5.50" l, .86 pounds
  • Binding: Paperback
  • 498 pages

From Publishers Weekly
Jane Austen, Charlotte Brontë and H.P. Lovecraft collide in Beckett's periodically entertaining debut. Young Ivy Lockwell, the unmarried daughter of a family stricken with poverty after her magician father went mad, travels from her home in Invarel, a mirror of Austen-era London, to become a governess at the country estate of Heathcrest, a Bronte-analogue complete with mysterious Rochester stand-in, Mr. Quent. As a woman, she is forbidden to perform magic and consoles herself with the study of magical history, discovering an ancient story still working its will on the world. Treading a fine line between homage and unoriginality, Invarel occasionally sparkles with descriptions of illusionist shows and quasi-fascist government activity, but Heathcrest is lifted part and parcel from Jane Eyre, and Beckett relies too much on references to that work to fuel emotional arcs and reader attachment. (Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
“A charming and mannered fantasy confection with a darker core of gothic romance wrapped around a mystery. Fans of any of these will enjoy it. Readers who enjoy all these genres will find it a banquet.” —Robin Hobb, author of Renegade’s Magic

“I loved reading this piquant page-turner of a retro-modernist fantasy novel. But it’s more than just a rattling good time. Like its characters, it is not merely devastatingly clever, but has a heart and a soul.” —Ellen Kushner, author of The Privilege of the Sword

“The Magicians and Mrs. Quent is a charming and accomplished debut, sure to delight fantasy afficianados and lovers of gothic romance alike.” —Jacqueline Carey, author of Kushiel’s Mercy

“The Magicians and Mrs Quent combines the sense and sensibility of Miss Austen with the sweep and romantic passion of the Miss Brontes in a fantastical feast of delights. From the moment I encountered the resourceful and charming Miss Ivoleyn Lockwell, I was eager to follow her from the fashionable streets of the city to her new employment as governess at lonely Heathcrest Hall on the windswept and rugged moorlands. In Altania, Galen Beckett has created a fascinating and engaging world where the formalities and courtesies of polite society conceal the emergence of a dark and ancient force that threatens to destabilize the kingdom and destroy everything that Ivy holds dear.”—Sarah Ash, author of Tracing the Shadow

“An enchanting blend of Victorian melodrama, Edwardian comedy of manners, and magic, a trip into an alternate universe in which top-hatted gentlemen dabble in magic and young women of great spirit are as beleaguered by their lack of dowry as they are by the evil villains.  The characters are convincing, the plot vertiginous, and the danger bone-chilling.”—Delia Sherman, author of The Porcelain Dove

"[Beckett] cleverly mixes fantasy and literary....with elements of the fantastic, an imaginative eye, and a dry sense of humor."—NPR.org

About the Author
What if there was a fantastical cause underlying the social constraints and limited choices confronting a heroine in a novel by Jane Austen or Charlotte Brontë? Galen Beckett began writing The Magicians and Mrs. Quent to answer that question. He lives in Colorado and is currently at work on the next chapter in this fabulous tale of witches, magicians, and revolution, The House on Durrow Street.



From the Hardcover edition.

Most helpful customer reviews

91 of 100 people found the following review helpful.
Outstanding pastiche
By Orson Scott Card
I love the work of Jane Austen; the Bronte sisters not so much. I was well warned by the cover that this was an Austen pastiche, so I could hardly be disappointed to find that it does, indeed, echo motifs from all of Austen's books. (Falling ill in someone else's house; fetching the mother; intense concentration on marriage proposals; the entailed house; couples avoiding the "inappropriate" marriage.)

And let's not forget the echoes of Dickens in the story of the young man of good family fallen on hard times and working as a scrivener in a counting house while trying to protect his sister ...

The middle of the book is an epistolary - the main character, Ivy, is off to be a governess in an ancient, half-unused mansion with a locked room, an aloof, mysterious master, and a hostile housekeeper (Rebecca and Mrs Danvers? Not quite; not even The Sound of Music ). Ivy has charge of children who see ghosts (The Turn of the Screw!), and seemingly hostile villagers are suspicious of all green-eyed women. The letters about the ensuing events are written to Ivy's father, who has been driven mad by some magical thing he did years before. It could not be more gothic.

All along, however, this is also a fascinating magical-18th-century fantasy. The world is as richly invented as any fantasy should be, with soul-eating aliens from a wandering planet poised to invade even as the ancient forests are staging a perilous uprising and magicians are few at a time when they are much needed.

