Waiting for Godot : A Tragicomedy in Two Acts 1st Edition

Waiting for Godot (Eng rev): A Tragicomedy in Two Acts 1st Edition
Author: Visit ‘s Samuel Beckett Page ID: 080214442X

Review

“One of the true masterpieces of the century.” —Clive Barnes, The New York Times

“One of the most noble and moving plays of our generation, a threnody of hope deceived and deferred but never extinguished; a play suffused with tenderness for the whole human perplexity; with phrases that come like a sharp stab of beauty and pain.”
—The Times (London)

“Beckett is an incomparable spellbinder. He writes with rhetoric and music that . . . make a poet green with envy.” —Stephen Spender

“Reading Beckett for the first time is an experience like no other in modern literature.”
—Paul Auster

“[Godot is ] among the most studied, monographed, celebrated and sent-up works of modern art, and perhaps as influential as any from the last century. The nonstory of two tramps at loose ends in a landscape barren of all but a single tree, amusing or distracting themselves from oppressive boredom while they wait for a mysterious figure who never arrives, the play became the ur-text for theatrical innovation and existential thought in the latter half of 20th century.” —Christopher Isherwood, The New York Times

About the Author

Samuel Beckett (1906-1989), one of the leading literary and dramatic figures of the twentieth century, was born in Foxrock, Ireland and attended Trinity University in Dublin. In 1928, he visited Paris for the first time and fell in with a number of avant-garde writers and artists, including James Joyce. In 1937, he settled in Paris permanently. Beckett wrote in both English and French, though his best-known works are mostly in the latter language. A prolific writer of novels, short stories, and poetry, he is remembered principally for his works for the theater, which belong to the tradition of the Theater of the Absurd and are characterized by their minimalist approach, stripping drama to its barest elements. In 1969, Beckett was awarded the Nobel Prize in Literature and commended for having “transformed the destitution of man into his exaltation.” Beckett died in Paris in 1989.

At the age of seventy-six he said: “With diminished concentration, loss of memory, obscured intelligence… the more chance there is for saying something closest to what one really is. Even though everything seems inexpressible, there remains the need to express. A child need to make a sand castle even though it makes no sense. In old age, with only a few grains of sand, one has the greatest possibility.” (from Playwrights at Work, ed. by George Plimpton, 2000)

Paperback: 128 pagesPublisher: Grove Press; 1 edition (May 17, 2011)Language: EnglishISBN-10: 080214442XISBN-13: 978-0802144423 Product Dimensions: 0.2 x 5 x 8 inches Shipping Weight: 4 ounces (View shipping rates and policies) Best Sellers Rank: #11,242 in Books (See Top 100 in Books) #11 in Books > Textbooks > Humanities > Literature > English Literature #14 in Books > Biographies & Memoirs > True Crime > Organized Crime #16 in Books > Politics & Social Sciences > Politics & Government > Specific Topics > Globalization
"Nothing happens, nobody comes, nobody goes, it’s awful!". That phrase, said by one of the main characters of "Waiting for Godot", somehow sums up the whole plot of this short tragicomedy in two acts. Strange??. You can bet on that!!!. So much that a well-known Irish critic said of it "nothing happens, twice".

The play starts with two men, Vladimir and Estragon, sitting on a lonely road. They are both waiting for Godot. They don’t know why they are waiting for him, but they think that his arrival will change things for the better. The problem is that he doesn’t come, although a kid does so and says Godot will eventually arrive. Pozzo and his servant Lucky, two other characters that pass by while our protagonists are waiting for Godot, add another bizarre touch to an already surreal story, in which nothing seems to happen and discussions between the characters don’t make much sense.

However, maybe that is exactly the point that Samuel Beckett (1906-1989) wanted to make. He was one of the most accomplished exponents of the "Theatre of the Absurd", that wanted to highlight the lack of purpose and meaning in an universe without God. Does Godot, the person that Vladimir and Estragon endlessly wait, symbolize God?. According to an irascible Beckett, when hard-pressed to answer that question, "If I knew who Godot was, I would have said so in the play." So, we don’t know. The result is a highly unusual play that poses many questions, but doesn’t answer them.

Ripe with symbolism, "Waiting for Godot" is a play more or less open to different interpretations. Why more or less open?.
Fifty years after its premiere, Samuel Beckett’s play WAITING FOR GODOT has achieved classic status, yet it is a play more talked about than read or performed. Many people could tell the vague plot of two hobos waiting on a roadside for a man who never comes, a metaphor for the "waiting for God" that forms the duration of human existence, but much of the play remains unknown. Reading the play shows a different side of the play than popular imagination, though it will not be a rewarding activity for all.

