I read science fiction and fantasy, but I also like literary fiction, the classics, the occasional mystery/thriller, and non-fiction.
This is a long, long book, and the first in a series, though I understand that they mostly stand alone so you don't really have to read them in order. It centers around three women: one married, one single, and one widowed, and for each of them, the central question is the same - do I go with Mr. Dull and Dependable or do I go with Mr. Good Looks Who Will Spend All My Money and Ruin Me?
It might have been a more exciting book if Trollope was a more radical author, but I'm not spoiling too much to say that Trollope was actually a very conservative author. Everyone ultimately Does the Right Thing in a very Victorian way, but not before flirting with impropriety enough to raise the question asked by the title: Can You Forgive Her?
Besides jilted suitors and gentleman wastrels, there is a bit of Parliamentary politics in this book which I believe assumes greater importance in the future volumes.
Anthony Trollope had the gift of narrative and character development, so if your only exposure to Victorian social drama is Charles Dickens, then give Trollope a try. That said, I would probably start with The Way We Live Now, which I thought was a better book with a more engaging story.
Simon Vance is one of my favorite audiobook readers, and he delivers great Victorian performances equally well with his readings of James Bond novels.
This was a fantastic melodrama, worthy of being compared with any other Victorian novel, with a large cast of characters, a dozen subplots, and a biting, satirical wit that Trollope applied to what he saw as the greed and lack of class evident in London in his day. Other reviewers have commented on how Augustus Melmotte is entirely believable as a 19th century Bernie Madoff, and his ponzi scheme house of cards has been seen over and over again on Wall Street. But if The Way We Live Now were just a book about greedy high society types being taken in by a con man, it wouldn't have as much to recommend it. What makes this book great are the characters, from Melmotte himself to the many other players large and small, all of whom do wind up being interconnected in some way, though not all tie into the central storyline.
Of course a great deal of the book is taken up by marital intrigue -- that is to say, pretty much everyone is trying to get married. Some are trying to marry for love, some for financial security, some start seeking one and wind up choosing the other, but there are so many couples and would-be couples in this book, you almost need a dance card. They're each and every one of them different, with their own vividly described motives. Some are dastardly, some are grasping, some are naive and sweet, some are vulnerable, some are just weak. A few are even noble. But it's all a grand drama, and Trollope, paid by the word like most authors in his day, gets to indulge the reader in chapters full of resolution for each individual character in a way that modern novels, which favor tightness and paring away of unnecessary subplots and secondary characters, don't allow. It's a big, wordy book but if you like dramas, every bit of it is entertaining.
Timothy West really livened up the reading with perfect dry English wit to bring out Trollope's satirical tone. One of the best narrators I've heard on Audible.com; every character, even the women, was distinct.
I kind of don't want to give this book 5 stars. I'm going to, because it was epic. Seriously, it's a really, really good read and Margaret Mitchell is a really, really good writer. She captures the feel of a generation that is lost and a bygone world and makes it real, pulsing with life and bittersweet memory and pride. Her characters are wonderfully vivid and complicated and conflicted, larger than life archetypes symbolizing the different elements of society each one represents. And the story is sweeping and grand. If you've seen the movie and thought it was gorgeous and epic, Hollywood only barely did justice to the source material. Gone With the Wind is deservedly one of the greatest Civil War novels ever written.
But... there is a really big "but" here:
"Here was the astonishing spectacle of half a nation attempting, at the point of bayonet, to force upon the other half the rule of negroes, many of them scarcely one generation out of the African jungles. The vote must be given to them but it must be denied to most of their former owners."
There are a few things that Hollywood rather prudently left out in the cinematic version, and one of them is the fact that every white male character joins the Klan to oppose Yankees and freedmen in the period of Reconstruction following the war. And this is described in approbatory terms by the narrative viewpoint. Indeed, throughout the book, Mitchell compares African-Americans to monkeys, apes, and children, describes slavery as a generally benevolent institution in which kind slave owners took care of their "darkies," and when the slaves are freed, society crumbles because black people are destructive children who can't function without white people telling them what to do. Reconstruction (in which the South learns that yes, you really aren't allowed to own slaves anymore and yes, you really did actually lose the war) is a horror beyond enduring, but we're meant to mourn the lost world of balls and barbecues attended by rich white plantation owners and their loyal, happy slaves.
Now, you may be saying, "Well, sure, the characters are racist, of course former Confederates are going to be racist." And that's true, I wouldn't have a problem with the characters being racist and flinging the n-word about. That's just historically accurate. But the authorial viewpoint makes it very clear that Margaret Mitchell shared the POV of her characters. Everything about the antebellum South (except its sexism, which is treated with satirical amusement and thoroughly lampooned by Scarlett in everything she does) is glorified and painted in a rosy hue. All sympathy is with rich white Southerners when Reconstruction destroys their world. Their former slaves? The author takes pains to describe how much happier and better off most of them were before being freed. Black characters are all offensive racial stereotypes who are constantly described (not by other characters, but in the narrative POV) as apes, monkeys, and children.
