Senin, 30 Desember 2013

[U730.Ebook] Ebook The Standard UAS Operator Logbook: The Standard Pilot Logbooks Series (#ASA-SP-UAS)From Aviation Supplies and Academics, Inc.

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The Standard UAS Operator Logbook: The Standard Pilot Logbooks Series (#ASA-SP-UAS)From Aviation Supplies and Academics, Inc.

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The Standard UAS Operator Logbook: The Standard Pilot Logbooks Series (#ASA-SP-UAS)From Aviation Supplies and Academics, Inc.

The Standard UAS Operator Log provides record-keeping for flight operations of small and large unmanned aircraft systems (UAS) or unmanned aerial vehicles (UAV), remote-control aircraft (R/C), remotely piloted aircraft (RPA), and drones. It meets the needs of civilian, military, hobbyists, and professional operators alike so that critical flight details can be tracked.

The logbook has sufficient room for more than 300 flights with space to record the equipment details, location, aircraft category, flight conditions, type of operating time, number of takeoff/launch and landing/recovery, and the total duration of the flight. The remarks area provides space to note the mission, crew, control method (such as RC, first person view or RPV and autonomous), battery number and configuration or other information to correlate to the flight controller mission logs. It also includes a summary page for owner/operator (such as contact details, certificates and ratings, and recurrency training), a briefing/academic instruction log, a page for equipment and hours flown, and initial and recurrent training endorsements.

  • Sales Rank: #93419 in Books
  • Published on: 2015-10-13
  • Original language: English
  • Number of items: 1
  • Dimensions: 4.50" h x 8.00" w x .50" l, .0 pounds
  • Binding: Hardcover
  • 104 pages

About the Author
ASA Staff: Aviation Supplies & Academics, Inc. — editorial and production staff.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Very poorly made
By Kelly
I really wish I wouldn't have wrote my name on the first page because I would have returned this. I feel this logbook is put together very poorly. It appears that they took a fixed wing logbook and change a select few columns to make it UAS. They left an instrument column which to me is unnecessary, maybe i'm crazy. I feel they could have added other needed sections and that's why I will not be using this book and will create my own on excel.

0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
just what I needed

0 of 2 people found the following review helpful.
Quality logbook
By Justin Caldwell
Nice little logbook. I operate phantom 2 and I wanted to log my flight time for personal reasons. This is a great logbook that has enough room for ask the necessary information. You will feel better buying this instead of an expensive gimmick marketed to rich, blind drone owners.

See all 3 customer reviews...

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The Standard UAS Operator Logbook: The Standard Pilot Logbooks Series (#ASA-SP-UAS)From Aviation Supplies and Academics, Inc. PDF
The Standard UAS Operator Logbook: The Standard Pilot Logbooks Series (#ASA-SP-UAS)From Aviation Supplies and Academics, Inc. PDF

Kamis, 26 Desember 2013

[P996.Ebook] Ebook Learn to Paint in Watercolor with 50 Paintings: Pick Up the Skills, Put On the Paint, Hang Up Your Art, by Will Freeborn

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Learn to Paint in Watercolor with 50 Paintings: Pick Up the Skills, Put On the Paint, Hang Up Your Art, by Will Freeborn



Learn to Paint in Watercolor with 50 Paintings: Pick Up the Skills, Put On the Paint, Hang Up Your Art, by Will Freeborn

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Learn to Paint in Watercolor with 50 Paintings: Pick Up the Skills, Put On the Paint, Hang Up Your Art, by Will Freeborn

Develop your watercolor skills one painting at a time!

Are you a watercolor painter newbie? Have you dabbled in watercolors but wish your paintings looked more polished? Well, it's time to remedy that! Learn to Paint in Watercolor is the patient watercolor instructor you've been waiting for. This unique how-to book offers all you need to know about watercolor painting - perfect for first-time painters or anyone interested in refining their skills.

Treat the book as an in-depth class on this medium. With each lesson, you'll be privy to a new watercolor technique or subject. Readers will move through the book subject by subject, course by course, painting all along the way. By the time you reach the end, you'll have fifty paintings showcasing your steady progress. You'll start by painting objects that are important to you and then move on to exploring your immediate environment. By the end of the book, your paintings will start to tell your own story, giving you the confidence to continue painting and discovering watercolors' myriad possibilities. Techniques are introduced throughout the book's projects, from using a simple color wash to learning about ink techniques or letting go with loose, free watercolors. At the same time, concepts such as properties of light (vital for watercolorists) give a solid foundation on which to work. Through fine and vibrant strokes, you'll make expressive watercolors that you can be proud of, all thanks to your instructor, Learn to Paint in Watercolor.

  • Sales Rank: #45221 in Books
  • Published on: 2017-02-01
  • Original language: English
  • Dimensions: 10.00" h x .50" w x 8.50" l, .0 pounds
  • Binding: Flexibound
  • 144 pages

About the Author

Wil Freeborn is one of Scotland's foremost artists whose multifaceted work straddles the fields of design, illustration, and painting. He studied environmental art at Glasgow School of Art. After working as a designer for several design agencies, Wil rediscovered his love of drawing and painting while commuting to work every day. He has exhibited at Paisley Art Institute and the Royal Glasgow Institute and has work featured in The Art of Urban Sketching and An Illustrated Journey.

Most helpful customer reviews

7 of 7 people found the following review helpful.
Buy this book!
By ParisBreakfast
a terrific new watercolor book! Beautifully and clearly designed. Lots of new watercolor material to discover here. Perhaps for the more advanced watercolorist but worth buying whatever stage you're at. Love the double spread of all his moleskine sketchbooks on pages 26-27 (16 of them!). This artist doesn't sleep. Very specific details and watercolor tips included. Will you succeed in painting like Freeborn by the conclusion? Probably not and maybe a good thing. Will you have learned a lot of new valuable material? Definitely yes! Highly recommended to all serious watercolorists.
Thank you Wil for a beautiful book.

See all 1 customer reviews...