The stage is simple. "A country road. A Tree". So is the casting. The repartee of hobos Vladimir and Estragon forms the bulk of the play’s dialogue. Two other men, Pozzo and Lucky, twice stop by. Finally a Boy appears as a messenger from the mysterious Godot. Pozzo and Lucky are left out of most popular references to the play, but they form a vital part of its action. When we first meet Pozzo, he is a rich man, smoking a pipe, feasting on a whole chicken… and leading his servant Lucky around with a rope and barking orders at him. The choreographical duties imposed on Lucky are a tour de force of stage writing.

While drama is written to be performed, the text of WAITING FOR GODOT allows one to pick up on various subtleties missing from performance. One is amusing stage directions. When Vladimir says "I don’t understand" and Estragon replies, "Use your intelligence, can’t you?", there follows the direction "Vladimir uses his intelligence." In the theatre, many of the play’s most profound comments come too quickly to be properly reflected upon and digested by the audience, but reading the play lets one proceed through Beckett’s musings at one’s own pace.
Samuel Beckett’s play seems to endlessly perplex reviewers: they want to see in it concrete associations that it generally denies them. Is Godot God? Are Didi and Gogo heroes for their seemingly indefatiguable faith he will arrive, or fools for hinging all their hopes and dreams on a man who never seems to arrive to help alleviate their suffering?

Waiting for Godot, in proper Modernist fashion, strips away all the layers of narrative and form and leaves nothing but the naked husk of a play, which Beckett no doubt felt revealed the human condition at its most basic. But the play’s power doesn’t really come from that. Rather, what makes Waiting for Godot so compelling is its wide applicability: it’s a story about random oppression, brutality, and dreams deferred by harsh realities. It has been performed as an allegory of apartheid South African, the Jim Crow South, the horror of the war in Bosnia and about every other possible situation imaginable. Why? Because as Benjamin Kunkel pointed out in a piece in The New Yorker not so long ago, "[N]ot everyone has a God, but who doesn’t have a Godot?"

Beyond the metaphysical implications of the play, though, it’s popularity stems from its near-perfection: for all the philosophical meaning people see in it, the action progresses with virtually no direct reference to it, and every line which seems to suggests some sort of grand significance has a very concrete meaning in the action. Take the infamous opening: Estragon, the first of the tramps, struggles to pull off his boot to relieve his swollen foot. Unable to get it off, he gives up and announces "Nothing to be done.
Waiting for Godot Eng rev A Tragicomedy in Two Acts 1st Amazon com Waiting for Godot Eng rev A Tragicomedy in Two Acts 9780802144423 Samuel Beckett Waiting for Godot Eng rev A Tragicomedy in Two Acts 1st EditionWaiting for Godot Eng Rev A Tragicomedy in Two Acts COUPON Rent Waiting for Godot Eng Rev A Tragicomedy in Two Acts th edition 9780802144423 and save up to 80 on textbook rentals and 90 on used Waiting for Godot Eng rev A Tragicomedy in Two Acts Waiting for Godot Eng rev A Tragicomedy in Two Acts Samuel Beckett 9780802144423 Books Browse and search another edition of this book First

Download Waiting for Godot : A Tragicomedy in Two Acts 1st Edition Free PDF

SinarJaeman647

Waiting for Godot : A Tragicomedy in Two Acts 1st Edition

Waiting for Godot (Eng rev): A Tragicomedy in Two Acts 1st Edition
Author: Visit ‘s Samuel Beckett Page ID: 080214442X

Review

“One of the true masterpieces of the century.” —Clive Barnes, The New York Times

“One of the most noble and moving plays of our generation, a threnody of hope deceived and deferred but never extinguished; a play suffused with tenderness for the whole human perplexity; with phrases that come like a sharp stab of beauty and pain.”
—The Times (London)

“Beckett is an incomparable spellbinder. He writes with rhetoric and music that . . . make a poet green with envy.” —Stephen Spender

“Reading Beckett for the first time is an experience like no other in modern literature.”
—Paul Auster

“[Godot is ] among the most studied, monographed, celebrated and sent-up works of modern art, and perhaps as influential as any from the last century. The nonstory of two tramps at loose ends in a landscape barren of all but a single tree, amusing or distracting themselves from oppressive boredom while they wait for a mysterious figure who never arrives, the play became the ur-text for theatrical innovation and existential thought in the latter half of 20th century.” —Christopher Isherwood, The New York Times

About the Author

Samuel Beckett (1906-1989), one of the leading literary and dramatic figures of the twentieth century, was born in Foxrock, Ireland and attended Trinity University in Dublin. In 1928, he visited Paris for the first time and fell in with a number of avant-garde writers and artists, including James Joyce. In 1937, he settled in Paris permanently. Beckett wrote in both English and French, though his best-known works are mostly in the latter language. A prolific writer of novels, short stories, and poetry, he is remembered principally for his works for the theater, which belong to the tradition of the Theater of the Absurd and are characterized by their minimalist approach, stripping drama to its barest elements. In 1969, Beckett was awarded the Nobel Prize in Literature and commended for having “transformed the destitution of man into his exaltation.” Beckett died in Paris in 1989.

