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mossflower

mossflower

I am updating my profile as I have had some members thinking I have had twins, these are my latest grandchildren and as it is now out of date here is a review.

I am young/old lady with four boys who are now fullygrown, Paul, Stephen, Luke and Vincent. Paul is the Father of Zoe and Ben, and Stephen is the father of Sophie and the twins... more »
  • Basildon, England
  • member since March 12 2007

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Displaying 1-10 of 60 reviews
  • Sword Song
    • Rated 4 stars

    This book is exciting to read and although Cornwell says it is the most fictitious of the series I am enjoying reading it for the third time. It is fast moving and tells the story of Uhtred the boy orphaned and adopted by the Danes but on the death of his stepfather escapes to Wessex and gives his oath to Alfred. Still under oath to Alfred he has grown physically and mentally into 'a good christian'as Hild once told him even though he does not believe in the Christian God. In this novel he has to rescue London from the Danes for his pompous cousin whom he hates as a wedding present from Alfred,again setting up a kingdom this time Mercia for him,although Alfred does not want a king here so close to Wessex but AEthelred has other ambitions. He also rescues AEthelflaed Alfreds beloved daughter from the Danes at Benfleet after AEthelred overstays his welcome and she is captured.
    You cannot help but like the characters on both sides as they are well rounded and walk off the page.

    mossflower wrote this review Sunday, November 15 2009. ( reply | permalink )
  • The Princess Bride
    • Rated 5 stars

    This is one of the best books i have ever read. It is funny and sad all at the same time. It leads you on a wild goose chase as you search for the author and book mentioned in the text which is totally fictitious. Brilliant

    mossflower wrote this review Saturday, November 7 2009. ( reply | permalink )
  • Stonehenge
    • Rated 3 stars

    gods talks in signs--------------------------------------The gods were not talking that day. they were screaming.
    I loved his characters, but there was no scream only my frustration as he repeats himself with very little differences from one chapter to another. i do not know if he was trying to intimate that very little happens in generation after generation, and that life is mainly domestic. But this was supposed to be 2000 BC when just to survive was a revolution.

    mossflower wrote this review Monday, March 2 2009. ( reply | permalink )
  • Sarum: The Novel of England
    • Rated 5 stars

    SARUM
    'A richly imagined vision of history, written with genuine delight.'
    Set in the magical landscape of Stonehenge and the cathedral city of Salisbury, SARUM is an epic story of five families - the Wilsons, the Masons, the Roman family of Porteus, the Saxon Shockleys and the Norman Godfreys - through the turbulent course of English history from the Ice Age to the present day. SARUM is the story of English ancestral roots.

    The family saga sweeps across millennia of settlement. Hwll the hunter, fleeing the rising seas at the end of the last Ice Age, finds refuge on Sarum's high ground. Nooma the stone mason builds Stonehenge for the astronomer priests and witnesses a human sacrifice; thirty-two centuries later, his descendant Oswald Mason builds Salisbury cathedral with its soaring spire, and falls into each of the seven deadly sins. Roman roads, the Celtic hillfort of Old Sarum, a Saxon convent, a Norman castle, a medieval market town, a Tudor country house, Georgian townhouses, Victorian cottages - all appear and live on in perpetuity in Sarum's echoing landscape.

    SARUM contains drama and adventure. Cloth merchants prosper, knights are ruined; Protestants are burned, Catholics persecuted, witches tried. In the days of British Empire, Adam Shockley fights in the American War of Independence; Peter Wilson takes part in the great naval battle of Trafalgar; Jane Shockley tries to join Florence Nightingale as a nurse, before succumbing to a scandalous romance. There is also much fascinating research. We learn how Common Law began, how the Jews of Sarum were expelled, what really happened in the Black Death; how the independent people of Sarum threw both the Royalists and the Roundheads out of town, how the Industrial Revolution came to the countryside, and how Stonehenge was sold. Should be on 1001 Books to Read Before you Die list.

    mossflower wrote this review Monday, March 2 2009. ( reply | permalink )
  • Moby-Dick
    • Rated 5 stars


    The White Whale swam before him as the monomaniac incarnation of all those malicious agencies which some deep men feel eating in them, till they are left living on with half a heart and half a lung. That intangible malignity which has been from the beginning; to whose dominion even the modern Christians ascribe one-half of the worlds; which the ancient Ophites of the east reverenced in their statue devil; -- Ahab did not fall down and worship it like them; but deliriously transferring its idea to the abhorred white whale, he pitted himself, all mutilated, against it. All that most maddens and torments; all that stirs up the lees of things; all truth with malice in it; all that cracks the sinews and cakes the brain; all the subtle demonisms of life and thought; all evil, to crazy Ahab, were visibly personified, and made practically assailable in Moby-Dick. He piled upon the whale's white hump the sum of all the general rage and hate felt by his whole race from Adam down; and then, as if his chest had been a mortar, he burst his hot heart's shell upon it.