Taking on Austen is a very hard thing to do, but most of the time Galen Beckett gets the language and the manners right. Most especially, the wit, while not up to Oscar Wilde (nothing is), is certainly credible for an Austenesque society.

For diehard fantasy fans, perhaps too much time is taken with the early portions of the book before the fantasy really shows itself and takes over the storyline. But since I'm a fan of both fantasy AND Austen's comedies of manners, for me the combination worked very well. I stayed up all night to finish it and am giving it away to friends and family.

And for those who care, I must say it's nice to see, once again, proof that a story can be sexually charged and full of danger and violence without ever having to resort to foul language or scenes I'd be embarrassed to read aloud to my mother.

- Orson Scott Card

38 of 43 people found the following review helpful.
Nothing new
By Kat Hooper
From the back flap: "What if there were a fantastical cause underlying the social constraints and limited choices confronting a heroine in a novel by Jane Austen or Charlotte Brontë? Galen Beckett, ... began The Magicians and Mrs. Quent to answer that question ...."

I was excited to receive a copy of The Magicians and Mrs. Quent, Galen Beckett's "debut" novel. There's something exciting about a new author -- they're fresh, and when you hold one of their books in your hands (especially a beautiful one like The Magicians and Mrs. Quent), you hope that maybe you're about to discover a brand new talent.

Imagine my disappointment when I turned over the title page and read that the copyright to The Magicians and Mrs. Quent belongs to Mark Anthony. I immediately went to both authors' websites. Galen Beckett's talked about his debut novel. Mark Anthony's said (and still says as of 9/22/08):

"So what is the new book? Well, not to be too cagey, but that's something I can't answer quite yet. I can tell you that it's not another book in The Last Rune series--that tale, wonderful as it was for me, has come to a close. I can also tell you that the new book is a fantasy. However, it's fairly different than my previous books. So different, in fact, that my publisher has decided to launch the book under a new pen name.

And that's where all the cloak-and-dagger stuff comes in. I've been asked by my publisher not to publicly reveal my alter ego just yet, so as not to spoil the secret. The good news is that I will be able to talk more freely about the new book once it's out. So keep checking back. As soon as I'm at liberty to reveal my other writing identity, you'll see the news right here."

(So, I guess I've just outed Galen Beckett and Mark Anthony.) Despite my disappointment, I still began TMAMQ with anticipation -- Todd really enjoyed the first of The Last Rune novels (though not the second), and I enjoy a 19th century style English novel, so I knew there was potential here. I won't summarize the plot for you, since the publisher's blurb (above) does that nicely.

The first third of the book is almost a re-telling of Jane Austen's Pride and Prejudice, in both style, plot, and character stereotypes. There are three sisters living with their batty mother in a low but genteel house which will transfer to their relative Mr Wyble when the mother dies. Ivy, the eldest, is bookish, intelligent, and rational. Rose is dreamy and strange. Lily is boy crazy and silly. Mr Wyble is a lawyer who is constantly trying to ingratiate himself with people who he thinks are better than him. He says things such as:

"While my schedule would have permitted me to pay you a visit around the middle of the month, another opportunity was presented to me, which, I am sure once the particulars are heard, you must judge was the wisest investment of my time. Recently I had the good fortune to be of service to Lady Marsdel, a most noble personage of the highest degree. In her extreme -- dare I say, almost overpowering -- generosity, she invited me to an affair at her house in the New Quarter. There I was happy to make the acquaintance of many remarkable and important persons."

I've read that before -- it's Mr Collins. There are also character analogues to Jane Austen's Mr Wickham, Mr Darcy, Mr Bennett, and Lady Catherine De Bourgh. And In addition to these character and style similarities, there are plot borrowings, too: Ivy gets ill while visiting Lady Marsdel's (Lady Catherine De Bourgh's) house and has to stay for days to recover, Dashton Rafferdy (Mr Darcy) struggles with his feelings for Ivy (Elizabeth Bennett) but knows he can't marry her because of their difference in social status.

Much of the second part of TMAMQ comes from Jane Eyre and the style abruptly changes from light social sarcasm to gothic romance. Ivy goes to be governess to Mr Rochester's -- I mean Mr Quent's -- wards at Heathcrest Hall. A local man accuses her of being a witch. There are strange things happening at the manor and Mr Quent and his housekeeper are keeping secrets (and a secret room). I won't tell you the rest of it so that I won't spoil the plot in case you haven't read Jane Eyre (or in case you missed the title of Mr Beckett's book). Beckett's best drawn character, Eldyn Garritt, and his plot come from Charles Dickens.