At the age of seventy-six he said: “With diminished concentration, loss of memory, obscured intelligence… the more chance there is for saying something closest to what one really is. Even though everything seems inexpressible, there remains the need to express. A child need to make a sand castle even though it makes no sense. In old age, with only a few grains of sand, one has the greatest possibility.” (from Playwrights at Work, ed. by George Plimpton, 2000)

Paperback: 128 pagesPublisher: Grove Press; 1 edition (May 17, 2011)Language: EnglishISBN-10: 080214442XISBN-13: 978-0802144423 Product Dimensions: 0.2 x 5 x 8 inches Shipping Weight: 4 ounces (View shipping rates and policies) Best Sellers Rank: #11,242 in Books (See Top 100 in Books) #11 in Books > Textbooks > Humanities > Literature > English Literature #14 in Books > Biographies & Memoirs > True Crime > Organized Crime #16 in Books > Politics & Social Sciences > Politics & Government > Specific Topics > Globalization
"Nothing happens, nobody comes, nobody goes, it’s awful!". That phrase, said by one of the main characters of "Waiting for Godot", somehow sums up the whole plot of this short tragicomedy in two acts. Strange??. You can bet on that!!!. So much that a well-known Irish critic said of it "nothing happens, twice".

The play starts with two men, Vladimir and Estragon, sitting on a lonely road. They are both waiting for Godot. They don’t know why they are waiting for him, but they think that his arrival will change things for the better. The problem is that he doesn’t come, although a kid does so and says Godot will eventually arrive. Pozzo and his servant Lucky, two other characters that pass by while our protagonists are waiting for Godot, add another bizarre touch to an already surreal story, in which nothing seems to happen and discussions between the characters don’t make much sense.

However, maybe that is exactly the point that Samuel Beckett (1906-1989) wanted to make. He was one of the most accomplished exponents of the "Theatre of the Absurd", that wanted to highlight the lack of purpose and meaning in an universe without God. Does Godot, the person that Vladimir and Estragon endlessly wait, symbolize God?. According to an irascible Beckett, when hard-pressed to answer that question, "If I knew who Godot was, I would have said so in the play." So, we don’t know. The result is a highly unusual play that poses many questions, but doesn’t answer them.

Ripe with symbolism, "Waiting for Godot" is a play more or less open to different interpretations. Why more or less open?.
Fifty years after its premiere, Samuel Beckett’s play WAITING FOR GODOT has achieved classic status, yet it is a play more talked about than read or performed. Many people could tell the vague plot of two hobos waiting on a roadside for a man who never comes, a metaphor for the "waiting for God" that forms the duration of human existence, but much of the play remains unknown. Reading the play shows a different side of the play than popular imagination, though it will not be a rewarding activity for all.

The stage is simple. "A country road. A Tree". So is the casting. The repartee of hobos Vladimir and Estragon forms the bulk of the play’s dialogue. Two other men, Pozzo and Lucky, twice stop by. Finally a Boy appears as a messenger from the mysterious Godot. Pozzo and Lucky are left out of most popular references to the play, but they form a vital part of its action. When we first meet Pozzo, he is a rich man, smoking a pipe, feasting on a whole chicken… and leading his servant Lucky around with a rope and barking orders at him. The choreographical duties imposed on Lucky are a tour de force of stage writing.

While drama is written to be performed, the text of WAITING FOR GODOT allows one to pick up on various subtleties missing from performance. One is amusing stage directions. When Vladimir says "I don’t understand" and Estragon replies, "Use your intelligence, can’t you?", there follows the direction "Vladimir uses his intelligence." In the theatre, many of the play’s most profound comments come too quickly to be properly reflected upon and digested by the audience, but reading the play lets one proceed through Beckett’s musings at one’s own pace.
Samuel Beckett’s play seems to endlessly perplex reviewers: they want to see in it concrete associations that it generally denies them. Is Godot God? Are Didi and Gogo heroes for their seemingly indefatiguable faith he will arrive, or fools for hinging all their hopes and dreams on a man who never seems to arrive to help alleviate their suffering?

Waiting for Godot, in proper Modernist fashion, strips away all the layers of narrative and form and leaves nothing but the naked husk of a play, which Beckett no doubt felt revealed the human condition at its most basic. But the play’s power doesn’t really come from that. Rather, what makes Waiting for Godot so compelling is its wide applicability: it’s a story about random oppression, brutality, and dreams deferred by harsh realities. It has been performed as an allegory of apartheid South African, the Jim Crow South, the horror of the war in Bosnia and about every other possible situation imaginable. Why? Because as Benjamin Kunkel pointed out in a piece in The New Yorker not so long ago, "[N]ot everyone has a God, but who doesn’t have a Godot?"