I don't think you have to be overly "politically correct" to find Gone With the Wind to be a hard book to get through at times, with really glaring evidence of the author's Southern sympathies and unquestioned racism.
And yet I'm giving it 5 stars. I suppose in the interests of political correctness I should knock off at least a star, but I have to be honest: I was just enthralled by this long, long novel from start to finish. Even while I was sometimes gritting my teeth at the racist descriptions and all the "Wah, wah, poor plantation owners, the Yankees took away all their slaves, life is so hard for them now!" I wanted the story to keep going and going. I wasn't bored for one moment.
The protagonists, of course, are what make this a timeless love story. Note that's "love story," not "romance," because there's very little romantic about Scarlett O'Hara and Rhett Butler. Scarlett is an evil, conniving drama queen who if she had been raised in a society where women were actually allowed to do things would rule the world, but since she wasn't, she just learned to wrap the world around her finger and tell it to go to hell. She is absolutely the most self-centered character you will ever meet: in her mind, she is literally the center of the world. She sees nothing, understands nothing, and cares about nothing that isn't of direct and immediate importance to herself. And yet within her narrow, blindered view of the world, she's brilliant and adaptive and resourceful and unstoppable. The destruction of that glittering world of ball gowns and parties and negroes waiting on her hand and foot, in which she was raised to expect the world to revolve around her, is harrowingly depicted in her trials during the war and after it, and in her downright heroic accomplishments keeping not only herself but her extended family alive. Never mind that she never actually cares about anyone but herself, she does what has to be done, which is largely why her sister-in-law, poor Melanie Wilkes, believes until her dying day that Scarlett is a wonderful, noble, loving sister, even while the entire time Scarlett was hating her and coveting Melanie's husband Ashley.
Then there is Rhett Butler. The most brilliant Byronic rogue ever. Rhett kicks Heathcliff and Rochester's prissy white English arses and ascends to the top of the literary man-mountain as a first class scoundrel and anti-hero with a dark, brooding swoon-worthy heart. Because he's ruthlessly pragmatic and mercenary, smart enough to know right from the start that the South has started a fight it can't win, and he makes millions as a "speculator," enduring the wrath and hatred of his peers and gleefully, smugly giving them the finger, and yet in the end he goes off to be a hero. And survives, and becomes a (very, very rich) scoundrel again, and his reputation keeps going up and down throughout the book. He is the only man who is a match for Scarlett, because as he points out, they are so much alike. Like Scarlett, he's awesome and caddish and hateful and the best character ever.
Scarlett and Rhett's relationship is so much more tempestuous, conflicted, and compelling than in the movie. Every time they are together, it's like watching two grandmasters drawing knives and sparring. They were truly made for each other, they deserve each other, they could be happy together, and yet how could it end in anything but tears?
Oh yeah, I loved this book. Parts of it are so offensive, it will not bear scrutiny to modern sensibilities (it was pretty darn offensive when it was written, even if they did make a toned-down Hollywood movie based on it a few years later), and if you can't stand reading Mark Twain and all his uses of the n-word, then Gone With the Wind will probably make you want to throw the book against a wall (which will make a big dent, because this is a big book). But it is powerful and moving, the drama is grander than any epic fantasy doorstopper, the romance is hotter than anything I've ever read (I am not a romance fan and I don't usually describe romances as "hot," okay?), and the characters are fabulous and melodramatic and you care about every one of them, even (especially) the African-American characters, despite Mitchell's offensive treatment of them.
This is certainly not the only "problematic" book I've ever enjoyed, but never have I so enjoyed so problematic a book. If it weren't so damned racist, I'd give Gone With the Wind my highest recommendation. If it weren't so damned good, I could castigate it as a well-written but really offensive book whose author misused her gifts. But it's both, so I recommend it, but my recommendation comes with a big fat warning label.
Linda Stephens, as the narrator, truly does this book justice. For a book full of Southern characters with different regional accents, and with such strong characters of different races and genders, good narration is critical, and Stephens does a wonderful job, even with the flat, nasal Yankee accents. Her Scarlett and Rhett now sound more to me like the "real" ones than Vivien Leigh and Clark Gable. Absolutely a top-notch reading. So if you're looking for a long, long book to engage your attention for many hours, you can't go wrong here (keeping all the above caveats in mind).
There are books of the same chemical composition as dynamite. The only difference is that a piece of dynamite explodes once, whereas a book explodes a thousand times. ― Yevgeny Zamyatin
Poetic delight. Lyric ecstasy. Personally, it's the best collection of poems ever. Should you have any doubts about that, look at the list of poems and the narrators.