    Moby-Dick is an 1851 novel by Herman Melville. The story tells the adventures of the wandering sailor Ishmael and his voyage on the whaleship Pequod, commanded by Captain Ahab.
    Moby Dick, a white whale of tremendous size and ferocity. Comparatively few whaleships know of Moby Dick, and fewer yet have encountered him.
    In a previous encounter, the whale destroyed Ahab's boat and bit off his leg. Ahab intends to take revenge.

    In Moby-Dick, Melville employs stylized language, symbolism, and metaphor to explore numerous complex themes. Through the main character's journey, the concepts of class and social status, good and evil, and the existence of gods are all examined as Ishmael speculates upon his personal beliefs and his place in the universe. The narrator's reflections, along with his descriptions of a sailor's life aboard a whaling ship, are woven into the narrative along with Shakespearean literary devices such as stage directions, extended soliloquies and asides. Often considered the embodiment of American Romanticism.
    Two actual events inspired Melville's tale. One was the sinking of the Nantucket whaleship Essex, which foundered in 1820 after it was rammed by a large sperm whale 2,000 miles (3,700 km) from the western coast of South America. First mate Owen Chase, one of eight survivors, recorded the events in his 1821 Narrative of the Most Extraordinary and Distressing Shipwreck of the Whale-Ship Essex. Already out-of-print, the book was rare even at the time. Knowing that Melville was looking for it, his father-in-law, Lemuel Shaw, managed to find a copy and buy it for him. When Melville received it, he fell to it almost immediately, heavily annotating it.

    The other event was the alleged killing in the late 1830s of the albino sperm whale Mocha Dick, who was usually encountered in the waters off the Chilean island of Mocha. Riddled with dozens of harpoons from his numerous escapes from whalers, Mocha Dick often attacked ships with premeditated ferocity. One of his battles with a whaler served as subject for an article by explorer Jeremiah N. Reynolds in the May 1839 issue of The Knickerbocker, New York Monthly Magazine. Melville was familiar with the article, which described "an old bull whale, of prodigious size and strength... [that] was white as wool". Significantly, Reynolds writes a first-person narration that serves as a frame for the story of a whaling captain he meets. The captain resembles Ahab and suggests a possible symbolism for whales in that, when his crew first encounters Mocha Dick and cowers from him, the captain rallies them thus: "'Mocha Dick or the d----l [devil],' said I, 'this boat never sheers off from any thing that wears the shape of a whale.'"
    Moby-Dick contains large sections—most of them narrated by Ishmael—that seemingly have nothing to do with the plot but describe aspects of the whaling business. Melville believed that no book up to that time had portrayed the whaling industry in as fascinating or immediate a way as he had experienced it. Since Romantics such as Sir Walter Scott, Washington Irving, Lord Byron, and Mary Shelley had greatly influenced him from an early age, he hoped to emulate them with a book that was compelling and vivid both emotionally and poetically. Early Romantics also proposed that fiction was the exemplary way to describe and record history (after all, Walter Scott had invented the historical novel, and almost all of Irving's work had the trappings of history), so Melville wanted to craft something educational and definitive. However, despite his own interest in the subject, Melville claimed to struggle with it, writing to Richard Henry Dana, Jr. on May 1, 1850:

    I am half way in the work ... It will be a strange sort of book, tho', I fear; blubber is blubber you know; tho' you might get oil out of it, the poetry runs as hard as sap from a frozen maple tree; — and to cool the thing up, one must needs throw in a little fancy, which from the nature of the thing, must be ungainly as the gambols of the whales themselves. Yet I mean to give the truth of the thing, spite of this
    Themes
    Moby-Dick is a symbolic work, but also includes chapters on natural history. Major themes include obsession, religion, idealism versus pragmatism, revenge, racism, hierarchical relationships, and politics. All of the members of the crew have biblical-sounding, improbable, or descriptive names, and the narrator deliberately avoids specifying the exact time of the events (such as the giant fish disappearing into the dark abyss of the ocean) and some other similar details. These together suggest that the narrator—and not just Melville—is deliberately casting his tale in an epic and allegorical mode.