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Selasa, 24 Desember 2013

[A203.Ebook] PDF Ebook Reading Backwards: Figural Christology and the Fourfold Gospel Witness, by Richard B. Hays

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Reading Backwards: Figural Christology and the Fourfold Gospel Witness, by Richard B. Hays

In Reading Backwards Richard B. Hays maps the shocking ways the four Gospel writers interpreted Israel's Scripture to craft their literary witnesses to the Church's one Christ. The Gospels' scriptural imagination discovered inside the long tradition of a resilient Jewish monotheism a novel and revolutionary Christology.

Modernity's incredulity toward the Christian faith partly rests upon the characterization of early Christian preaching as a tendentious misreading of the Hebrew Scriptures. Christianity, modernity claims, twisted the Bible they inherited to fit its message about a mythological divine Savior. The Gospels, for many modern critics, are thus more about Christian doctrine in the second and third century than they are about Jesus in the first.

Such Christian "misreadings" are not late or politically motivated developments within Christian thought. As Hays demonstrates, the claim that the events of Jesus' life, death, and resurrection took place "according to the Scriptures" stands at the very heart of the New Testament's earliest message. All four canonical Gospels declare that the Torah and the Prophets and the Psalms mysteriously prefigure Jesus. The author of the Fourth Gospel puts the claim succinctly: "If you believed Moses, you would believe me, for he wrote about me" (John 5:46).

Hays thus traces thereading strategies the Gospel writers employ to "read backwards" and to discover how the Old Testament figuratively discloses the astonishing paradoxical truth about Jesus' identity. Attention to Jewish and Old Testament roots of the Gospel narratives reveals that each of the four Evangelists, in their diverse portrayals, identify Jesus as the embodiment of the God of Israel. Hays also explores the hermeneutical challenges posed by attempting to follow the Evangelists as readers of Israel's Scripture―can the Evangelists teach us to read backwards along with them and to discern the same mystery they discovered in Israel's story?

In Reading Backwards Hays demonstrates that it was Israel's Scripture itself that taught the Gospel writers how to understand Jesus as the embodied presence of God, that this conversion of imagination occurred early in the development of Christian theology, and that the Gospel writers' revisionary figural readings of their Bible stand at the very center of Christianity.

  • Sales Rank: #193321 in Books
  • Published on: 2014-10-16
  • Original language: English
  • Number of items: 24
  • Dimensions: .79" h x 5.87" w x 9.01" l, .0 pounds
  • Binding: Hardcover
  • 177 pages

Review
"This is an exceptionally rich study, illustrating how early Christianity and, in particular, the four evangelists "read backwards" in their portrayal of Jesus' divine identity."―Donald Senior, CP, Catholic Theological Union in Chicago, The Bible Today

"This is a rich, rewarding, and challenging work. The main substance of Hays' argument is not only convincing but nourishing to Christian faith: many of Hays' readings undermine those of more skeptical scholars and align precisely with the instincts of faithful though not learned Christians."―Bobby Jamieson, University of Cambridge, Credo Magazine

"A masterpiece."―Scot McKnight, Northern Seminary, Books & Culture

"This book is such a gem that it may prove more widely influential than anything Hays has done yet."―Jason Byassee, Senior Pastor at Boone United Methodist Church in North Carolina, Christian Century

"Reading Backwards is a wonderful book, offering the reader a succinct but potent experience with a contemporary and refined hermeneutical approach to Scripture that holds in tension critical and pre-critical sensibilities."―Edward W. Klink III, Pastor of Hope Evangelical Free Church in Roscoe, Illinois, Books at a Glance

"Hays' thesis is as simple as it is ground-shifting: that the Gospel writers' portraits of Jesus depend on their hermeneutical appropriation of Israel's Scripture. And his approach is disarmingly straightforward: a sympathetic reading of the Gospels calibrated to hear both explicit and implicit scriptural resonances. With transparent exegesis and lucid prose, Hays persuasively challenges some of the basic assumptions and arguments in modern biblical studies."―Joel B. Green, Dean of the School of Theology and Professor of New Testament Interpretation, Fuller Theological Seminary

"Twenty-five years ago Richard Hays launched a quiet but highly effective revolution on how Paul read Israel's scripture. Now he turns his attention to the four gospels, and we may confidently predict similar results. With his characteristic blend of biblical and literary scholarship, Hays opens new and striking vistas on texts we thought we knew―and, particularly, on the early church's remarkable belief in Jesus as the embodiment of Israel's God."―N.T. Wright, Professor of New Testament and Early Christianity, University of St Andrews

"Few people are better qualified than Hays to take us right inside the ways the Gospels interpret the Old Testament. And, as though that were not enough for one short book, his hermeneutical quest also delivers a christological result. He shows how, precisely in their reading of the Old Testament, each of the Gospels in its own distinctive way presents Jesus as the very embodiment of the God of Israel. Intertextuality and high christology turn out to be two sides of a coin."―Richard Bauckham, Emeritus Professor, University of St Andrews

"[Hays] is engaging, and he is nontechnical in handling this complex topic."―Choice

"Reading Backwards is an enormously enriching examination of the Christology of the four gospels."―Sam Emadi

, Books at a Glance

"The readings of each of the four Gospels that are presented in Reading Backwards provide a rich and concise survey in which each gospel distinctively uses scripture to paint its picture of Jesus."―Neil White, Rejoice Lutheran Church, Word & World

"Professor Hays is to be congratulated upon offering in this brief book a great deal more substantive scholarship than is provided in most books many times the length."―Simon Gathercole, Reformation21

"The insightful manner in which Hays analyses and summarizes the distinct ways in which the four gospel writers read the OT figuratively is a major strength of this highly recommended book."―Marius J. Nel, Stellenbosch University, Neotestamentica

"The strengths of Reading Backwards are obvious, and it will prove fruitful for anyone interested in Gospel studies, but also for studies in biblical theology and Christology more generally, as well as modern debates over what stratum of the Christian tradition first recognized Jesus' divinity."―Nicholas G. Piotrowski, Journal of the Evangelical Theological Society

"A remarkably insightful piece of work."―Steve Jeffery, Minister, Emmanuel Evangelical Church, London

"Overall, Hays's exegetical work confirms 'what the church's dogmatic tradition has classically affirmed about the identity of Jesus.' And it does so in an unlikely way, by pointing the reader to the narrative reflexes of Israel's monotheism."―Michael Legaspi, First Things

"Hays is to be commended for a lucid and rich study which does a great service to both the Church and the academy."―Joshua Coutts, Scottish Bulletin of Evangelical Theology

"A beautiful book."―Stephen Finlan, Catholic Biblical Quarterly

"Richard B. Hays has always maintained a distinctive theological voice, even within his most specialized New Testament work. A remarkably lucid expositor of scripture and a salient (if somewhat controversial) voice on New Testament theology and ethics, Hays has always been important for theologians to read."―Joshua Davis, Anglican Theological Review

About the Author
Richard B. Hays (Ph.D., Emory University) is George Washington Ivey Professor of New Testament, Duke Divinity School. His publications include Echoes of Scipture in the Gospels (2016), Reading the Bible Intertextually (edited with Stefan Alkier and Leroy A. Huizenga, 2009) and Revelation and the Politics of Apocalyptic Interpretation (edited with Stefan Alkier, 2012).