(Part I/Disc I)
1. Autumn from 4 Seasons/Capella Istropiltana - Stephen Gunzenhauser (conductor)
2. Shakespeare, Seven Ages from As You Like It, Act II Scene VII - Sir Ian McKellen
3. A Fancy - The Rose Consort Of Viols
4. Shakespeare, From All the world's a stage: Infant (excerpt) - Sir Ian McKellen
5. Thom Gunn, Baby Song - Catherine McCormack
6. Ann Stevenson, The Victory - Richard Jackson
7. Emily Dickinson, Surgeons - Gayle Hunnicutt
8. Shakespeare, Fancy from Merchant of Venice, Act III Scene 2 - Mark Rylance
9. Ogden Nash, Guppy - Prunella Scales
10. Edward Lear, Quangle Wangle's Hat - Connie Booth
11. Thomas Hood, I Remember, I Remember - Ralph Fiennes
12. William Allingham, The Fairies - Juliet Stevenson
13. Thomas Hood, A Parental Ode - Ralph Fiennes
14. Robert L. Stevenson, My Shadow - Stella Gonet
15. Edward Lear, The Owl and the Pussy Cat - John Cleese
16. A. A. Milne, Sneezles - Andrew Sachs
17. Lewis Carroll, The Walrus and the Carpenter - Joss Ackland w/ Peter Bayliss
18. Ted Hughes, Jellyfish - Leo Sayer
19. G.K. Chesterton, The Donkey - Emma Fielding
20. Anonymous (or Christopher Isherwood?), The Common Cormorant - Andrew Sachs
21. R.L. Stevenson, Where Go the Boats - Stella Gonet
22. Ted Hughes, Crab - Leo Sayer
23. A.A. Milne, The End - Catherine McCormack
24. Midsummer Nights Dream (Uphill Down Dale) - Barry Wordsworth (conductor)
25. Shakespeare, From All the world's a stage: School - Sir Ian McKellen
26. R.L. Stevenson, To Any Reader - John Sessions
27. Dylan Thomas, Under Milk Wood - Ioan Gruffudd
28. Vernon Watkins, The Collier - Ioan Gruffudd
29. Shel Silverstein, Sick - Catherine McCormack
30. John Whitworth, Boring - John Cleese
31. John Whittier, From The Barefoot Boy - Jenny Agutter
32. Full Fathom Five from Tempest, Act I Scene 2 - Dame Glenda Jackson
33. Oscar Wilde, Rosa Mystica - Michael Williams
34. Rudyard Kipling, A Smuggler's Song - Michael Caine
35 C. Day Lewis, Walking Away - Timothy West
36 Hilaire Belloc, Tarantella - Terence Stamp
37 T.S. Eliot, Macavity - David Suchet
38 Rudyard Kipling, If - Michael Caine
39 Shakespeare, From Hamlet: This Above All - Michael Maloney
40. M. George Whitehead and His Almand - performed by Rose Consort Of Viols
41. Shakespeare, From All the World's a Stage: Lover - Sir Ian McKellen
42. W.B. Yeats, The Arrow - Art Malisk
43. H.W. Longfellow, The Arrow and the Song - HRH The Duchess Of Kent
44. Rabindranath Tagore, They Who Are Near to Me - Art Malik
45. Christina Rossetti, The First Day - Felicity Kendal
46. T.L. Beddoes, From The Song of Torrismond - Janet Suzman
47. R.S. Bridges, My Delight and Thy Delight - Ralph Fiennes
48. E.B. Browning, Sonnet 43 - Hannah Gordon
49. R. Kipling, The Virginity - Terence Stamp
50. P.B. Shelley, The Longest Journey - Samuel West
51. Anonymous, We Have Known Treasure - Charles Dance
52. Shakespeare, Sonnet 138 - Robert Lindsay
53. C. Rossetti, Echo - Dame Glenda Jackson
54. R. Tagore, Delusions I Did Cherish - Art Malik
55. Shakespeare, Sonnet 18 - Dame Glenda Jackson
56. A. E. Housman, When I Was One-And-Twenty - Pete Postlethwaite
57. W. B. Yeats, The Mermaid - Juliet Stevenson
58. Robert Herrick, Upon the Nipples of Julia's Breast - Terence Stamp
59. Robert Burns, My Love Is Like a Red, Red Rose - John Sessions
60. Shakespeare, Sonnet 116 - Robert Lindsay
61. D. H. Lawrence, New Year's Eve - Michael Maloney
62. D. H. Lawrence, Green - Michael Maloney
63. John Keats, A Thing of Beauty Is a Joy Forever - Mark Rylance
(Part II/Disc II)
1. Stravinsky: A Soldier's Tale - Nicholas Ward (conductor)
2. Shakespeare, From All the world's a stage: Soldier - Sir Ian McKellen
