Kamis, 27 Maret 2014

PDF Ebook The Man from the Broken Hills (Talon and Chantry), by Louis L'Amour

PDF Ebook The Man from the Broken Hills (Talon and Chantry), by Louis L'Amour

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The Man from the Broken Hills (Talon and Chantry), by Louis L'Amour

The Man from the Broken Hills (Talon and Chantry), by Louis L'Amour


The Man from the Broken Hills (Talon and Chantry), by Louis L'Amour


PDF Ebook The Man from the Broken Hills (Talon and Chantry), by Louis L'Amour

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The Man from the Broken Hills (Talon and Chantry), by Louis L'Amour

About the Author

LOUIS L'AMOUR was truly America's favorite storyteller. He was the first fiction writer ever to receive the Congressional Gold Medal from the United States Congress in honor of his life's work, and was also awarded the Medal of Freedom. There are over 3 million copies of L'Amour programs in print from Random House Audio.

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Excerpt. © Reprinted by permission. All rights reserved.

Chapter OneI caught the drift of woodsmoke where the wind walked through the grass.A welcome sign in wild country . . . or the beginning of trouble.I was two days out of coffee and one day out of grub, with an empty canteen riding my saddle horn. And I was tired of talking to my horse and getting only a twitch of the ears for answer.Skylining myself on the rimrock, I looked over the vast sweep of country below, rolling hills with a few dry watercourses and scattered patches of mesquite down one arroyo. In this country, mesquite was nearly always a sign that water was near, for only wild mustangs ate the beans, and if they weren't bothered they'd rarely get more than three miles from water. Mesquite mostly grew from horse droppings, so that green looked almighty good down there.The smoke was there, pointing a ghost finger at the sky, so I rode the rim looking for a way down. It was forty or fifty feet of sheer rock, and then a steep slope of grass-grown talus, but such rims all had a break somewhere, and I found one used by run-off water and wild animals.It was steep, but my mustang had run wild until four years old, and for such a horse this was Sunday School stuff. He slid down on his haunches and we reached bottom in our own cloud of dust.There were three men around the fire, with the smell of coffee and of bacon frying. It was a two-bit camp in mighty rough country, with three saddle-broncs and a packhorse standing under a lightning-struck cottonwood."Howdy," I said. "You boys receivin' visitors, or is this a closed meetin'?"They were all looking me over, but one said, "You're here, mister. Light and set."He was a long-jawed man with a handlebar mustache and a nose that had been in a disagreement. There was a lean, sallow youngster, and a stocky, strong-looking man with a shirt that showed the muscle beneath it.The horses were good, solid-fleshed animals, all wearing a Spur brand. A pair of leather chaps lay over a rock near the fire, and a rifle nearby."Driftin'?" the stocky fellow asked."Huntin' a job. I was headed east, figurin' to latch onto the first cow outfit needin' a hand.""We're Stirrup-Iron," the older one commented, "an' you might hit the boss. We're comin' up to roundup time and we've just bought the Spur outfit. He's liable to need hands who can work rough country."Stepping down from the saddle I stripped off my rig. There was a trail of water in the creek, about enough to keep the rocks wet. My horse needed no invitation. He just walked over and pushed his nozzle into the deepest pool."Seen any cattle over west?" The handlebar mustache asked."Here an' there. Some Stirrup-Irons, HF Connected, Circle B . . . all pretty scattered up there on the caprock.""I'm Hinge," the handlebar said, "Joe Hinge. That long-legged galoot with the straw-colored hair is Danny Rolf. Old Muscles here is Ben Roper."The boy there," he added, "is all right. Seein's he ain't dry behind the ears yet an' his feet don't track."Rolf grinned. "Don't let him fool you, mister. That there ol' man's named Josiah . . . not Joe. He's one of them there pate-ree-archs right out of the Good Book."I collected my horse and walked him back onto the grass and drove in the picket pin, my stomach growling over that smell of bacon. These were cowhands who dressed and looked like cowhands, but I knew they were doing some wondering about me.My rope was on my saddle and I was wearing fringed shotgun chaps, a sun-faded blue shirt, army-style, and a flat-brimmed hat that was almost new but for the bullet hole. I also wore a six-shooter, just as they did, but