Most helpful customer reviews

29 of 30 people found the following review helpful.
Hays brilliantly lays out the diverse ways in which all of ...
By Phil Aud
Hays set’s out his “twofold thesis that the OT teaches us how to read the Gospels and that–at the same time–the Gospels teach us how to read the OT.” He boils this down even further in saying that “Scripture is to be reinterpreted in light of the cross and resurrection.” If we under scripture as unveiling God’s story, this should seem obvious. And yet, how often is such reading discouraged. Goldingay, for example, acknowledges that “The biblical gospel is…a narrative about things God has done.” And yet in his method he does not “discus the way what is concealed in the Old is revealed in the New.” “Moses” he writes, “suggests that his teaching, and the Old Testament by extension, is not a repository of concealment but a repository of revelation. The New certainly assumes that there are things that are revealed in the New, but that is not a basis for reading them into the Old. They are new.” Hays disagrees. For example, in writing about Jesus’ claim to be the “bread of life” in reference to the the crowds question about manna, Hays writes that “According to John’s Gospel, that is the true meaning of what Moses wrote.” The Gospel writers are teaching us how to re-read scripture in light Jesus death and resurrection.

Hays brilliantly lays out the diverse ways in which all of the Evangelists do this, and concludes with a final chapter on why such diversity is important, albeit complicated. One reason why such reading is crucial is that allows us to see (as intended, I believe) that all of the Gospel writers, and not just John, have a “high Christology” if we are reading correctly.

I’ll end with this quote, which seems appropriate for the review, from Hays:

“To read Scripture well, we must bid farewell to plodding literalism and rationalism in order to embrace a complex poetic sensibility. The Gospel writers are trying to teach us to become more interesting people–by teaching us to be more interesting readers.”

Hays “Reading Backwards” helps us to become such people.

[As an aside, I do hope this book comes down in price. It is very expensive for a 109 page book.]

13 of 13 people found the following review helpful.
I appreciate the intertextual reading of the Scriptures
By Richard Carr
Richard B. Hays’ new book is a short read but there is a lot to digest in its 109 pages. Each of the four Gospels is given a chapter. In this post I will limit my reflections to his chapter on the Gospel of Mark.

By way of review about the book in general, in the preface Hays states clearly that the book is an "account of the narrative representation of the identity of Jesus in the canonical Gospels, with particular attention to the ways in which the four Evangelists reread Israel’s Scripture, as well as the ways in which Israel’s Scripture prefigures and illuminates the central character in the Gospel stories."

For Hays, the concept of ‘mystery’ is essential for understanding how Mark crafts his narrative around the person of Jesus. He points out that Mark is generally more cryptic and allusive than Matthew (who much more often states explicitly “This took place to fulfill what had been spoken through the prophet , saying…”). Mark’s strategy of indirect reference and subtle allusions to the Old Testament cautions us against speaking too quickly about the mysterious identity of the Carpenter from Nazareth. In other words, there is something crudely wrong with stating so blatantly and matter-of-factly that “Jesus is the God of Israel.” Such a brash declaration fails to do justice to the transcendence and profoundness of the truth contained in the affirmation. And some might even say that kind of statement oversimplifies an incredibly complex identity; Hays quotes Rowan Williams, “There is a kind of truth which, when it is said, becomes untrue” (31). The point is that the identity of Jesus cannot be boiled down into such an unqualified two-dimensional statement. Instead, Mark chooses to drop dynamic hints about the identity of Jesus by way of careful selection of stories (and careful telling of those stories), hints that leave the reader to silently ponder who this Jesus was, drawing his categories from the Old Testament.

Here is how Hays concludes his interpretation of Mark’s figural Christology (an interpretation which he notes is not far from the way Mark’s Gospel is read in the Orthodox tradition):

"So, if we seek to read Scripture through Mark’s eyes, what will we find? We will find ourselves drawn into the contemplation of a paradoxical revelation that shatters our categories and exceeds our understanding. We will learn to stand before the mystery in silence, to acknowledge the limitation of our understanding, and to wonder. The ‘meaning’ if Mark’s portrayal of the identity of Jesus cannot be rightly stated in flat propositional language; instead, it can be disclosed only gradually in the form of narrative, through hints and allusions that project the story of Jesus onto the background of Israel’s story. As Mark superimposes the two stories on one another, remarkable new patterns emerge, patterns that lead us into a truth too overwhelming to be approached in any other way."

I do have some questions about how Hays establishes an Old Testament allusion. As one example, at times Hays seems to rest his reading of the OT allusion on the repetition of a couple key phrases (and perhaps also thematic similarity?). I want to ask, is the repetition of phrases enough to establish an admittedly cryptic allusion? It would be nice if more evidence could be adduced to demonstrate the presence of an allusion.

Notwithstanding my unanswered questions, I deeply appreciate this kind of reading of Mark’s gospel. As a footnote, I think it provides a convincing explanation of the shorter (in my opinion, genuine) ending of Mark. If the shorter ending is original, then Mark ends his gospel with this authorial comment: “Trembling and bewildered, the women went out and fled from the tomb. They said nothing to anyone, because they were afraid” (Mark 16:8). This mysterious concluding statement has generated a history of complex textual emendations and additions by scribes in the centuries to follow Mark’s writing. Why would Mark end his gospel in such an unexpected way? Well, if Hays’ reading is correct then it should not be so unexpected after all. Mark has been preparing his readers for this kind of reaction all along. As Hays puts it, "readers who listen carefully to the resonances of Israel’s Scripture in Mark’s Gospel and then see how the story drives toward the passion narrative may find themselves, like the women in Mark’s artful dramatic ending, reduced, at least for a time, to silence…The fear of the women is, of course, a response to the message of the resurrection of Jesus the Crucified One. I would suggest that a similar response of reticent fear and trembling is equally appropriate when we read the story of the crucifixion, if we have rightly followed Mark’s narrative clues about the identity of the one on the cross."