3. Shakespeare, Prologue from King Henry 5 - Mark Rylance
4. Julian Grenfell, Into Battle - Juliet Stevenson
5. W. B. Yeats, An Irish Airman Foresees His Death - William Houston
6. James Russell Lowell, Once to Every Man and Nation - Dame Judi Dench
7. Seamus Heaney, Whatever You Say, Say Nothing - William Houston
8. John McCrea, In Flanders Fields - Robert Powell
9. Vera Brittain, Perhaps - Dame Judi Dench
10. Wilfred Owen, Anthem for Doomed Youth - Robert Powell
11. Wilfred Owen, Dulce at Decorum Est / Lord Owen
12. Eva Dobell, Pluck - Felicity Kendal
13. W. H. Auden, From In Memory of W.B. Yeats - Art Malik
14. John Jarmain, At a War Grave - Michael Malony
15. John Jarmain, El Alamein - Michael Malony
16. Ruth Fainlight, Handbag - Prunella Scales
17. Elsie Cawser , Salvage Song - Michael Maloney
18. Rudyard Kipling, England - Michael Caine
19. Matthew Arnold, Dover Beach - Michael Williams
20. Dan Pagis, Written With a Pencil in a Sealed Wagon - Janet Suzman
21. John Donne, No Man Is an Island - Ed Bishop
22. Luis de Narvaez: Fantasia - Shirley Rumsey
23. Shakespeare, From All the World's a Stage: Wisdom - Sir Ian McKellen
24. Shakespeare, The Quality of Mercy from Merchant of Venice, Act IV Scene 1 - Ralph Fiennes
25. John Boyle O’Reilly , What Is Good - Dame Judi Dench
26. Walt Whitman, Leaves of Grass - Art Malik
27. Anonymous, Addendum to the Ten Commandments - Michael Caine
28. Geoffrey Chaucer, From The Canterbury Tales: A Student - Emma Fielding
29. James Leigh Hunt, Abou Ben Adhem - Robert Powell
30. Henry Wadsworth Longfellow, Song of Hiawatha (excerpt) - Clarke Peters
31. William Wordsworth, My Heart Leaps Up - Robert Hardy
32. William Blake, Auguries of Innocence - Timothy West
33. William Blake, The Tyger - Timothy West
34. Emily Dickinson, Of All Souls That Stand Create - Gayle Hunnicutt
35. Percy Bysshe Shelley, Chorus of Spirits - Prunella Scales
36. Samuel Taylor Coleridge, Kubla Khan - Pete Postlethwaite
37. Robert Burns, A Man's a Man for A' That - John Sessions
38. Robert Frost, The Road Not Taken - John Cleese
39. Anonymous, The Bleed'n' Sparrer - Michael Caine
40. The King of Denmark's Galiard performed by the Rose Consort of Viols
41. Shakespeare, From All the World's a Stage: Sixth Age - Sir Ian McKellen
42. W. B. Yeats, Politics - Michael Caine
43. Ogden Nash, Peekaboo, I Almost See You - David Suchet
44. Ogden Nash, Samson Agonistes - David Suchet
45. John Masefield , Sea Fever - Terence Stamp
46. Emily Dickinson, Exultation - Gayle Hunnicutt
47. Morris Bishop, We Have Been Here Before - Charles Dance
48. Alfred, Lord Tennyson From The Brook - Janet Suzman
49. William Wordsworth, Upon Westminster Bridge - Robert Hardy
50. J. Wilmot, Earl of Rochester, A Song of a Young Lady to Her Ancient Lover - Janet Suzman
51. Robert Burns, John Anderson, My Jo - Stella Gonet
52. Stanley J. Sharples, In Praise of Cocoa, Cupid's Nightcap - Emma Fielding
53. Rudyard Kipling, The Way Through the Woods - Art Malik
54. Christina Rossetti, From Uphill - HRH The Duchess Of Kent
55. Shakespeare, From All the World's a Stage: Last Scene - Sir Ian McKellen
56. Dylan Thomas, Do Not Go Gentle into That Good Night - Ioan Gruffudd
57. Christina Rossetti, Song - Jenny Agutter
58. Leo Marks, Code Poem for the French Resistance - Ralph Fiennes
59. Emily Dickinson, This World Is Not Conclusion - Gayle Hunnicutt
60. Robert Louis Stevenson, Requiem - John Sessions
61. Christina Rossetti, Sleeping at Last - Dame Judi Dench
62. Shakespeare, Fear No More from Cymbeline, Act IV Scene 2 - Sir Ian McKellen
63. John Banister Tabb, Evolution/Autumn from Four Seasons (Reprise) - Mark Rylance