Beckett's writing style is not on par with his influencers, but it's very pleasant nonetheless. But much of his plot and his characters, though interesting, were not impressive because I've seen them all before. I understand that his purpose is to write pastiche, but I was hoping for something fresh. There are some engaging elements here, though: ancient patches of forest threaten to rise up and overtake Altania (fantasy England), a group of men plot to overthrow the government and let in a new ruler (it's not clear which side we should be on), the "Ashen" are some sort of aliens who want to suck out everyone's souls, unknown planets are appearing and aligning, Eldyn can wrap himself in shadows, and a mysterious stranger occasionally shows up to give Ivy a clue or encouragement (but I never figured out why he didn't just give her the answers). Perhaps most interesting is that in Ivy's world, days and nights vary in length so that she must consult an almanac if she wants to know how long the night will last (alas, we're given no scientific explanation for that). But none of these fantastical elements seem to fit together -- it feels like they are some random interesting ideas that were thrown in in order to present a fantasy novel in a 19th century style. The ending was wrapped up too quickly and conveniently without much explanation of how these pieces fit. Perhaps they'll all come together in the sequel, but for now I'm left confused.

Mr Beckett can certainly write, and he's got this style down, but I'd like to see him do something original and meaningful -- something that doesn't leave me scratching my head. The back flap of the novel suggests that we're going to learn the "fantastical cause underlying the social constraints and limited choices confronting a heroine in a novel by Jane Austen or Charlotte Brontë," but Beckett never answers the question -- he doesn't give us anything new. The "social constraints" that Ivy faces seem to be the same constraints that Jane Bennett and Jane Eyre faced: pride and prejudice.

14 of 18 people found the following review helpful.
Wow!!!...Wait...What??....Huh?!?!?..
By N. Carpenter
This fantasy twist on Austen was really compelling and the characters, while echoing traits of Austen characters but not entirely mimicking them, were fun and interesting and showed great promise. The plot twists were good and not over-done and cliche. Instead of just throwing lots of magical creatures and goings on at you from the get-go like most fantasy books, this one started to weave more of a historical mystery theme about it with just small dashes of fantasy and magic in just the right amount of places. It was a setup for a really unique fantasy mystery.
Unfortunately, about halfway through the book, the tone and style of the book shifts 90 degrees. Everything changes within a span of a few pages with no satisfactory reason to explain it all. It felt like a completely different author took over writing. Complex characters flattened into one-dimensional, the mystery falls flat on its face, the plot unfolds into Howard the Duck, and absolutely no coherency was anywhere to be found.
I don't think I would recommend this book to anyone until a sequel hopefully becomes available. I was left wanting some sort of explanation of why for nearly everything that happened in the second half of the book. I really feel that this book left me with a "2+2=cow" feeling. I liked the first half enough though to hope that a sequel might provide answers or at least a smoothing over and return from the weird randomness of the second half.

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Minggu, 15 November 2015

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Francine Pascal's Sweet Valley High 1: Double Love/Secrets/Playing With Fire/Power Play/No. 1-4/Boxed Set, by Francine Pascal

  • Sales Rank: #5261987 in Books
  • Published on: 1991-10
  • Format: Box set
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.00" h x 4.40" w x 1.80" l,
  • Binding: Paperback

Most helpful customer reviews

0 of 1 people found the following review helpful.
They Were all good
By A Customer
I enjoyed this boxed set of 4 books, but I thought they could have been a bit longer. My favorite's were numbers 3 and 4, Playing with Fire and Power Play. This would be a good introduction to the SVH series.

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Sabtu, 14 November 2015

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On the planet of Elsewhere, the Council had  always enforced the governing of each province in  the manner the people had chosen, so long as each  respected its neighbors' local customs--and so long  as the people remained within their homelands.  Generations later, inhabitants have begun to question  this tradition. The Council has received  mysterious messages and reports of strange manifestations  across the planet. Now, Enforcer Fringe Owldark has  been sent with a small crew of seven, each  possessing an unusual talent, to investigate their worst  fear--the arrival of the Hobbs Land gods. Free will  and the reality of God are just too of the  timeless issues this courageous band of humans must  confront as they strive to decide if complete tolerance  and leaving others alone is evil. . .and what they  should do if it is. Vividly imagined and  exquisitely rendered, Sideshow is Sheri S. Tepper's most  controversial novel yet.