To this I simply offer a hearty AMEN and AMEN!

18 of 21 people found the following review helpful.
A Needed book on understanding the Bible
By Steven Gunderson
I am so frustrated with the majority of sermons I hear using the Bible as a fix-it manual ("how to fix your finances', 'how to fix your marriage', etc.). What I love about writers like Hays is that he shows us that (surprise! surprise!) the Bible is really about God, who he is and his plans to deal with an alienated world. Whether one agrees or not, Hays shows Jesus to be truly divine (somehow the Hebrew God in human form), plus shows that the New Testament cannot be fully understood without understanding the OT. This is a wonderful contribution to BIBLICAL hermeneutics as well.

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Mapping of Atrial Tachycardias post-Atrial Fibrillation Ablation, An Issue of Cardiac Electrophysiology Clinics, 1e (The Clinics: Internal

This issue of Cardiac Electrophysiology Clinics covers mapping of atrial tachycardias post-atrial fibrillation ablation. Expert authors review the most current information available about setting up the electrogram display, basic principles of conventional mapping, 3D mapping, and diagnosis of several tachycardias, including pulmonary vein tachycardia, macroreentrant atrial tachycardia, and atrial tachycardia. Keep up-to-the-minute with the latest developments in this rapidly evolving technology.

  • Sales Rank: #2734143 in Books
  • Published on: 2013-05-17
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.10" h x .60" w x 7.20" l, 1.19 pounds
  • Binding: Hardcover
  • 1 pages

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0 of 0 people found the following review helpful.
Recommended!
By Henrik
Indeed à piece of gold!!
Condensed and illustrated from a clinical point of view!
Starts upp with illustrated basics and continues through the practical problems that happen no and then in the AF ablation field.

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Jumat, 20 Desember 2013

[V603.Ebook] Free PDF The Maze Runner (Book 1), by James Dashner

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The Maze Runner (Book 1), by James Dashner

Book one in the blockbuster Maze Runner series that spawned a movie franchise and ushered in a worldwide phenomenon! And don’t miss The Fever Code, the highly-anticipated series conclusion that finally reveals the story of how the maze was built!

�� When Thomas wakes up in the lift, the only thing he can remember is his name. He’s surrounded by strangers—boys whose memories are also gone.
�� Outside the towering stone walls that surround them is a limitless, ever-changing maze. It’s the only way out—and no one’s ever made it through alive.
�� Then a girl arrives. The first girl ever. And the message she delivers is terrifying: Remember. Survive. Run.

The Maze Runner and Maze Runner: The Scorch Trials are now major motion pictures featuring the star of MTV's�Teen Wolf, Dylan O’Brien; Kaya Scodelario; Aml Ameen; Will Poulter; and Thomas Brodie-Sangster. The third movie, Maze Runner: The Death Cure, will hit screens in 2018.

Also look for James Dashner’s edge-of-your-seat MORTALITY DOCTRINE series!

Praise for the Maze Runner series:
A #1�New York Times�Bestselling Series
A�USA Today�Bestseller
A�Kirkus Reviews�Best Teen Book of the Year
An ALA-YASLA Best Fiction for Young Adults Book
An ALA-YALSA Quick Pick

“[A] mysterious survival saga that passionate fans describe as�a fusion of�Lord of the Flies,�The Hunger Games, and�Lost.” —EW.com

“Wonderful action writing—fast-paced…but smart and well observed.” —Newsday

“[A]�nail-biting�must-read.” —Seventeen.com

“Breathless,�cinematic action.” —Publishers Weekly

“Heart pounding�to the very last moment.” —Kirkus Reviews

“Exclamation-worthy.” —Romantic Times

“James Dashner’s illuminating prequel [The Kill Order] will thrill fans of this Maze Runner [series] and prove just as�exciting for readers�new to the series.” —Shelf Awareness, Starred

“Take a deep breath before you start�any James Dashner book.” —Deseret News


From the Hardcover edition.

  • Sales Rank: #1418 in Books
  • Size: Glossy Exclusive Paper
  • Brand: Delacorte Books for Young Readers
  • Model: 9780385737951
  • Published on: 2010-08-24
  • Released on: 2010-08-24
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.24" h x .83" w x 5.44" l, .69 pounds
  • Binding: Paperback
  • 375 pages
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  • The Maze Runner (Book 1) by James Dashner (Paperback) Delacorte Press New F
  • Brand New
  • Officially Licensed

From School Library Journal
Grade 6–10—Thomas wakes up in an elevator, remembering nothing but his own name. He emerges into a world of about 60 teen boys who have learned to survive in a completely enclosed environment, subsisting on their own agriculture and supplies from below. A new boy arrives every 30 days. The original group has been in "the glade" for two years, trying to find a way to escape through a maze that surrounds their living space. They have begun to give up hope. Then a comatose girl arrives with a strange note, and their world begins to change. There are some great, fast-paced action scenes, particularly those involving the nightmarish Grievers who plague the boys. Thomas is a likable protagonist who uses the information available to him and his relationships (including his ties to the girl, Teresa) to lead the Gladers. Unfortunately, the question of whether the teens will escape the maze is answered 30 pages before the book ends, and the intervening chapter loses momentum. The epilogue, which would be deliciously creepy coming immediately after the plot resolves, fails to pack a punch as a result. That said, The Maze Runner has a great hook, and fans of dystopian literature, particularly older fans of Jeanne DuPrau's The City of Ember (Random, 2003), will likely enjoy this title and ask for the inevitable sequel.—Kristin Anderson, Columbus Metropolitan Library System, OH END