mine was tied down."Name's Milo Talon," I said, but nobody so much as blinked."Set up," Hinge suggested, "we're eatin' light. Just a few biscuits and the bacon.""Dip it in the creek," I said, "and I'll eat a blanket.""Start with his," Ben Roper gestured to Rolf. "He's got enough wild life in it to provide you with meat.""Huh! I—!""You got comp'ny," I said, "five men, rifles in their hands."Roper stood up suddenly, and it seemed to me his jaws turned a shade whiter. He rolled a match in his teeth and I saw the muscles bulge in his jaws. He wiped his hands down the side of his pants and let them hang. The kid was up, movin' to one side, and the oldster just sat there, his fork in his left hand, watching them come."Balch an' Saddler," Hinge said quietly. "Our outfit an' them don't get along. You better stand aside, Talon.""I'm eatin' at your fire," I said, "and I'll just stay where I am."They came on up, five very tough men, judging by their looks—well-mounted and armed.Hinge looked across the fire at them. " 'Light an' set, Balch," he offered.Balch ignored him. He was a big man, rawboned and strong with a lantern jaw and high cheekbones. He looked straight at me. "I don't know you.""That's right," I said.His face flushed. Here was a man with a short fuse and no patience. "We don't like strange riders around here," he said flatly."I get acquainted real easy," I said."Don't waste your time. Just get out."He was a mighty rough-mannered man. Saddler must be the square-shouldered, round-faced man with the small eyes, and the man beside him had a familiar look, like somebody I might have seen before."I never waste time," I said. "I thought I'd try to rustle a job at the Stirrup-Iron."Balch stared at me, and for a moment there we locked eyes but he turned his away first and that made him mad. "You're a damn fool if you do," he said."I've done a lot of damn fool things in my time," I told him, "but I don't have any corner on it."He had started to turn his attention to Hinge, but his head swung back. "What's that mean?""Read it any way you like," I said, beginning not to like him.He did not like that and he did not like me, but he was not sure of me, either. He was a tough man, a mean man, but no fool. "I'll make up my mind about that and when I do, you'll have my answer.""Anytime," I said.He turned away from me. "Hinge, you're too damn far west. You start back come daybreak and don't you stop this side of Alkali Crossing.""We've got Stirrup-Iron cattle here," Hinge said. "We will be gathering them.""Like hell! There's none of your cattle here! None at all!""I saw some Stirrup-Irons up on the cap-rock," I said.Balch started to turn back on me, but Ben Roper broke in before he could speak. "He saw some HF Connected, too," Roper said, "and the major will want to know about them. He will want to know about all of them."Balch reined his horse around. "Come daybreak, you get out of here. I'll have no Stirrup-Iron hand on my ranch.""Does that go for the major, too?" Roper asked.Balch's face flamed with anger and for a moment I thought he would turn back, but he just rode away and we watched them go, then sat down."You made an enemy," Hinge commented."I'm in company," I replied. "You boys were doing pretty well yourselves."Hinge chuckled. "Ben, when you mentioned the major I thought he'd bust a gut.""Who," I asked, "is the major?""Major Timberly. He was a Confederate cavalry officer in the late difficulty. Runs him some cattle over east of here and he takes no nonsense from anybody.""He's a fair man," Hinge added, "a decent man . . . and that worries me. Balch an' Saddler aren't decent, not by a damn sight.""Saddler the fat one?""It looks like fat, but he's tough as rubber, and he's mean. Balch is the voice and the muscle, Saddler is the brain and the meanness. They come in here about three, four years ago with a few head of mangy cattle. They bought a homestead off a man who didn't want to sell, and then they both homesteaded on patches of water some distance off."They've crowded the range with cattle, and they push . . . they push all the time. They crowd Stirrup-Iron riders and Stirrup-Iron cattle, and they crowded the cattle of some other outfits.""Like Spur?" I suggested.They all looked at me. "Like Spur . . . crowded him until he sold his brand to Stirrup-Iron and left the country.""And the major?""They leave him alone. Or they have so far. If they crowd him, he'll crowd back . . . and hard. The major's hands don't scare like some of the others. He's got a half dozen of his old Confederate cavalrymen riding for him.""What about Stirrup-Iron?"Hinge glanced at Roper. "Well . . . so far it's been kind of a