    The white whale has also been seen as a symbol for many things, including nature and those elements of life that are out of human control.Ch 42 Melville mentions the Matsya Avatar of Lord Vishnu, the first among ten incarnations when Vishnu appears as a giant fish on Earth and saves creation from the flood of destruction. Melville mentions this while discussing the spiritual and mystical aspects of the sailing profession and he calls Lord Vishnu as the first among whales and the God of whalers.

    The Pequod's quest to hunt down Moby Dick itself is also widely viewed as allegorical. To Ahab, killing the whale becomes the ultimate goal in his life, and this observation can also be expanded allegorically so that the whale represents everyone's goals. Furthermore, his vengeance against the whale is analogous to man's struggle against fate. The only escape from Ahab's vision is seen through the Pequod's occasional encounters, called gams, with other ships. Readers could consider what exactly Ahab will do if he, in fact, succeeds in his quest: having accomplished his ultimate goal, what else is there left for him to do? Similarly, Melville may be implying that people in general need something to reach for in life, or that such a goal can destroy one if allowed to overtake all other concerns. Some such things are hinted at early on in the book, when the main character, Ishmael, is sharing a cold bed with his newfound friend, Queequeg:

    ... truly to enjoy bodily warmth, some small part of you must be cold, for there is no quality in this world that is not what it is merely by contrast. Nothing exists in itself. If you flatter yourself that you are all over comfortable, and have been so a long time, then you cannot be said to be comfortable any more.
    — Moby-Dick, Ch. 11
    Ahab's pipe is widely looked upon as the riddance of happiness in Ahab's life. By throwing the pipe overboard, Ahab signifies that he no longer can enjoy simple pleasures in life; instead, he dedicates his entire life to the pursuit of his obsession, the killing of the white whale, Moby Dick. A number of biblical themes can also be found in the novel. The book contains multiple implicit and explicit allusions to the story of Jonah, in addition to the use of certain biblical names.

    Ishmael's musings also allude to themes common among the American Transcendentalists and parallel certain themes in European Romanticism and the philosophy of Hegel. In the poetry of Whitman and the prose writings of Emerson and Thoreau, a ship at sea is sometimes a metaphor for the soul.

    Ahab has the qualities of a tragic hero – a great heart and a fatal flaw – and his deeply philosophical ruminations are expressed in language that is not only deliberately lofty and Shakespearian, but also so heavily iambic as often to read like Shakespeare's own pentameters.

    Dated now but a truly great piece of religious and secular writing. Chivalric in stature Moby Dick is the hero.

    mossflower wrote this review Monday, March 2 2009. ( reply | permalink )
  • Jane Eyre
    • Rated 5 stars

    Charlotte Bronte covered many themes in this novel
    Morality
    Jane refuses to become Rochester's paramour because of her "impassioned self-respect and moral conviction." She rejects St. John Rivers's puritanism as much as Rochester's libertinism. Instead, she works out a morality expressed in love, independence, and forgiveness. Specifically, she forgives her cruel aunt and loves her husband, but never surrenders her independence to him, even after they are married. He is blind, and thus more dependent on her than she on him.

    Religion
    Throughout the novel, Jane endeavours to attain an equilibrium between moral duty and earthly happiness. She despises the hypocritical puritanism of Mr. Brocklehurst, and rejects St. John Rivers' cold devotion to his perceived Christian duty, but neither can she bring herself to emulate Helen Burns' turning the other cheek, although she admires Helen for it. Ultimately, she rejects these three extremes and finds a middle ground in which religion serves to curb her immoderate passions but does not repress her true self.

    Social class
    Jane's ambiguous social position—a penniless yet learned orphan from a good family—leads her to criticise discrimination based on class. Although she is educated, well-mannered, and relatively sophisticated, she is still a governess, a paid servant of low social standing, and therefore powerless. Nevertheless, Brontë possesses certain class prejudices herself, as is made clear when Jane has to remind herself that her unsophisticated village pupils at Morton "are of flesh and blood as good as the scions of gentlest genealogy."

