Dữ liệu người dùng, đánh giá và đề xuất cho sách
Sách được viết bởi Bởi: Nguyễn Nhật Ánh
OMG great book! Can't wait to see what happens in the next book! My emotions were all over the board, and I'm still not sure where my loyalties are, but this is going to be one of my favorite of the series thus far.
Sách được viết bởi Bởi: Nguyên Hồng
This was definatly a treat. I laughed out loud and I enjoyed the sex. Fabulous read.
Sách được viết bởi Bởi:
Very interesting descriptions of human nature. I knew pretty much nothing about the story when I started reading it, and at the beginning I never dreamed it would end the way it did. Of course it was brilliant. 5/17/07 - I've only just begun Part Three (1/3 through the book). I'm really enjoying the character descriptions. 9/2007 - I finally finished! I can see why people's eyes bugged out when I told them I was reading this. It's not that it's a difficult read, it's just that it's really, really long. Levin was my favorite. I wasn't really expecting the book to end that way until I got closer to the end. Very interesting.
It's been a while since I had finished a King book. I enjoyed this one being a mixture of realistic psychological thriller and fantasy.
Sách được viết bởi Bởi: Họa Sĩ Tống
I want to be cliche and say this book has changed my life, but it holds the power to improve your life should you choose to take on that challenge. Leading a good life and being a good person does not happen, it evolves. This book is not a fluffy, feel-good, 'power of positive thinking' abstract. Covey offers specific actions in daily life that will improve yourself and your relationships. I am living proof.
Sách được viết bởi Bởi: Philip Roth
Above all other things, Butcher's Crossing is procedural. I hesitate to call it descriptive; the novel takes a meditative approach to its characters and the environs, but its attempts at metaphor and poetic imagery fall short, and some descriptions lack specificity. While Williams' prose oftentimes has a cinematic quality that transcends its simplistic clarity, it often veers into vagueness: “The roaring was intense and hollow in his ears; he looked down from the point of land that dipped and swayed in his sight, and saw the water. It was a deep but transparent greenish brown, and it flowed past him in thick ropes and sheeted wedges, in shapes that changed with an incredible complexity before his gaze.” (221-222) The passage above approaches immediacy with its 'thick ropes' , but the occasional absence of concreteness (e.g., what exactly is a 'transparenet greenish-brown', and what am I to surmise from 'incredible complexity') robs it of urgency. Because its thoroughness stays remote, the narrative resorts to outlining procedure. Passages involving setting up camp, pursuing the buffalo, or coping with a devastating snowstorm chronicle the character's actions: we know what they do, and we witness them as if they are in consistent motion. Butcher's Crossing invests itself in routine, and this choice on Williams's part is appropriate and prudent. Since these characters are meant to immerse themselves in nature, the novel stays on physical ground, and its emphasis on action and technique ensures that it stay externalized. There is little thought or dialogue that extends beyond the characters telling each other what's next in the procedure, or how to teach the procedure. Andrews's development is banished to the territory of exposition, of an outside observer summarizing thoughts instead of disclosing them. I tried to give the novel the benefit of a doubt, because Butcher's Crossing's priority is theme, and it draws inspiration from refuting Emersonian philosophy. Like Stoner, the tone's abstract distance bolsters its form-and-content unity. My struggle with Butcher's Crossing lies between finding this either a shortcoming, or a victory in the name of thematic consistency. As Butcher's Crossing looks at the effects of man returning to his nature, the creature becomes one of primal instinct, not of thought; the book makes it clear that Miller, this story's Ahab (despite the introduction, Williams is not generous enough in his debt to Melville, and Ahab's thirst for revenge evokes more empathy than Miller's aloof greed), can unite and immerse himself in Nature. For Schneider, little more than Miller's foil, this is a struggle. Our protagonist, Andrews, is a negligible bystander except for the occasional aside about (of course) a love interest born from naivete. Charley Hoge represents little more than man's retreat from humanity's dark truths into a comfortable religion. These people are one-dimensional because the character dynamic serves as a simple framework from which to dangle a long-term procedure. Suddenly I realized I was not endorsing Williams's distance, but apologizing for it. In Stoner, I found the distance dazzling: the novel takes on Stoner's persona, and its prose embodies the stoic, presumably incompetent lecturer to