Review
Praise for the Maze Runner series:
A #1 New York Times Bestselling Series
A USA Today Bestseller
A Kirkus Reviews Best Teen Book of the Year
An ALA-YASLA Best Fiction for Young Adults Book
An ALA-YALSA Quick Pick

"[A] mysterious survival saga that passionate fans describe as a fusion of Lord of the Flies, The Hunger Games, and Lost."—EW.com

“Wonderful action writing—fast-paced…but smart and well observed.”—Newsday

“[A] nail-biting must-read.”—Seventeen.com

“Breathless, cinematic action.”—Publishers Weekly

“Heart pounding to the very last moment.”—Kirkus Reviews

“Exclamation-worthy.”—Romantic Times

[STAR] “James Dashner’s illuminating prequel [The Kill Order] will thrill fans of this Maze Runner [series] and prove just as exciting for readers new to the series.”—Shelf Awareness, Starred

"Take a deep breath before you start any James Dashner book."-Deseret News

About the Author

James Dashner is the author of the #1 New York Times bestselling Maze Runner series: The Maze Runner, The Scorch Trials, The Death Cure, and The Kill Order, as well as The Eye of Minds and The Rule of Thoughts, the first two books in the Mortality Doctrine series. Dashner was born and raised in Georgia, but now lives and writes in the Rocky Mountains. To learn more about James and his books, visit JamesDashner.com, follow @jamesdashner on Twitter, and find dashnerjames on Instagram.

Most helpful customer reviews

550 of 627 people found the following review helpful.
Decent Read Though Not Very Thought Provoking
By Jarucia Jaycox
I first heard about this book at an SCWBWI conference where its editor from Delacorte spoke highly of how it grabbed her attention right away.

I have to agree. The one thing that Dashner does right from start to finish is barely provide enough information to answer the questions that form in the reader's mind BUT what information he gives does promote one to keep reading.

Curiosity drove me to read this book straight through...that and the fact that the writing wasn't all that challenging.

I'm not trying to bag on Dashner, but I was a little surprised at the many passed-on opportunities he had to draw me further into the story or even care more about the characters' fates .

I felt consistently disappointed with what I was offered of Thomas's character -- far too sulky and desirous of screaming at people who can hardly offer him the answers, etc. he's so desperate for. And Teresa, for as important as she's made out to be, is so flat. I think it was well within the author's scope to improve the depth of these characters considering the decent job he did on secondary characters like Chuck and Minho.

By the time I reached the end, I all but rolled my eyes. I felt roughly the same as I did when I finished watching 'The Cube'...interesting story, but what was the point of putting the characters through all that? Especially when the characters themselves hardly spend any real time trying to understand their situation. And this latter part actually seems quite critical to the purpose of the situation they're in.

Okay, I know this is meant to be YA but it certainly had room to grow in the 'thought provoking' department. It's a decent and entertaining story, but will it become the topic of critical academic discussion? Not likely.

It's far too light in depth and development as it stands. Perhaps the eventual trilogy as a whole will provide something 'more'.

197 of 230 people found the following review helpful.
Maze Runner made a lot of generic mistakes and on-the-fly plot twists that resulted in a confusing, dull story with no answers.
By Berliner
This is a full analysis of the book, full spoilers included. You have been warned.

[ALSO, if you choose to downvote my review saying it wasn't helpful, please tell me why in the comments. I welcome everyone's thoughts and opinions, but if you downvote a review of this size without commenting I will be under the assumption you simply downvote all negative reviews.]

The story itself was interesting enough for the most part, but the pace was painfully slow and Dashner committed a few things you are not supposed to do in fictional writing, ever. I'm talking newbie mistakes here.

The second largest thing that Dashner violated was the Show, Don't Tell rule. He almost assuredly does not understand this, as a lot of his descriptions are flatly told instead of explained. "Thomas felt sad." "Thomas snapped." Dashner does not do a good job showing us his world or his characters, instead just telling us how things are. This interweaves with my next points a bit and is explained in greater detail later.

For my second point, marking the biggest mistake Dashner did with this story, he began the book with the White Room Syndrome. Much like the Show, Don't Tell rule, this is one thing that almost all writers know very deeply - do not start your story off with the white room syndrome.

The white room syndrome is where your character suddenly wakes up in a completely unfamiliar setting and knows nothing about anything - his past, his name, people he knew, etc... This is cheap because it allows you to dodge any sort of actual development in the world, its characters or the relationships that the characters have. This book in particular suffered a lot because Dashner decided to go this way.

One particular area it suffered deeply was with character development. Partially since he had no past to develop from, Thomas was a weak protagonist with nearly no original or interesting characteristics. He seems brave at times, but everybody in this book is. He seems smart at times, but so is everybody else. To me, he is almost a blank slate designed to move the story forward. I cannot list one original characteristic about him - other characters say he is interesting, but that is not the conclusion I came to - if the story didn't follow him, he would blend in with the rest of the characters.

The other characters were also an issue. Other than Minho and Chuck, I had a hard time picturing any of them or even telling them apart. Alby was the typical reckless group leader. Newt was the typical nicer more rational second-in-command. Teresa was a typical plain-Jane female side character designed to make the plot actually go somewhere. Minho was interesting, but Dashner could have developed him further than he did. And Chuck was a potentially interesting character, but Dashner killed him off for no reason.

It would have been very difficult to develop any of these characters to a great extent, though, since none of them have histories or memories outside of the maze. Because they all have heavy amnesia, they don't even remember who they are - thus, they cannot be deeply developed. They are just a bunch of people trying to get out. I have to wonder if Dashner himself had fleshed his characters out any deeper than this by this point of the story.

Another way the whole `no past' thing effects the plot is the relationship between Teresa and Tom. It was possibly one of the weakest romances I have ever read in a novel. They loved each other because they did `before it happened', not because they have actual chemistry. There was no development or movement in their relationship whatsoever - it just started off that they were in love just because they were, and that's where the book left off as well. They loved each other because it's what Dashner wanted for the story, not because it made sense for the characters.