Beyond the metaphysical implications of the play, though, it’s popularity stems from its near-perfection: for all the philosophical meaning people see in it, the action progresses with virtually no direct reference to it, and every line which seems to suggests some sort of grand significance has a very concrete meaning in the action. Take the infamous opening: Estragon, the first of the tramps, struggles to pull off his boot to relieve his swollen foot. Unable to get it off, he gives up and announces "Nothing to be done.
Waiting for Godot Eng rev A Tragicomedy in Two Acts 1st Amazon com Waiting for Godot Eng rev A Tragicomedy in Two Acts 9780802144423 Samuel Beckett Waiting for Godot Eng rev A Tragicomedy in Two Acts 1st EditionWaiting for Godot Eng Rev A Tragicomedy in Two Acts COUPON Rent Waiting for Godot Eng Rev A Tragicomedy in Two Acts th edition 9780802144423 and save up to 80 on textbook rentals and 90 on used Waiting for Godot Eng rev A Tragicomedy in Two Acts Waiting for Godot Eng rev A Tragicomedy in Two Acts Samuel Beckett 9780802144423 Books Browse and search another edition of this book First

Download Waiting for Godot : A Tragicomedy in Two Acts 1st Edition Free PDF

SinarJaeman647

Download The Source Mass Market – March 12, 1986 Free PDF

The Source Mass Market Paperback – March 12, 1986
Author: Visit ‘s James A. Michener Page ID: 0449211479

Review

“Fascinating . . . stunning . . . [a] wonderful rampage through history . . . Biblical history, as seen through the eyes of a professor who is puzzled, appalled, delighted, enriched and impoverished by the spectacle of a land where all men are archeologists.”—The New York Times
 
“A sweeping [novel] filled with excitement—pagan ritual, the clash of armies, ancient and modern: the evolving drama of man’s faith.”—The Philadelphia Inquirer
 
“Magnificent . . . a superlative piece of writing both in scope and technique . . . one of the great books of this generation.”—San Francisco Call Bulletin

From the Inside Flap

In the grand storytelling style that is his signature, James Michener sweeps us back through time to the very beginnings of the Jewish faith, thousands of years ago. Through the predecessors of four modern men and women, we experience the entire colorful history of the Jews, including the life of the early Hebrews and their persecutions, the impact of Christianity, the Crusades, and the Spanish Inquisition, all the way to the founding of present-day Israel and the Middle-East conflict.
“A sweeping chronology filled with excitement.”
THE PHILADELPHIA INQUIRER

See all Editorial Reviews

Mass Market Paperback: 1088 pagesPublisher: Fawcett (March 12, 1986)Language: EnglishISBN-10: 0449211479ISBN-13: 978-0449211472 Product Dimensions: 4.2 x 1.6 x 6.9 inches Shipping Weight: 1 pounds Best Sellers Rank: #265,301 in Books (See Top 100 in Books) #3521 in Books > Literature & Fiction > Genre Fiction > Family Saga #9186 in Books > Literature & Fiction > Contemporary #16463 in Books > Literature & Fiction > Genre Fiction > Historical

When I was in my early teens, back in the days of disco, fat ties, oil crises, and gaudy leisure suits (aka, the 1970s), I remember looking through my parents’ book collection for the book with the most pages. At the time, I thought that the length of a book somehow corresponded to its difficulty level, and that if I could read a 1,000+ page book, then I must be REALLY smart and also grown up! Anyway, one of the first books I decided to read, based on these sophisticated criteria, was "The Source," by James Michener. Surprisingly, I found out that the book was actually easy to read, fascinating, and highly entertaining, and I whizzed right through it (boy, did I think I was smart afte that)! I remember being completely engrossed as the centuries flew past, as conquering armies marched, as cities rose and fell, as blood flowed through the streets of Jerusalem, and as the Jews wandered through the Middle East and Europe. I also remember thinking that the Middle East had an incredible history that I needed to learn a lot more about.
Well, almost 30 years later, with a Masters Degree in Middle East Studies, with a couple of trips to the region under my belt, and with a job dealing with the Middle East, I can blame it all, at least in part, on reading "The Source" at age 12 or 13. Seriously, though, I do believe that the seed of my life-long fascination with history, international relations, politics, and the Middle East was planted when I read "The Source" as a young teenager. Actually, come to think of it, another Michener book — Centennial — got me fascinated in the history of the West and the American Indian, while several others made me want to learn more about South Africa, Hawaii, the South Pacific, the Chesapeake region, and even outer space. So, definitely read James Michener, but be warned: you could become addicted to a lifetime of learning, travel, and adventure.