hands-off policy. We avoid trouble. Just the same, come roundup time we'll ride in there after our cattle, calves and all."We ate up. The bacon was good and the coffee better. I ate four rolls dipped in bacon grease and felt pretty good after my fifth cup of coffee. I kept thinking about that third man. The others had been cowhands, but the third man . . . I knew him from somewhere.Most of the last three years I'd been riding the outlaw trail. Not that I was an outlaw. It was just that I liked the backbone of the country, and most of the outfits I'd worked for since leaving the home ranch had been along the outlaw trail. I'd never crossed the law at any point and had no notion of it, but I suspect some of the outlaws thought I was a cattle detective, and more took me for some kind of a lone hand outlaw. It was simply that I had a liking for rough, wild country . . . the high-up and the far-out.My brother Barnabas . . . named for the first of us ever to come across from England . . . he took to schooling and crossed the ocean to study in England and France. While he learned the words of Rousseau, Voltaire and Spinoza, I was cutting my educational teeth on the plains of the buffalo. While he courted the girls along the old Boul' Miche, I busted broncs on the Cimarron. He went his way and I mine, but we loved each other none the less.Maybe there was a wildness in me, for I had a love for the wind in the long grass blowing, or the smell of woodsmoke down some rocky draw. There was a reaching in me for the far plains, and from the first day that I could straddle a bronc it was in me to go off a-seeking.Ma held me as long as she could, but when she saw what it was that was choking me up with silence she took down a Winchester from the gunrack and handed it to me. Then she taken a six-shooter, holster, belt and all, and she handed them to me."Ride, boy. I know it's in you to go. Ride as far as you've a mind to, shoot straight when you must, but lie to no man and let no man doubt your word."It is a poor man who has not honor, but before you do a deed, think how you will think back upon it when old age comes. Do nothing that will shame you."She saw me to the door and when I started to saddle my old roan, she called after me. "No son of mine will go forth upon a horse so old as that. Take the dun . . . it's a wicked one he is, but he'll go until he drops. Take the dun, boy, and ride well."Come back when you're of a mind to, for I'll be here. Age can seam my face as it can the bark of an oak, but it can put no seams in my spirit. Go, boy, but remember you are a Sackett as well as a Talon. The blood may run hot, but it runs strong."They were words I still remembered."We'll ride home in the morning," Hinge said. "We will talk to the major, too.""Who's your boss? Who runs the Stirrup-Iron?"Danny Rolf started to speak, but shut up at a look from Roper. It was Hinge who replied. "An old man," he said, "and a kid girl.""She ain't no kid," Danny said, "she's older'n me.""A girl-kid," Roper added, "and the old man is blind."I swore."Yeah," Roper said, "you'd better think again, mister. You ain't in this like we are. You can ride on with a clear conscience.""If a man can ever leave a pair like Balch and Saddler behind and still have a clear conscience. No," I said, "I ate of your salt, and I'll ride for the brand if they'll take me on.""What's that mean?" Danny asked. "That about the salt?""Some folks think if you eat of somebody's bread and salt it leaves you in debt . . . or something like that," said Hinge."That's close enough," I said. "Are you boys quitting?"There was no friendly look in their eyes. "Quittin'? Who said anything about quittin'?""Goin' against a tough outfit for a blind man and a girl," I said, "just doesn't make sense.""We ain't about to quit," Roper said.I grinned at them. "I'm glad I ate that salt," I said.Chapter TwoThe ranch house on the Stirrup-Iron was a low-roofed house of cottonwood logs chinked with adobe, its roof of poles covered with sod where grass had sprouted and some flowers grew.Nearby were three corrals of peeled poles, and a lean-to barn with an anvil at one end, as well as a forge for blacksmithing.It was a common enough two-by-twice outfit with nothing special about it. Others of its kind could be found in many parts of Texas and other plains states. Only when we rode down the long, gradual slope toward the house did we see a man standing in the yard with a rifle in the hollow of his arm.He must have agreed with what he saw, for he turned on his heel, seeming to speak toward the house. Then he walked back to the bunkhouse which lay across the hard-packed yard facing the shed.