disarming effect. Here, it is lofty aspiration exceeding the capabilities of its author. I yearned for the odyssey in Blood Meridian: its rich and efficacious prose, how McCarthy worked miracles out of a barren landscape and a monotonous journey. The key? McCarthy did it with a small brush. Butcher's Crossing feels simultaneously approachable and erudite, whereas Stoner put these shortcomings to work. Butcher's Crossing often disregards subtlety, using broad expanses of snow as a “vast coldness,” or “going with the flow” down the river. It repeatedly tells us how “one” Miller is with his surroundings, and utilizes repeated monitoring of the characters' facial features to symbolize their dehumanization. These forms of directness become less forgivable in the story's denouement, when Williams, through a series of cartoonish and melodramatic psychological shifts, and a closing summation of Andrews' epiphany, gracelessly shows his hand. Despite Williams's faults as a prose stylist, I relish the thematic relationship between Butcher's Crossing and Stoner. Stoner focuses on the retreat from the world into the mind, and how the mental life can triumph over the dread of the natural. But Butcher's Crossing takes the opposite direction: Andrews, our protagonist, leaves Harvard College to experience an Emersonian transcendence, to leave a sheltered, mental life and seek a moment in the wilderness where he unites with a deeper, truer sense of identity. He rejects the cerebral for the instinctual, complacency for physicality, and therefore stands in stark opposition to Stoner. In Butcher's Crossing, we see a character escape academia, return to his nature, and become entrenched in ideological and literal failure. In Stoner, we see a man exiled from his physical urges work toward an academic retreat. Both trajectories yield identically tragic results. Taking the works together, I ask: is it possible to ever escape that slow erosion of human dignity, the chipping-away of the heart at the merciless hands of Time? Is the yearn to escape from any domain always to yield disappointment, a long-term bereavement for a sense of self? I suppose for Williams, humanity cannot recover. And I found this revelation staggering, but only when Butcher's Crossing is considered in tandem. Whether or not this was Williams's intent, I am unsure; I cannot tell with Williams if and when I allocate too much credit. But seeing two opposing journeys lead to the exact same place beholds such a charming power that I am tempted to overlook Williams's misfires as a prose stylist, and admire the truth illuminated by this dichotomy. I adore Butcher's Crossing as an articulately thought-out argument against Emerson's journey into our true selves. Williams's conviction that “the mechanical madness of human behavior suggets man at one with nature – man's nature – to be a horrifying prospect” (xv) is impeccably formulated, and executed with delicate alacrity. It comprises classic Westerns, coming-of-age stories, and Perfect Storm-esque cautionary tales, and manages to make as focused a statement on the measured trials of the spirit as Stoner. Yet the means to that end condemn it to being damnably, frustratingly unfulfilling.
Sách được viết bởi Bởi: Dr. Lin Lougheed
In the educational sense, this book was ok. I learned a few things, but I probably wouldn't recommend it to anybody who had a weak stomach. Sometimes it just felt like TMI. That being said, I'd love it if my best friend were a gynecologist and I could ask her/him all of these types of questions.
Sách được viết bởi Bởi: Linh Lê
This is the first book about Mma Ramotswe, a traditionally built Botswana lady who starts her own detective agency. Among rooibos-tea drinking and life philosophy you follow a simple detective story and read about life in Botswana. It'll make anyone smile, it's just such a feelgood book. This applies to the whole series, I won't write about them individually.
I really enjoyed this book. The only mark against it is that it is long (almost 500 pages) which made it hard to wade through given the 19th century English writing - it definitely drug in parts. That said, it provides a great cast of humorous characters (I read the parts narrated by the servant and the poor cousin Miss Clack with a smile on my face almost the entire time) and an intriguing plot complete with mystery, romance and drug addiction. Definitely recommend for anyone who likes this sort of period literature.
Sách được viết bởi Bởi: Cô Mai Phương
I only gave it 4 stars because I really felt that the middle of the book dragged on forever. I loved it overall though!
Sách được viết bởi Bởi: Phan Kim Thanh
Slooooowwww başlıyor ve gerçekten sürükleyici karakterler değil. Son Geri Sayım daha iyi oldu. Kitap grubu kitap.
Người dùng coi những cuốn sách này là thú vị nhất trong năm 2017-2018, ban biên tập của cổng thông tin "Thư viện Sách hướng dẫn" khuyến cáo rằng tất cả các độc giả sẽ làm quen với văn học này.