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Joel Rocco joelrocco — Another wonderful historical romance by Julia Quinn. She has a knack for creating sympathetic characters and outrageous, scandalous moments. ;)

Sydney Lane sydneyylouise — The Writing of Fiction (1925) - Edith Wharton Very illuminating both on the art and craft of writing, and on the particular choices made by Wharton in her own writing and career. For the most part this looks at issues involved with writing from a fairly high level. Also here are some details of her source waters, the writers and works that she held in highest esteem, and her ideas about those works. This book should appeal to writers of fiction, as well as inquisitive readers of fiction (some great suggestions on some great books to read), and most particularly inquisitive readers of Wharton. One other small thing of interest to me is a small bit of explanation for Wharton's fascination with short eerie stories, and ghost stories, and her view to their origins. This book was written in the middle of Wharton's career, she had received the Pulitzer Prize (the first ever given to a woman) a few years earlier for Age of Innocence and was feeling more free to explore. She didn't need to prove herself as a writer, and she never had any need to write for the money. So i think she made a conscious decision to experiment and try things new. So this book is written in the time of transition between her earlier works and her later, and is quite informative of her ideas involved with this change. Most readers today know Wharton for her earlier works -- i include a quote (from the end of chapter 7 in part 3) that shows Wharton's prescience about her own future; how critics and others would react to the many books she was yet to write, and the understanding and wisdom (and a Yankee stubbornness) that allows her to sustain her own vision. Note: When she uses the word 'manner' she means "the particular shade of style [in a work of fiction] most fitted to convey its full meaning". Most novelists who have a certain number of volumes to their credit, and have sought, as the subject required, to vary their manner, have been taken to task alike by readers and reviewers, and either accused of attempting to pass off earlier works on a confiding public, or pitied for a too-evident decline in power. Any change disturbs the intellectual indolence of the average reader; and nothing, for instance, has done more to deprive Stevenson of his proper rank among English novelists than his deplorable habit of not conceiving a boy’s tale in the same spirit as a romantic novel or a burlesque detective story, of not even confining himself to fiction, but attempting travels, criticism and verse, and doing them all so well that there must obviously be something wrong about it. The very critics who extol the versatility of the artists of the Renaissance rebuke the same quality in their own contemporaries; and their eagerness to stake out each novelist’s territory, and to confine him to it for life, recalls the story of the verger in an English cathedral, who, finding a stranger kneeling in the sacred edifice between services, tapped him on the shoulder with the indulgent admonition: “Sorry, sir, but we can’t have any praying here at this hour.” This habit of the reader of wanting each author to give only what he has given before exercises the same subtly suggestive influence as all other popular demands. It is one of the most insidious temptations to the young artist to go on doing what he already knows how to do, and knows he will be praised for doing. But the mere fact that so many people want him to write in a certain way ought to fill him with distrust of that way. It would be a good thing for letters if the perilous appeal of popularity were oftener met in the spirit of the New England shop-keeper who, finding a certain penknife in great demand, did not stock that kind the following year because, as he said, too many people came bothering him about it. Later: Weaving in a thread; the last chapter in this book is about Proust, and his way of showing the passage of time. Was listening to an interview with our most recent Pulitzer winner, Jennifer Egan, about her most recent book A Visit from the Goon Squad. Her model for that book is Proust and his way of showing the passage of time.

Seiler Dietmar dietmarseiler — I did not finish reading this one - the movie ruined it for me. That being said, the movie was too good. It followed the story, feel, and dialogue so closely that it seemed like I'd already read it. Damn you, Kate and Leo.

Tomista Tomista tom_tang — I really thought this book was hysterical, and so well written. The author really captured the different voices of all of the different characters making them very real. Ignatius Reilly is such an interesting character to me because we are such opposites. Whereas I always think that I'm in the wrong, he thinks everything he's ever done was right. Ultimately he's pretty miserable, but in the moment, I tend to envy him.

Josh Lee weird_grammar — Loved loved loved this!! My heart really went out to Ryder in this and loved how Dillon stepped aside at times to allow Ryder's and Alison's relationship to grow. Many times menage stories everyone just seems to fall into the relationship too easily but in this we see the work that goes into it and the understanding everyone must have.