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Product details

Series: Talon and Chantry

Audio CD

Publisher: Random House Audio; Unabridged edition (March 5, 2019)

Language: English

ISBN-10: 1524783315

ISBN-13: 978-1524783310

Product Dimensions:

5.1 x 1.1 x 5.9 inches

Shipping Weight: 7.5 ounces (View shipping rates and policies)

Average Customer Review:

4.5 out of 5 stars

87 customer reviews

Amazon Best Sellers Rank:

#317,528 in Books (See Top 100 in Books)

Another reviewer felt dissatisfied with the ending of Ann going off with Roger. Well, I can't say that I was happy about that either, but those kinds of things do happen. People who should have enough sense not to get into trouble walk right into anyway. For me, the interesting part in the story is how the Rossiters were related to Lisa. I hadn't expected that. But then in those days the world was small...all the cowpokes knew all the others in the same business. It really helped me to look on Google Earth and see photos of the area where these events take place, because after reading about canyon after canyon, my imagination starts getting a bit dulled as to what all that really looks like. Now I have a better grasp of the terrain Milo was contending with.

I don't believe that Louis L'Amour wrote anything worth less than 3 stars and very few worth less than 4. This is a story about a different sort of cattle rustling. Several of the characters are different than you usually encounter in a western, especially a L'Amour western. The ranch owner is blind, his daughter is mean and nasty (and L'Amour usually made women characters good, unless were the out and out villain), another woman is a mystery, and everyone's being fooled at once. But Milo Talon doesn't stay fooled long. After all, his mother was a Sackett, and Sackett's are hard to fool. It's got enough action and it's believable enough to make a good story. But then, that's what L'Amour did best; tell stories.

Milo Talon has great potential as an interesting character but his character doesn't fit the plot. The story rambles, is disconnected, too little action. The next story of Milo, called Milo Talon, is worse. I kept wishing he would go home to Colorado, reconnect with interesting mom and interesting brother but nope. Just wanders around with unclear purpose. Skip them both. Did L'Amour actually write Milo's stories? There are good ideas here but poorly pulled together.

This story is very entertaining,and the plot is well developed. I was very interested to see what happens next to the maine characters. There was a great connection between the father and son that was a complete surprise.

Louis L'Amour is a good writer, who's books are predictable and fun to read. If you want unexpected plot twists and bad guys to be heros pick another author.

Once again Louis L'Amour did not disappoint. This was a fun book to read. The hero was not a hero in that he didn't want to be called a Hero. But he did save the day. And gain a friend, not the girl. This was a Good western story. And I loved it. Every word. You will too. He rescued the Cows!

L'Amour tells an enjoyable tale and does it with authenticity. He develops each character, not just his protagonist. I always learn things about the West and about human nature each and every time I read L'Amour. Milo Talon epitomizes that long, lost generation of men who loved freedom and valued who he was rather than "what" he could buy or own. Truly a great stroll down our past that causes us to stop and think of just how much we may have regressed.

Lamour western novels are great reading and a good value

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Rabu, 26 Maret 2014

Ebook Download Little: A Novel, by Edward Carey

Ebook Download Little: A Novel, by Edward Carey

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Little: A Novel, by Edward Carey

Little: A Novel, by Edward Carey


Little: A Novel, by Edward Carey


Ebook Download Little: A Novel, by Edward Carey

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Little: A Novel, by Edward Carey