This sweeping epic traces the fictitious history of Makor, a city in Israel, from prehistory to modern times. Starting in the 1960s, an archeological dig turns up artifacts in an ancient mound composed of the remains of successive settlements in Makor. Then, starting with the deepest, oldest artifact and moving forward in time, in successive chapters Michener chronologically describes the inhabitants (who are often descendants of characters in earlier chapters) and events in and around the city over thousands of years. In this way, he tells the fascinating story of the Jews and other local inhabitants, of Judaism and its role in the creation of Christianity and Islam, and of the establishment of the modern state of Israel.
This is the first book I have read by Michener, my interest having been piqued when a friend responded to my praise of Edward Rutherfurd’s "London" by describing Rutherfurd as "a poor man’s Michener". My friend’s point was that Rutherfurd borrowed Michener’s often-used story structure for historical fiction, a structure perhaps best exemplified by "The Source". As much as I enjoyed "London", it pales in comparison to "The Source", one of the classics of the genre. I recommend it without reservation.

I love Michener and wound up getting this book from the library. About 35% of the way through I decided to get it for my Kindle and finish reading it on there. The story is awesome but when I switched to the Kindle version I discovered an amazing number of typos in the text. Within the first two pages I read there were five. I guess the publisher isn’t as picky with quality control for the Kindle folks.

UPDATE: After reading to 85% of this book I came across a section that is totally missing. I know because it repeated a previous chapter. I went BACK to the library to figure out what was going on and discovered that a whole page was replaced by a previous page. Now I wonder about previous chapters where they seemed to end without resolution. I will be asking for my money back. I would be more understanding if the Kindle version were free or maybe around a dollar but to have a book cost nearly as much as the paperback be obviously unedited is ridiculous! It appears that the text was scanned using OCR and no checking was done. Frequently odd characters appear in the text such as a ? instead of a letter in the middle of a word. Pathetic!

The Source Mass Market Paperback March 12 1986 The Source James A Michener The Source Mass Market Paperback March 12 1986 703 customer reviews See all 88 formats and editions The Source Mass Market Paperback Mar 12 1986 The Source Mass Market Paperback Mar 12 1986Editions of The Source by James A Michener Editions for The Source 0375760385 Paperback published in 2002 The Source Mass Market Paperback Published March 12th 1986 by Random House Publishing

Download The Source Mass Market – March 12, 1986 Free PDF

SinarJaeman647

Download The Source Mass Market – March 12, 1986 Free PDF

The Source Mass Market Paperback – March 12, 1986
Author: Visit ‘s James A. Michener Page ID: 0449211479

Review

“Fascinating . . . stunning . . . [a] wonderful rampage through history . . . Biblical history, as seen through the eyes of a professor who is puzzled, appalled, delighted, enriched and impoverished by the spectacle of a land where all men are archeologists.”—The New York Times
 
“A sweeping [novel] filled with excitement—pagan ritual, the clash of armies, ancient and modern: the evolving drama of man’s faith.”—The Philadelphia Inquirer
 
“Magnificent . . . a superlative piece of writing both in scope and technique . . . one of the great books of this generation.”—San Francisco Call Bulletin

From the Inside Flap

In the grand storytelling style that is his signature, James Michener sweeps us back through time to the very beginnings of the Jewish faith, thousands of years ago. Through the predecessors of four modern men and women, we experience the entire colorful history of the Jews, including the life of the early Hebrews and their persecutions, the impact of Christianity, the Crusades, and the Spanish Inquisition, all the way to the founding of present-day Israel and the Middle-East conflict.
“A sweeping chronology filled with excitement.”
THE PHILADELPHIA INQUIRER

See all Editorial Reviews

Mass Market Paperback: 1088 pagesPublisher: Fawcett (March 12, 1986)Language: EnglishISBN-10: 0449211479ISBN-13: 978-0449211472 Product Dimensions: 4.2 x 1.6 x 6.9 inches Shipping Weight: 1 pounds Best Sellers Rank: #265,301 in Books (See Top 100 in Books) #3521 in Books > Literature & Fiction > Genre Fiction > Family Saga #9186 in Books > Literature & Fiction > Contemporary #16463 in Books > Literature & Fiction > Genre Fiction > Historical