Let's put this in contrast to the last book series I read - Divergent. In the first Divergent book, it takes almost 250 pages to fully develop the relationship between Tris and Tobias. Tobias starts off as her superior, and slowly their relationship develops and morphs into something tangible, which is why you were truly able to feel it in that series. It logically progressed into a relationship where you could really believe they had feelings for each other. In Maze Runner, the only reason I felt they loved each other was because I was told to think that. I had no real reason to assume they had feelings for each other besides that, since there was no chemistry, development, getting to know each other or even any conversations that didn't have directly to do with the plot. It was utterly emotionless and monotone and had no effect on me whatsoever - that is not how romance is supposed to be! That's not even how a mundane friendship is supposed to be! What he had with Chuck had more feeling than what he had with Teresa.

---

Then there were several gaping plot holes. One that I was particularly annoyed with was how long it took them to figure out that the Griever Hole was the only way out. I mean, seriously... I figured that out the second they introduced it and tossed the rock in. I twas utterly predictable. Just think. They have been running around this big maze for two years and have not found any exit of any sort, but in this one spot there appears to be a hole you can toss thing into to make them disappear. It took them an extra 200 pages to figure out that that was, just maybe, an exit of sorts.

Then, it surprised me to notice that Minho has noticed all of those WORLD IN CATASTROPHE: KILLZONE EXPERIMENT DEPARTMENT things all over the walls and never came to the conclusion that this was, oh, I don't know, some sort of experiment or something. It didn't even occur to the characters until the end of the book when Thomas brought it up that this might, just maybe be some sort of experiment.

Minho was a pretty intelligent character, and so was Newt and Alby. In fact, it was a main plot point at the end that they are all technically very intelligent people. If this is the case, how did they not figure all of this stuff out a very long time ago? (Getting back to the Telling issue, the only reason I had to believe they were smart was because I was told so. I was never shown them being particularly smart, especially considering the things I mentioned above.)

Then there is the scene where the sky disappears. I have several issues with this scene. First, why was the first conclusion Thomas came to that the sky was artificial? I was figuring that something covered up the sky at first, but the very first thing he figured was that it absolutely must be that the sky is fake, with no chance of another option whatsoever. There was no guesswork or figuring out to be done here - he just knew, just because he knew.

And at that, where did this even come from? To me, it seems like Dashner literally came up with that on the spot. There was absolutely nothing in this book beforehand to hint that the sky was fake - nothing. If Thomas had thought to himself that this or that looks or seem fabricated or a bit off, it would have made some sense why he came to the conclusion he did so ridiculously quickly when the sky disappeared. But there was nothing. It just happened. Something like this should have been foreshadowed.

This is something I feel he does a lot - or, forgets to do a lot. He does not develop a lot of things beforehand that eventually become important, nor does he give clarification afterwards. For an example, the telepathic talking that Teresa and Tom have. To me, this was clearly used so Teresa could move the story forward no matter where Tom was at the time being, but I would have been okay with that if there was another relevant and in-story reason why she could talk to him like that. Sure, he might answer that in the next book, but he should have answers that in this book, since it was a vital part of this story. As far as I am concerned, since he gave no good reason why that is the way it is, I am convinced the only reason why it is there is for a cheap and easy way to move the plot forward. If there is another relevant in-story reason why it exists, he probably could have come up with it in the second book.

That all might not be true, but if he either developed it beforehand or clarified it afterwards, there would be no confusion. By the end of this story, I am convinced it existed for no other reason than to easily move the story forward when it needed to, just like the sky suddenly disappearing. It felt like a random event he came up with on the spot so he could get un-stuck in his story.

---

Then, at the end, there is almost no resolution to the story whatsoever. They meet a woman who explains to them that this all happened for some sort of good reason (which I logically assumed), but then proceeded to say that that was certainly enough for them to understand and they should just accept it. She could have elaborated on just a bit more to explain a little bit of the context this story takes place in, but does not in any way mostly because she didn't feel they would want to know, or something. It seems to confuse her why making 40 people go through a maze for 2 years for less than 20 of them to survive with no context whatsoever might confused them or make then want answers of some sort.

Then a bunch of people come in and kill her, take the main characters to a safe place (while of course explaining nothing about anything, because there's no time to explain) and the book ends. Well, sort of, anyway. The bus driver rushing them to safety explains something about sun flares and a sickness that has ravaged the world and how the maze was all some sort of mental test, but it all seemed non sequitur to the rest of the story. This, again, reflects back to the issue he has with foreshadowing. There was absolutely nothing in this book to hint towards any of this, and it all comes across as being random and on-the-spot. I was unable to correlate anything that happened throughout the book to anything relevant to the sun flares.

There were very few answers to anything. Why could Tom and Teresa talk telepathically? What were the Grievers and why were they there? What was the test supposed to do, anyway? How was anything of the story relevant to the last few chapters at all?

Those are the sort of things I should not have had to wait for book 2 to have answered, since they were all relevant to this story. Sure, you need to leave some questions for the next book, but the way that he answered absolutely none of them leaves me to assume he might not have had it all figured out by this point. One could argue that Dashner was clever not to reveal anything, but that is just not the case since he did that at the expense of this story not having an actual conclusion. Because of this laziness to answer anything at all, I simply have no desire to find out what happens next. I don't care what he comes up with, since he has not shown me that even he knew where he was going with the story by that point. I'm finding it hard to believe he actually had a big grand plan to reveal to us by this point.

Take into consideration how the first Hunger Games ends. (Hunger Games 1 spoilers for those who have not read the book or seen the movie by this point. Skip this paragraph if so.) Katniss and Peeta make the government angry by making a joke out of them at the end of the Games, so at the end of book 1, we have to wait and see how they will politically fight against the government and how they can pretend to be in love when they're not. There was something truly tangible to look forward to in the sequel, and that is what drove me to pick up the next book. This was all done while making the first book a complete story with some resolution. That is how a book 1 is supposed to be done.

Now let's go back to the ending of Maze Runner. They escape the maze to learn that it existed for some sort of reason, and the book ends with the promise that you will learn what that reason was later. There is no resolution to any questions raised in the story, there is no other major hook to make you read the next book - there is just no real reason to continue. The one and only hook that the end of this book had was that you will learn what the first book was about in the second book. That's it. Instead of building up new scenarios and conflicts to transfer over, his only hook is that he withheld vital information that should have been at the end of this book that he will give in the second one. In comparison to the Hunger Games, it's quite pathetic and lazy.