From the Paperback edition.

  • Sales Rank: #2659375 in Books
  • Brand: Brand: Spectra
  • Published on: 1993-02-01
  • Released on: 1993-02-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x 1.00" w x 5.50" l, 1.36 pounds
  • Binding: Paperback
  • 496 pages
Features
  • ISBN13: 9780553762891
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From Publishers Weekly
Loosely related to her earlier books Grass and Raising the Stones, Tepper's newest big novel questions the desirability of further evolution. A sentient fungus has infested most of the galaxy, reworking the life forms it inhabits to enhance their physical and spiritual comfort. The people of the planet Elsewhere, however, see the fungus's contented hosts as slaves; to preserve free will on Elsewhere, the rulers have imposed absolute cultural relativity within which pleasant and unsavory societies coexist, their integrity rigidly maintained by Enforcers. But powers have arisen to challenge the status quo: creatures resembling dragons are reported in unexplored regions, and evil entities in the computer network are manifesting themselves in a deadly way. The planetary provost, Boarmus, sends a crew of three Enforcers with an assortment of misfits to investigate the dragons, while he tries to thwart the net-beings. The pointlessly complicated plot veers off into long digressions that add only pages to the main story, and though Tepper tries to raise the stakes with debates over current issues such as isolationism and sexism, she fails to grapple with the complex implications of these concerns. After her last book, Beauty , this one is a disappointment.
Copyright 1992 Reed Business Information, Inc.

From Library Journal
The world of Tolerance, where each province governs itself without interference from its neighbors, suffers from a sickness at its core, and only a small group of misfits and alien travelers can find the key to the world's survival. This final volume in the triptych that includes Grass ( LJ 9/15/89) and Raising the Stones ( LJ 8/90) begins slowly, as the author painstakingly introduces her characters to the complexity of the plot, but ultimately Tepper's imaginative vision holds forth and delivers one of her most challenging works to date. Libraries interested in acquiring significant sf should consider this rewarding but difficult title.
Copyright 1992 Reed Business Information, Inc.

From Kirkus Reviews
Bulging, indistinct sociological fantasy, the third part of a cycle that includes Grass (1989) and Raising the Stones (1990). In a vastly overcomplicated scenario, planet Tolerance is the last human world free of (supposed) enslavement by the Hobbs Land Gods. Founded a millennium ago by academics, the Brannigans, the planet is dedicated to preserving hundreds of diverse social systems, all secure against interference by its neighbors, thanks to the Enforcers employed by the ruling Council. But the various societies are growing steadily more bloodthirsty, sadistic, and intolerant: Reports indicate that malign godlike beings are manifesting themselves to influence human affairs. So old Boarmus, the Council president, sends his Enforcers to investigate: wise old Zasper, strong young Dannivon, and beautiful but damaged Fringe are soon joined by a mysterious, ancient woman, Jory, who knows more than she's telling. Eventually, after a thousand convolutions, it emerges that the Brannigans had their mentalities preserved in an impregnable underground vault; they have gone mad and, able to project godlike selves into the outside world via billions of tiny machines, desire only to degrade and torment humans. Possibly they can be stopped by the Hobbs Land Gods--actually an alien Arbai multi-component empathy machine. Jory turns out to be a once-human manifestation of the Arbai device. And, tagging along for no discernible reason, are Nela and Bertran, Siamese twins from Earth who stumble through an Arbai Gate and end up, thousands of years later, on Tolerance. An often astonishing work of bold imagination and sharp if rather conspicuous satire, marred by a recondite discursiveness that frequently degenerates into sheer flab. The workaday prose and dialogue don't help. -- Copyright ©1992, Kirkus Associates, LP. All rights reserved.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Sherri Tepper is a brilliant world builder and her characters are always intriguing
By flowergirl
Sherri Tepper is a brilliant world builder and her characters are always intriguing, but her real strength is speculative fiction; what would be the probable outcome if this happened, or that happened... Her work nearly always echoes themes of overpopulation and human idiocy but tempers it with human kindness and nobility as well. Lots of action, some pretty grizzly scenes, but a very thoughtful book and a very rewarding read.

0 of 0 people found the following review helpful.
I loved it then
By Damien M.
This is a re-read for me, I loved it then, I love it now.

0 of 0 people found the following review helpful.
Four Stars
By Peter Green
wifes stuff

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