When I was in my early teens, back in the days of disco, fat ties, oil crises, and gaudy leisure suits (aka, the 1970s), I remember looking through my parents’ book collection for the book with the most pages. At the time, I thought that the length of a book somehow corresponded to its difficulty level, and that if I could read a 1,000+ page book, then I must be REALLY smart and also grown up! Anyway, one of the first books I decided to read, based on these sophisticated criteria, was "The Source," by James Michener. Surprisingly, I found out that the book was actually easy to read, fascinating, and highly entertaining, and I whizzed right through it (boy, did I think I was smart afte that)! I remember being completely engrossed as the centuries flew past, as conquering armies marched, as cities rose and fell, as blood flowed through the streets of Jerusalem, and as the Jews wandered through the Middle East and Europe. I also remember thinking that the Middle East had an incredible history that I needed to learn a lot more about.
Well, almost 30 years later, with a Masters Degree in Middle East Studies, with a couple of trips to the region under my belt, and with a job dealing with the Middle East, I can blame it all, at least in part, on reading "The Source" at age 12 or 13. Seriously, though, I do believe that the seed of my life-long fascination with history, international relations, politics, and the Middle East was planted when I read "The Source" as a young teenager. Actually, come to think of it, another Michener book — Centennial — got me fascinated in the history of the West and the American Indian, while several others made me want to learn more about South Africa, Hawaii, the South Pacific, the Chesapeake region, and even outer space. So, definitely read James Michener, but be warned: you could become addicted to a lifetime of learning, travel, and adventure.

This sweeping epic traces the fictitious history of Makor, a city in Israel, from prehistory to modern times. Starting in the 1960s, an archeological dig turns up artifacts in an ancient mound composed of the remains of successive settlements in Makor. Then, starting with the deepest, oldest artifact and moving forward in time, in successive chapters Michener chronologically describes the inhabitants (who are often descendants of characters in earlier chapters) and events in and around the city over thousands of years. In this way, he tells the fascinating story of the Jews and other local inhabitants, of Judaism and its role in the creation of Christianity and Islam, and of the establishment of the modern state of Israel.
This is the first book I have read by Michener, my interest having been piqued when a friend responded to my praise of Edward Rutherfurd’s "London" by describing Rutherfurd as "a poor man’s Michener". My friend’s point was that Rutherfurd borrowed Michener’s often-used story structure for historical fiction, a structure perhaps best exemplified by "The Source". As much as I enjoyed "London", it pales in comparison to "The Source", one of the classics of the genre. I recommend it without reservation.

I love Michener and wound up getting this book from the library. About 35% of the way through I decided to get it for my Kindle and finish reading it on there. The story is awesome but when I switched to the Kindle version I discovered an amazing number of typos in the text. Within the first two pages I read there were five. I guess the publisher isn’t as picky with quality control for the Kindle folks.

UPDATE: After reading to 85% of this book I came across a section that is totally missing. I know because it repeated a previous chapter. I went BACK to the library to figure out what was going on and discovered that a whole page was replaced by a previous page. Now I wonder about previous chapters where they seemed to end without resolution. I will be asking for my money back. I would be more understanding if the Kindle version were free or maybe around a dollar but to have a book cost nearly as much as the paperback be obviously unedited is ridiculous! It appears that the text was scanned using OCR and no checking was done. Frequently odd characters appear in the text such as a ? instead of a letter in the middle of a word. Pathetic!

The Source Mass Market Paperback March 12 1986 The Source James A Michener The Source Mass Market Paperback March 12 1986 703 customer reviews See all 88 formats and editions The Source Mass Market Paperback Mar 12 1986 The Source Mass Market Paperback Mar 12 1986Editions of The Source by James A Michener Editions for The Source 0375760385 Paperback published in 2002 The Source Mass Market Paperback Published March 12th 1986 by Random House Publishing

Download The Source Mass Market – March 12, 1986 Free PDF

SinarJaeman647

Download The Strange Case of Dr. Jekyll and Mr. Hyde Audible – Unabridged Free PDF

The Strange Case of Dr. Jekyll and Mr. Hyde Audible – Unabridged ridged
Author: Robert Louis Stevenson ID: B015NPWWNO