    Gender relations
    A particularly important theme in the novel is patriarchalism and Jane's efforts to assert her own identity within male-dominated society. Three of the main male characters, Brocklehurst, Rochester and St. John, try to keep Jane in a subordinate position and prevent her from expressing her own thoughts and feelings. Jane escapes Brocklehurst and rejects St. John, and she only marries Rochester once she is sure that theirs is a marriage between equals. Through Jane, Brontë refutes Victorian stereotypes about women, articulating her own feminist philosophy:

    Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex. (Chapter XII)

    Disability
    Recent scholarship has also begun to explore themes in the novel relating to disability, looking at the madness of Bertha Mason Rochester, the blinding and maiming of Rochester, and the unusual affect of the heroine, Jane, perhaps suggestive of ASD or Asperger's Syndrome.
    of which were discussed in literature of the period.

    The early sequences, in which Jane is sent to Lowood, a harsh boarding school, are derived from the author's own experiences. Helen Burns's death from tuberculosis (referred to as consumption) recalls the deaths of Charlotte Brontë's sisters Elizabeth and Maria, who died of the disease in childhood as a result of the conditions at their school, the Clergy Daughters School at Cowan Bridge, near Tunstall, Lancashire. Mr. Brocklehurst is based on Rev. William Carus Wilson (1791–1859), the Evangelical minister who ran the school, and Helen Burns is likely modelled on Charlotte's sister Maria. Additionally, John Reed's decline into alcoholism and dissolution recalls the life of Charlotte's brother Branwell, who became an opium and alcohol addict in the years preceding his death. Finally, like Jane, Charlotte becomes a governess. These facts were revealed to the public in The Life of Charlotte Brontë (1857) by Charlotte's friend and fellow novelist Elizabeth Gaskell.

    The Gothic manor of Thornfield was probably inspired by North Lees Hall, near Hathersage in the Peak District. This was visited by Charlotte Brontë and her friend Ellen Nussey in the summer of 1845 and is described by the latter in a letter dated 22 July 1845. It was the residence of the Eyre family, and its first owner, Agnes Ashurst, was reputedly confined as a lunatic in a padded second floor room.

    Other literary motifs and allusions
    Jane Eyre uses many motifs from Gothic fiction, such as the Gothic manor (Thornfield), the Byronic hero (Rochester and Jane herself) and The Madwoman in the Attic (Bertha), whom Jane perceives as resembling "the foul German spectre—the vampire" (Chapter XXV) and who attacks her own brother in a distinctly vampiric way: "She sucked the blood: she said she'd drain my heart" (Chapter XX). Also, besides gothicism, Jane Eyre displays romanticism to create a unique Victorian novel.

    Literary allusions from the Bible, fairy tales, The Pilgrim's Progress, Paradise Lost, and the novels and poetry of Sir Walter Scott are also much in evidence. The novel deliberately avoids some conventions of Victorian fiction, not contriving a deathbed reconciliation between Aunt Reed and Jane Eyre and avoiding the portrayal of a "fallen woman"
    Maybe that scenario she could not admit to.
    A must read

    mossflower wrote this review Monday, March 2 2009. ( reply | permalink )
    • Rated 3 stars

    A Study of History is the 12-volume magnum opus of British historian Arnold J. Toynbee, finished in 1961. In this immensely detailed and complex work, Toynbee traces the birth, growth and decay of some 21 to 23 major civilizations in the world. These are: Egyptian, Andean, Sinic, Minoan, Sumerian, Mayan, Indic, Hittite, Hellenic, Western, Orthodox Christian (Russia), Far Eastern (Japan), Orthodox Christian (main body), Far Eastern (main body), Persian, Arabic, Hindu, Mexican, Yucatec, and Babylonic. There are four 'abortive civilizations' (Abortive Far Western Christian, Abortive Far Eastern Christian, Abortive Scandinavian, Abortive Syriac) and five 'arrested civilizations' (Polynesian, Eskimo, Nomadic, Ottoman, Spartan); thirty in all.