I am not entirely certain how people can compare this book to the Hunger Games or Divergent. It's just not on the same level of storytelling in any area. The writing is full of telling, the story is riddled with plot holes and plot devices, the character development is lacking, the romance and relationships are boring and there is no real conclusion to the story. I am not certain why people put this book up there with some of the other major titles right now.

200 of 248 people found the following review helpful.
An author more lost than his characters? (Spoiler Alert)
By Bookgirl
After completing the Hunger Games trilogy, I was eager for another great YA dystopian read but did not find it in The Maze Runner. I was initially intrigued by the book's description. I knew there would be boys caught in a maze, with their memories wiped and little hope for escape, and I knew that the appearance of a girl on the scene would change everything. Mazes, games, riddles, and other sorts of non-traditional mysteries attract me, but Dashner's execution of his book did not.

The plot was ill-paced. At times it felt slow, because Dashner introduced the reader to the maze in the same way the main character, Thomas, was introduced to it: both the reader and Thomas learn almost everything through numerous secondary explanations by characters. In more skilled hands, this might be an effective way of immersing a reader in a fictional world. Dashner's exposition, however, felt cumbersome. As a reader, if I'm going to be told about a world rather than shown it, I'd better be told well. When I wasn't slogging through Dashner's writing, I was tumbling head-over-heels down its textual cliffs. Parts of the novel simply moved too quickly for any real character or plot development to occur. Readers are barely introduced to the main protagonist before being introduced to Teresa, the girl who supposedly changes everything. We really have very little sense for what's changing, because this inciting action comes so shortly after our encounter with Thomas.

The plot also felt as if it had been constructed with little forethought. Each step or twist in the plot seemed as if it were generated on the spot as the author wrote his way linearly through this novel. Shazam! Such and such happens out of the blue. A quick patch-up of missing explanation ensues. Shazam! The next twist happens, followed by some explanation. And so on, until one of the biggest Shazams!: The crew exits the maze and suddenly, for no apparent reason, one of their members is killed. Subtle build-up of suspense and intricately interwoven plots do not exist in this novel. It's almost entirely composed of sudden action followed by explanatory reaction.

All this might not matter so much, if I'd felt in any way connected to the characters. But I didn't. Most of the boys meshed together in my brain, particularly since so many of them end up acting "out of character" anyway. As for Teresa and Thomas, readers know little about their back-story (until the peritextual "Exclusive Wicked Correspondence" at the end), and I didn't find their characters all that complex, deep, relatable, or quirky (aside from their obvious telepathic skill). Character "complexity" in this novel was little more than character "unpredictability."

In short, I was disappointed. The reason I gave the book 2 stars instead of 1, though, is because I did at least finish it. I've no intention of reading the sequel, however.

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Kamis, 19 Desember 2013

[R460.Ebook] PDF Ebook Plant Molecular Biology (Tertiary Level Biology Series), by Donald Grierson, Simon N. Covey

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Plant Molecular Biology (Tertiary Level Biology Series), by Donald Grierson, Simon N. Covey

In the preface to the first edition ofthis book, we expressed a conviction that there was a need for a short book that highlighted important advances in the new discipline of plant molecular biology. The rapid development of this topic has been brought about by the recognition of the unique properties of plants in the study of growth and development together with the application of recombinant DNA techniques to tackle these problems. Plant cells contain DNA in nuclei, plastids and mitochondria, and so offer the unique challenge of studying the interaction of three separate genetic systems in a single organism. The molecular approach has provided, in recent years, a wealth of important information about how plants function, and how they interact with bacteria, fungi and viruses. Furthermore, plant development involves the regulation of gene expression in response to intern al and external signals, and plant molecular biology has provided a fundamental insight into how this development is regulated. This is not only of considerable scientific interest, but also has important implications for the production of plants and plant products in agriculture, horticulture and the food industries.

  • Sales Rank: #14102161 in Books
  • Published on: 1988-11
  • Original language: English
  • Number of items: 1
  • Binding: Paperback

Review
Reviews of the first edition:
`This tertiary level biology text is a commendable addition to the Blackie series. Grierson and Covey have presented what in many ways is a difficult subject, in a clear, concise and at times very readable fashion.'
Annals of Botany
`[Plant Molecular Biology] presents a coherent and interesting account of a rapidly developing subject. I can highly recommend it. Indeed, it should be mandatory reading for all undergraduates.'
THES

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Senin, 16 Desember 2013

[P444.Ebook] Ebook Free The Picture of Dorian Gray (Dover Thrift Editions), by Oscar Wilde

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The Picture of Dorian Gray (Dover Thrift Editions), by Oscar Wilde

In this celebrated work, his only novel, Wilde forged a devastating portrait of the effects of evil and debauchery on a young aesthete in late-19th-century England. Combining elements of the Gothic horror novel and decadent French fiction, the book centers on a striking premise: As Dorian Gray sinks into a life of crime and gross sensuality, his body retains perfect youth and vigor while his recently painted portrait grows day by day into a hideous record of evil, which he must keep hidden from the world. For over a century, this mesmerizing tale of horror and suspense has enjoyed wide popularity. It ranks as one of Wilde's most important creations and among the classic achievements of its kind.

  • Sales Rank: #2360 in Books
  • Published on: 1993-10-13
  • Released on: 1993-10-13
  • Format: Unabridged
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.25" h x 5.25" w x .50" l, .30 pounds
  • Binding: Mass Market Paperback
  • 176 pages
Features
  • Great book!

Amazon.com Review
A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife," Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."

From Publishers Weekly
Starred Review. First published in 1890 in Lippincott's Monthly Magazine and the following year in novel form, The Picture of Dorian Gray categorically changed Victorian Britain and the landscape of literature. An ostentatious, self-confessed aesthete, known for his wit and intellect, Wilde not only had to endure his prose being labeled "poisonous" and "vulgar," but also suffer its use as evidence in the ensuing trial, resulting in his eventual imprisonment for crimes of "gross indecency." Frankel's introduction provides a deft preliminary analysis of the novel itself—exploring etymology and extensive editorial alterations (both accidental and deliberate)—and offers valuable insight into the socio-cultural juxtaposition of aristocratic Victorian society and the London underworld. The original typescript provides the unique opportunity to examine what was considered acceptable in both the US and UK at the time. Intriguing annotations allude to Wilde's influences and enterprising range of reference, incorporating art, poetry, literature, Greek mythology, philosophy, and fashion (certain to inspire further reading; an appendix is provided). Comparisons are drawn between Dorian Gray and Wilde's other literary output, as well as to the work of Walter Pater. Numerous illustrations subtly compliment Frankelÿs inferences. A fine contextualization of a major work of fiction profoundly interpreted, ultimately riveting. (Mar.)