Dealing with split personalities, Dr. Jekyll battles with himself to overcome the evil Mr. Hyde. An old friend of Dr. Jekyll’s, lawyer Gabriel John Utterson, investigates odd occurrences that are linked to Mr. Hyde. Dr. Jekyll is determined to stop becoming Mr. Hyde and uses a potion to stop the transition. This works for a time, but the need for the potion increases because he can’t stave off the beast.
Done.
Audible Audio EditionListening Length: 2 hours and 53 minutesProgram Type: AudiobookVersion: UnabridgedPublisher: Dreamscape Media, LLCAudible.com Release Date: September 21, 2015Language: EnglishID: B015NPWWNO Best Sellers Rank: #792 in Books > Audible Audiobooks > Fiction & Literature > Horror #805 in Books > Audible Audiobooks > Fiction & Literature > Classics #8171 in Books > Literature & Fiction > Classics
Robert Louis Stevenson’s "Dr. Jekyll and Mr. Hyde" is arguably the single most famous metaphor that Western literature has bestowed upon the public conscience, and certainly the most ubiquitous metaphor for duality of personality. But what of the artistic quality of the novella itself? The outer plot — involving the detection of Henry Jekyll’s double identity by his friend and lawyer Gabriel Utterson — is the least interesting facet of the story; Stevenson’s concept, inspired by a nightmare, and the vivid language he uses to convey it, are what impress the most upon the reader.
The respected London scientist Henry Jekyll seems normal enough, but he is fascinated by what he considers to be two distinct sides to his (or, he believes, anybody’s) personality, which can be described crudely as good and evil. He furthermore believes these sides are physically separable, just as water can be separated into its constituent elements, hydrogen and oxygen, by electrolysis; and so he invents a potion that essentially splits his personality so that only one side will manifest itself while the other becomes latent. In this way, Jekyll reasons, the "good" side may be an agent of good works without being burdened by the disgrace of an inherent evil, and the "evil" side is free to do his damage without the pangs of remorse he would inherit from the conscience of his good twin. In Freudian terms, Jekyll is the ego, Hyde is the id, but unfortunately — and this is the point that drives the story — Jekyll has no superego to tell him that the potion is an irresponsibly bad idea in the first place.
"The Strange Case of Dr. Jekyll and Mr. Hyde" is assured a place in the history of horror fiction because it the literary classic that represents the archetype of the werewolf (the human with the hiding inside). Along with Mary Wollstonecraft’s "Frankenstein" (the Thing Without a Name) and Bram Stoker’s "Dracula" (the Vampire) Robert Louis Stevenson’s novella is part of the gothic foundation of the modern horror story. All have in common the fact that they promise to tell a story that might best be left untold, which, of course, is exactly the sort of story we want to hear.
Given that Stevenson was writing when the genre of horror fiction was not recognized as such, it is surprising that "The Strange Case of Dr. Jekyll and Mr. Hyde" is cast in the form of a mystery novel. Stevenson invites his readers to try and get ahead of the story, to put the clues together and come to the conclusion. Today it is nearly impossible to pick up this story and not know the "secret," but if you think back to the late 19th-century when this story was written you can get a sense for how Stevenson used the biases and limitations of his readers to his advantage in keeping them from what we might consider to be an obvious conclusion.
More importantly, Stevenson is writing several decades before the writings of Sigmund Freud revolutionized the whole idea of human psychology. Yet we can certainly find evidence of the conscious and subconscious mind of which Freud would write.
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Download The Strange Case of Dr. Jekyll and Mr. Hyde Audible – Unabridged Free PDF

The Strange Case of Dr. Jekyll and Mr. Hyde Audible – Unabridged ridged
Author: Robert Louis Stevenson ID: B015NPWWNO

Dealing with split personalities, Dr. Jekyll battles with himself to overcome the evil Mr. Hyde. An old friend of Dr. Jekyll’s, lawyer Gabriel John Utterson, investigates odd occurrences that are linked to Mr. Hyde. Dr. Jekyll is determined to stop becoming Mr. Hyde and uses a potion to stop the transition. This works for a time, but the need for the potion increases because he can’t stave off the beast.
Done.
Audible Audio EditionListening Length: 2 hours and 53 minutesProgram Type: AudiobookVersion: UnabridgedPublisher: Dreamscape Media, LLCAudible.com Release Date: September 21, 2015Language: EnglishID: B015NPWWNO Best Sellers Rank: #792 in Books > Audible Audiobooks > Fiction & Literature > Horror #805 in Books > Audible Audiobooks > Fiction & Literature > Classics #8171 in Books > Literature & Fiction > Classics
Robert Louis Stevenson’s "Dr. Jekyll and Mr. Hyde" is arguably the single most famous metaphor that Western literature has bestowed upon the public conscience, and certainly the most ubiquitous metaphor for duality of personality. But what of the artistic quality of the novella itself? The outer plot — involving the detection of Henry Jekyll’s double identity by his friend and lawyer Gabriel Utterson — is the least interesting facet of the story; Stevenson’s concept, inspired by a nightmare, and the vivid language he uses to convey it, are what impress the most upon the reader.
The respected London scientist Henry Jekyll seems normal enough, but he is fascinated by what he considers to be two distinct sides to his (or, he believes, anybody’s) personality, which can be described crudely as good and evil. He furthermore believes these sides are physically separable, just as water can be separated into its constituent elements, hydrogen and oxygen, by electrolysis; and so he invents a potion that essentially splits his personality so that only one side will manifest itself while the other becomes latent. In this way, Jekyll reasons, the "good" side may be an agent of good works without being burdened by the disgrace of an inherent evil, and the "evil" side is free to do his damage without the pangs of remorse he would inherit from the conscience of his good twin. In Freudian terms, Jekyll is the ego, Hyde is the id, but unfortunately — and this is the point that drives the story — Jekyll has no superego to tell him that the potion is an irresponsibly bad idea in the first place.
"The Strange Case of Dr. Jekyll and Mr. Hyde" is assured a place in the history of horror fiction because it the literary classic that represents the archetype of the werewolf (the human with the hiding inside). Along with Mary Wollstonecraft’s "Frankenstein" (the Thing Without a Name) and Bram Stoker’s "Dracula" (the Vampire) Robert Louis Stevenson’s novella is part of the gothic foundation of the modern horror story. All have in common the fact that they promise to tell a story that might best be left untold, which, of course, is exactly the sort of story we want to hear.
Given that Stevenson was writing when the genre of horror fiction was not recognized as such, it is surprising that "The Strange Case of Dr. Jekyll and Mr. Hyde" is cast in the form of a mystery novel. Stevenson invites his readers to try and get ahead of the story, to put the clues together and come to the conclusion. Today it is nearly impossible to pick up this story and not know the "secret," but if you think back to the late 19th-century when this story was written you can get a sense for how Stevenson used the biases and limitations of his readers to his advantage in keeping them from what we might consider to be an obvious conclusion.
More importantly, Stevenson is writing several decades before the writings of Sigmund Freud revolutionized the whole idea of human psychology. Yet we can certainly find evidence of the conscious and subconscious mind of which Freud would write.
Download The Strange Case of Dr. Jekyll and Mr. Hyde Audible – Unabridged ridged Free PDF