    Toynbee applies his model to each of these civilizations, painstakingly detailing the stages through which they all pass: genesis, growth, time of troubles, universal state, and disintegration
    Volumes

    A Study of History
    Vol I: Introduction; The Geneses of Civilizations (Oxford University Press 1934)
    Vol II: The Geneses of Civilizations (Oxford University Press 1934)
    Vol III: The Growths of Civilizations (Oxford University Press 1934)
    Vol IV: The Breakdowns of Civilizations (Oxford University Press 1939)
    Vol V: The Disintegrations of Civilizations (Oxford University Press 1939)
    Vol VI: The Disintegrations of Civilizations (Oxford University Press 1939)
    Vol VII: Universal States; Universal Churches (Oxford University Press 1954)
    Vol VIII: Heroic Ages; Contacts between Civilizations in Space (Oxford University Press 1954)
    Vol IX: Contacts between Civilizations in Time; Law and Freedom in History; The Prospects of the Western Civilization (Oxford University Press 1954)
    Vol X: The Inspirations of Historians; A Note on Chronology (Oxford University Press 1954)
    Vol XI: Historical Atlas and Gazetteer (Oxford University Press 1959)
    Vol XII: Reconsiderations (Oxford University Press 1961)
    D. C. Somervell, A Study of History: Abridgement of Vols I-VI, with a preface by Toynbee (Oxford University Press 1946)
    D. C. Somervell, A Study of History: Abridgement of Vols I-X in one volume, with a new preface by Toynbee and new tables (Oxford University Press 1960)

    Genesis
    Toynbee argues that "self-determining" civilizations are born (out of more primitive societies), not due to racial or environmental factors, but as a response to challenges, such as hard country, new ground, blows and pressures from other civilizations, and penalizations. He argues that for civilizations to be born, the challenge must be a golden mean; that excessive challenge will crush the civilization, and too little challenge will cause it to stagnate.

    He argues that civilizations continue to grow only when they meet one challenge only to be met by another. In 1939 Toynbee wrote, "The challenge of being called upon to create a political world-order, the framework for an economic world-order...now confronts our Modern Western society."[1] He argues that civilizations develop in different ways due to their different environment and different approaches to the challenges they face. He argues that growth is driven by "Creative Minorities," those who find solutions to the challenges which others then follow. This process is called mimesis, i.e. mimeing.


    Decay
    He argues that the breakdown of civilizations is not caused by loss of control over the environment, over the human environment, or attacks from outside. Rather, it comes from the deterioration of the "Creative Minority," which eventually ceases to be creative and degenerates into merely a "Dominant Minority" (who forces the majority to obey without meriting obedience). He argues that creative minorities deteriorate due to a worship of their "former self," by which they become prideful, and fail to adequately address the next challenge they face.


    Universal State
    He argues that the ultimate sign a civilization has broken down is when the dominant minority forms a "Universal State," which stifles political creativity. He states:

    "First the Dominant Minority attempts to hold by force—against all right and reason—a position of inherited privilege which it has ceased to merit; and then the Proletariat repays injustice with resentment, fear with hate, and violence with violence when it executes its acts of secession. Yet the whole movement ends in positive acts of creation—and this on the part of all the actors in the tragedy of disintegration. The Dominant Minority creates a universal state, the Internal Proletariat a universal church, and the External Proletariat a bevy of barbarian war-bands."

    He argues that, as civilizations decay, they form an "Internal Proletariat" and an "External Proletariat." The internal proletariat is held in subjugation by the dominant minority inside the civilization, and grows bitter; the external proletariat exists outside the civilization in poverty and chaos, and grows envious. He argues that as civilizations decay, there is a "schism in the body social," whereby:

    abandon and self-control together replace creativity, and
    truancy and martyrdom together replace discipleship by the creative minority.
    He argues that in this environment, people resort to archaism (idealization of the past), futurism (idealization of the future), detachment (removal of oneself from the realities of a decaying world), and transcendence (meeting the challenges of the decaying civilization with new insight, as a Prophet). He argues that those who Transcend during a period of social decay give birth to a new Church with new and stronger spiritual insights, around which a subsequent civilization may begin to form after the old has died.

    Toynbee's use of the word 'church' refers to the collective spiritual bond of a common worship, or the same unity found in some kind of social order.


    Predictions
    It remains to be seen what will come of the four remaining civilizations of the 21st century: Western civilization, Islamic society, Hindu society, and the Far East. Toynbee argues two possibilities: they might all merge with Western Civilization, or Western civilization might develop a 'Universal State' after its 'Time of Troubles', decay, and die.