From School Library Journal
Grade 10 Up-"The Whole Story" format provides illustrations and annotations to the classic text. Ross's lively and sophisticated cartoons add interest, and historical information helps readers place the novel in proper context and gives insight into its characters. The problem with this attractive, glossy layout, however, is that the text and the quotes pulled from it are not always on the same page. Further, some illustrations and notations visually cut into the narrative and may distract readers. For example, a drawing appears on the first page along with the passage, "In the centre of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty," but that quote does not appear until the second page of the story. Useful as a supplement to the original novel, but not a replacement for it.
Karen Hoth, Marathon Middle/High School, FL
Copyright 2001 Reed Business Information, Inc.

Most helpful customer reviews

20 of 21 people found the following review helpful.
ISBN 1452896305 is not professionally put together
By Ms. Gabriela R.
I am getting very tired of ordering what I think are professionally prepared books and finding that they are print-on-demand works probably put together by one person that do not adhere to certain standards of the book industry.

In this case, the title refers to "other writings" but it does not seem to contain any other writings. In any case, it is hard to tell because there is no table of contents. Chapters do not begin on a new page but (to save money) a new chapter will begin anywhere on the page.

Sometimes there are smart quotes. Sometimes there are unformatted quotation marks.

Margins are very close to the edges of the pages, again to save money.

Most troubling, the original Bantam edition was about 450 pages; this edition is 190 pages.

So, I would recommend you go with a name brand publisher instead of ordering this version.

Why did I not give it one or two stars? Because I did not notice typos and the entire text of "The Picture of Dorian Gray" appears to be contained here, plus the front and back covers, which contain old portraits of the author, are attractive.

8 of 8 people found the following review helpful.
Slow first half, but otherwise a classic psychological horror novel
By Kenya Starflight
I almost never leave reviews on classic books, because I figure said books are classics for a reason. Their quality is assured if they've stood the test of time and remain well-known after all these years, right? Even in the case of "classics" that I don't enjoy for whatever reason, such as "Tess of the D'ubervilles," I figure it's merely a case of personal preference and not quality. So it's with some degree of hesitation that I leave a review on such a classic as "The Picture of Dorian Gray," one of Oscar Wilde's best-known works. It's been hailed as a riveting psychological thriller/horror novel, and I figure there must be something to that praise if the book has managed to endure for over a century. Still, I figure that even the words of a modern-day Amazon reviewer should be worth something, even if it's just to deliver a personal opinion.

I can see why this book is considered a classic -- it has a lot to say about the human condition, not much of it good, and the horror elements are subtle but well-done. All the same, this book isn't for everyone, and getting through the first half of the book takes a LOT of perseverance.

The titular Dorian Gray is a wealthy young man in the prime of his life, considered astonishingly handsome and charming by everyone he meets. When his friend Basil, a painter, creates a portrait of him, Gray mourns that the painting will always be more beautiful than he is and makes a half-serious wish that the painting will age instead of him. To Gray's shock, his wish comes true -- he remains handsome and young-looking, but the figure in his portrait withers and grays with age and vice. At first Gray is delighted by this, but as time passes -- and he falls under the sway of the decadent and reckless Lord Harry -- he starts to feel cursed. And as he lives a life of indulgence and vice, his past crimes begin to catch up to him in ways he could never have imagined...

I'll start with the bad regarding this book. Wilde might have been considered a master satirist in his day, but at times it feels like he's in love with the sound of his own voice, especially here. Much of the book is reserved for philosophical discussions between characters regarding the nature of sin, humanity, pleasure, and virtue. And the character who does most of the talking, Lord Harry, has some dismal and downright dangerous things to say about all of the above. It's hard to know if Wilde sincerely believed what he was writing (about pleasure and indulgence being the chief meaning of life and love being a silly, fleeting thing) or if it's just him getting deeply into the head of his decadent antagonist, but all the same it makes for uncomfortable (and often boring) writing. Plus all this philosophizing pads out the length of the book, and makes it so not much of anything plotworthy really happens until the book's midpoint.

Also, about two-thirds of the way through the book we get a sudden aside about all the things Gray purchases with his considerable wealth -- and these objects are described in great detail. While I can see that this was Wilde's attempt to show how extravagant Gray's lifestyle had become, it feels like a pointless aside tome.

Once one gets past the endless dialogue, however, one finds a quietly chilling story of psychological horror. A creative premise of a painting aging in place of its subject is used quite effectively, and the book builds slowly but surely to its shocking climax. Gray is not exactly a sympathetic character -- he's self-centered and vain even before Lord Harry hooks his claws into him -- but he has his redeeming qualities, and it's hard not to feel his shock and fear as he discovers the secrets of the painting and how his vices are displayed on the canvas for anyone to see. The book's finale is probably obvious by now, given how old this book is, but I won't spoil it just in case...

While definitely not for everyone, and a rather slow read compared to modern-day thrillers, "The Picture of Dorian Gray" is still a fascinating psychological thriller, and it's definitely worth a read. Just be prepared for a slow first half...

2 of 2 people found the following review helpful.
A classic I am glad to have read
By Renée Reads
I'm not sure what my expectations were having never read but only watched various versions of Dorian Gray in shows, none of which were accurately faithful to the book. I could see how this would have been considered too risque for audiences at the time it was first published, which makes it an interesting note on how much society has changed. The book was slow moving for about the first 40% of the book and did not even move Dorian's story along. It was almost entirely about Lord Henry Wotton and a bit about Dorian, then when it did change perspectives to Dorian it still took a bit to get to the picture's importance. A good portion of the second half of the book was a litany of the "things" that Dorian would obsess over. To be honest I would skim over these and it was fine because all the detail was not necessary. Not a bad book but not a great read either. Simply a provocative book for an era long gone.

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