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Walden; Or, Life in the Woods – Unabridged, April 12, 1995

Walden; Or, Life in the Woods (Dover Thrift Editions) Paperback – Unabridged, April 12, 1995
Author: Henry David Thoreau ID: 0486284956

Review

"This book is like an invitation to life’s dance."
–E. B. White

–This text refers to an alternate Paperback edition.

From the Publisher

With their call for”simplicity, simplicity, simplicity!”, for self-honesty, and for harmony with nature, the writings of Henry David Thoreau are perhaps the most influential philosophical works in all American literature. The selections in tis volume represent Thoreau at his best. Included in their entirety are Walden, his indisputable masterpiece, and his two great arguments for nonconformity, Civil Disobedience and Life Without Principle. A lifetime of brilliant observation of nature — and of himself — is recorded in selections from A Week On The Concord And Merrimack Rivers, Cape Cod, The Maine Woods and The Journal.

–This text refers to an alternate Paperback edition.

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Series: Dover Thrift EditionsPaperback: 224 pagesPublisher: Dover Publications; Unabridged edition (April 12, 1995)Language: EnglishISBN-10: 0486284956ISBN-13: 978-0486284958 Product Dimensions: 0.8 x 5.2 x 8.2 inches Shipping Weight: 12.6 ounces (View shipping rates and policies) Best Sellers Rank: #56,433 in Books (See Top 100 in Books) #82 in Books > Science & Math > Nature & Ecology > Nature Writing & Essays #94 in Books > Science & Math > Biological Sciences > Ecology #99 in Books > Literature & Fiction > United States > Anthologies
WALDEN has rarely been out-of-print since its first publication in 1854. Copies come in all sizes, shapes and price ranges. Today’s Thoreauvians have three ANNOTATED versions of WALDEN to choose from. Each one provides same-page explanatory notes that help the reader interpret the sometimes esoteric references in Henry David Thoreau’s original text. The three books are "The Annotated Walden" (edited by Philip Van Doren Stern, 1970), "Walden: An Annotated Edition" (edited by Walter Harding, 1995), and "Walden: A Fully Annotated Edition" (edited by Jeffrey S. Cramer, 2004). Each one has at least one map of Concord and/or Walden Pond. Each one has its strengths and weaknesses. Each one has appeal for a devoted audience.

"Walden: A Fully Annotated Edition" by Jeffrey S. Cramer was released in August 2004, coinciding with the 150th anniversary of the original publication date. Cramer is the curator of collections for The Thoreau Institute and therefore has access to some of the best primary and secondary source material available — including Walter Harding’s notes. In addition to the text of WALDEN, this volume includes a few "extras": an introduction to Thoreau’s life but only as it applies to his cabin stay and WALDEN writing; a bibliography; notes on the text; and a detailed index. The explanatory notes — the essence of an annotated edition — are quite extensive. They are set off from the WALDEN text with page-within-a-page graphic detailing and are easy to read. Cramer did not merely merge Van Doren Stern’s and Harding’s previous notes with those from David Gorman Rohman’s dissertation. His analysis at times echoes that of Harding, but when it does, Cramer often goes one step further with a definition or citation.
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