    Impact
    Many concepts Toynbee discussed become part of the political vocabulary only decades later; here is a sampling of a few:

    Great Society (1939)
    régime change (1949)
    Détente (1952)
    malaise (1956).

    Criticism
    The social scientist Ashley Montagu assembled 29 other historians' articles to form a symposium on Toynbee's A Study of History, published as Toynbee and History: Critical Essays and Reviews (1956 Cloth ed.). Boston: Extending Horizons Books, Porter Sargent Publishers. ISBN 0-87558-026-2. The book includes three of Toynbee's own essays: What I am Trying to Do (originally published in International Affairs vol. 31, 1955; What the Book is For: How the Book Took Shape (a pamphlet written upon completion of the final volumes of A Study of History) and a comment written in response to the articles by Edward Fiess and Pieter Geyl (originally published in Journal of the History of Ideas, vol. 16, 1955.)

    Arnold Toynbee suggests that the civilisation as a whole is the proper unit for the study of history, not the nation state, which he suggests is just a part of a larger whole. He suggests a list of 21 civilisations, and an additional 5 "arrested civilisations", but when one examines this list it seems to be very arbitrary at times where one civlisation ends and a new one starts. For example, do we identify a "Sumerian" civilisation in ancient Iraq, followed by a later "Akkadian, or Babylonian" civilisation, or are these just different phases of a single, long-lived Mesopotamian civilisation? Toynbee lists them as separate, but later includes both the Greek and the Roman civilisations within a single category, called "Hellenic," though it is clear from Toynbee's list that Greek gave rise to Roman just as Sumer gave rise to Babylonia. Why is Sparta listed as a separate civilisation from the rest of the Hellenic world? What is the relation between Minoan and Mycenaean (which Toynbee considers early Hellenic)? Jacquetta Hawkes considers these two aspects of the same civilisation (which she calls Mino-Mycenaean, a finding that would be supported by Leonard Palmer from his studies of Linear B). If these are just early phases of a much larger civilisation, separated from Hellenic civilisation by a "Dark Age", what is one to do with what Toynbee calls "Sinic civilisation", separated from "Far Eastern Civilisation", or for that matter "Indic civilisation" separated from "Hindu civilisation"? And in his list there is no mention of such civilisations as the Etruscans, the Ethiopians, the East Africans, or the Sudanese. (While the latter could perhaps be considered part of the Islamic civilisation, the former could not.) And what of Tibet and South East Asia (old Indo-China), are they part of the Indian Hindu Civilisation even though they are Buddhist, or part of Far Eastern Civilisation, or both. And if Hittite is a separate civilisation, where do Hurrians, Elamites and Urartu fit?

    David Wilkinson suggests that there is an even larger unit than civilisation. Using the ideas drawn from "World Systems Theory" he suggests that since at least 1500 BCE that there was a connection established between a number of formerly separate civilisations to form a single interacting "Central Civilisation", which expanded to include formerly separate civilisations such as India, the Far East, and eventually Western Europe and the Americas into a single "World System". In some ways it resembles what William H. McNeill calls "the closure of the oecumene", in his book The Rise of the West: A History of the Human Community.

    And then concerning the fall of civilisations, Toynbee suggests a single schema, drawn in part from his experience as a classical scholar, based upon the creativity of classical Athens, and the rise and fall of the Roman Empire. This pattern he finds has parallels with Sima Qian's views of the "Mandate of Heaven" or the Dynastic cycle (Asabiyyah) suggested by Ibn Khaldun, for Far Eastern and Islamic civilisations respectively. But the pattern is not universally observed, and a number of civilisations become incorporated into others. These he suggests are the so-called Aborted civilisations. It is interesting that Ireland (a far Western Christian) and Scandinavia (the Vikings) are called abortive, when they contributed so heavily to the independent Western civilisation, whilst pre-Muslim Ghana is not considered at all.


    Counter-criticism
    Scandinavia and far western Christian civilizations became abortive in the sense that they did not survive contact with Western Civilization. This is what abortive means to Toynbee, not that a previous civilization's legacy died. Moreover, he goes on to say that all civilizations leave, to some extent, a legacy in subsequent civilizations, if only as part of a larger whole.

    mossflower wrote this review Wednesday, February 25 2009. ( reply | permalink )
  • The Collected Tales of Nikolai Gogol (Vintage Classics)
    • Rated 4 stars

    Such was the stature of Nikolai Gogol in 19th century Russian literature that the great Dostoevsky remarked that he and his contemporaries had all 'crawled out from under Gogol's Overcoat'. "The Overcoat" was one of Gogol's most celebrated stories, about a shy and downtrodden clerk and his fatal desire for an expensive new coat. It was alandmark in Russian naturalism and in the development of the short story as a literary form. More than a century and a half later, Gogol's exuberant tales continue to dazzle readers with their characteristic blend of pathos and dark humour.
    Gogol's mixture of the everyday and the bizarre earned him the epithet of the 'Russian Dickens', but his voice remains distictively his own. Ranging from earthy Ukrainian tales to satires of St. Petersburg life, this collection showcases the inventiveness of Gogol's work. In 'Ivan Fidorovitch Shponka and his aunt', a bachelor abandons his army career and returns to the family farm to help his ailing aunt-- who it turns out to be in strapping good health ('a dragoon's moustaches and high topboots would have suited her better than anything). In 'The Nose', a barber finds a nose in his bread which then takes off and tries to live a life of it's own ('I am an independent individual') and in 'Diary of a Madman', a civil servant records his own tragicomic slide into insanity.
    The stories are as varied as the characters that inhabit them, but all share a liveliness and strangeness that is umistakably Gogolian. The Collected Stories offer breathtaking proof of his idiosyncratic genius.

    mossflower wrote this review Wednesday, February 25 2009. ( reply | permalink )
  • Saints and Sinners: A History of the Popes; Third Edition (Yale Nota Bene)
    • Rated 4 stars

    "Society is sick------ the one hope, the one remedy, is the Pope." Pius X

    For almost 2,000 years, the papacy has been among the most influential forces in world history. Popes have created emperors and deposed monarchs, divided the spoils of conquest and plunged nations into war. A living link between the age of theNew Testament and the 21st century, today's Holy Father commands the spiritual allegiance of more than a fifth of the world's population and attracts greater crowds than presidents and pop stars.
    In Saints and Sinners the distinguished historian Eamon Duffy traces the tumultuous processes by which a humble fisherman from Galilee became the foundation and first figurehead of a prodigious institution that has challenged the authority of the mightiest rulers and states, and reached to the heart of culture and society in every era. Duffy follows the story of the papacy from the dying days of the Roman Empire to modern times. Among the 262 extraordinary men who have led the Catholic Church we encounter the pious and pragmatic Gregory the Great, who initiated the evangelisation of Anglo-Saxon England; Alexander Vl, the nortorious Borgia Pope; Leo X, whose efforts to fund the rebuilding of St. Peter's Basilica precipitated the Reformation; Pius Xll, diplomat extraordinaire of the second World War, and John Paul ll, whose uncompromisingly traditionalist principles were no barrier to his status as the most popular pope ever.
    Regarded by critics as the finest single volume account of the papacy available, this is the tour de force---- and a magnificent portrait of one of the most powerful and ancient institutions in the world.

    mossflower wrote this review Monday, February 23 2009. ( reply | permalink )
  • Master & Commander
    • Rated 4 stars

    Intellectual and with a detailed navy life, Master and Commander, tells a story set in Minorca, 1800--- during a chamber music recital Stephen Maturin is driven to distraction by his neighbour's humming. Elbowing Captain Jack Aubrey in the ribs, he nearly provokes a duel, yet out of this unpromising beginning, a firm friendship grows and Aubrey appoints Maturin to the position of ship's surgeon aboard his tiny sloop, HMS Sophie. As Aubrey strives to turn the Sophie's fortunes around, Maturin begins a dangerous career as a British spy.
    First published in 1969, Master & Commander was the start of an extraordinary journey for millions of readers the world over--- a journey that was to last 30 years. Whilst the naval adventure novel has a long and distinguished literary history, none has inhabited the genre with such unqualified mastery as Patrick O'Brian.
    To read Master and Commander is to experience life at sea in the days of Nelson, from the racy below deck humour to the breathless thrill of a skirmish with an Algerian quarter-galley. The atmosphere on board ship is palpable: the slap of the surf on deck, the feel of the rigging under bruised fingers, the monotonous diet, the tension, disciplines, and loyal friendships.

    mossflower wrote this review Sunday, February 22 2009. ( reply | permalink )
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