Review

Praise for Little and Edward Carey  “[A] marvelous, weird, and vividly imagined new novel. .  . A fantastic winter tale, a big, patient read full of reversals of fortune and fabulous glimpses of a time not unlike our own when a new technology of likeness brought the giants of media and politics closer than ever, with its promises of a kind of immortality. Subtly, without calling attention to it, Carey has woven a beautiful parable about the power of that proximity. How we rage to bring the world above and around us down to our size, and yet when we do, the big questions remain: How and who to love? How to be decent? How to be fair?” —Boston Globe“I marvel at the achievement of this book. . . . It's about humans, and bodies, and art, and loneliness. . . . I could talk about it forever.” —NPR“Carey devises a dazzlingly detailed portrait of Paris on the brink of revolution and includes his own haunting illustrations...Reminiscent of Dickens, Defoe and Fielding, Little speaks eloquently of the pleasures and perils of art, commerce and identity.” —San Francisco Chronicle“A wonderfully empathetic and stirring narrator, Carey conjures up a tumultuous world you’ll be sorry to leave.” —People“A delightfully strange portrait of a young orphan honing her eccentric craft amid the tumult of the French Revolution. Carey’s flair for macabre whimsy has drawn comparisons to Tim Burton (take a look at the illustrations and you can see why). While death haunts this story, between vibrant characters and riveting historical detail, Little is a novel that teems with life.” —Time “Marie’s story . . . is a fascinating thing in itself. But Carey’s talent makes her journey a thing of wonder.” —Danielle Trussoni, New York Times Book Review  “[A] sweeping, Dickensian reimagining of the true story of Marie Grosholtz, the French orphan born in the 18th century who would go on to become iconic wax sculptress Madame Tussaud. Reader, you will just melt.” – Entertainment Weekly “Must List” “This is a book so...vibrant with delight in language that it's difficult to do it justice. Suffice it to say that Carey, in the disarmingly engaging voice of his heroine, can make even a list of wax-working tools seem charmed.”—Minneapolis Star-Tribune“A dark, fascinating, and peculiar story about art and class before and after the French Revolution.” —Real Simple“Little is quirky, eccentric, offbeat, Gothic and all the other descriptives fondly applied to Carey's peculiarly elegant prose… Thanks to Edward Carey's gift for celebrating the bizarre, Madame Tussaud's story is at last in the right hands.” —Dallas Morning News“This curiosity-filled novel about the life of Madame Tussaud is enlivened with old-timey illustrations by Carey himself... A must-read for anyone who’s ever visited Madame Tussauds wax museum in London or any of its other 20 outposts around the world.” —National Geographic“Edward Carey writes wonderfully weird books about wonderfully weird things. This one imagines the life of Madame Tussaud—of wax museum fame—as a little girl. It’s a hefty historical novel that promises to be a pageturner, too.” —Celeste Ng“[A] rich, engrossing novel . . . visceral, vivid and moving.”—The Guardian (UK)    “One of the most original historical novels of the year. . . . Macabre, funny, touching and oddly life-affirming, Little is a remarkable achievement.” —The Times (London)“An irresistible tale, Little will please all readers, especially those who love period adventures and old-fashioned stories of triumph over human folly.” —BookPage (Top Pick) “This is a rare gem of a book, lacking absolutely nothing. Beautifully written, fully realized and truly engrossing, Little can be read again and again.” —BookBrowse“Dark and delightful, playful and peculiar, Little is Edward Carey's absorbing, fictional re-creation of Madame Tussaud's early life… Carey's spirited style brings a lightness to Marie's bleak days and a whimsy to her brighter ones. He blends dark humor with a puckish tone for a story that's simply magnetic… Little is big in many ways: creativity, energy, concept and character. Leave plenty of room in your heart for this one; you'll need it.” —Shelf Awareness“A startlingly original novel.” —The Times of London, Book of the Month  “Completely, wickedly, addictive. . . . Variously nightmarish, dreamy, sensual, emotionally affecting, and very funny.”  —The Big Issue (UK) “A wildly creative reimagining of the work and life of an artist more associated with George Clooney than Maximilien Robespierre. Admirers of Gregory Maguire will be delighted.” –Library Journal (starred)“Carey channels the ghosts of Charles Dickens, Henry Fielding, and the Brothers Grimm to tell Marie's tale, populating it with grotesques and horrors worthy of Madame Tussaud's celebrated wax museum… A quirky, compelling story that deepens into a meditation on mortality and art.” —Kirkus Reviews (starred)“There is nothing ordinary about this book, in which everything animate and inanimate lives, breathes, and remembers. Carey, with sumptuous turns of phrase, fashions a fantastical world that churns with vitality, especially his “Little,” a female Candide at once surreal and full of heart.”  —Publisher's Weekly (starred)“An immensely creative epic…Mingling a sense of playfulness with macabre history, Carey depicts the excesses of wealth and violence during the French Revolution through the eyes of a talented woman who lived through it and survived…The unique perspective, witty narrative voice, and clever illustrations make for an irresistible read.” —Booklist (starred)“Don’t miss this eccentric charmer! Little, by Edward Carey, narrated by Madame Tussaud of waxworks fame, [on] her strange life and times, including the almost fatal French Revolution, a prime season for heads.” —Margaret Atwood, on Twitter   “Little is bawdy, tragic, mesmerizing, hilarious. If you’ve forgotten why you’d even read a novel, Edward Carey is here to set you straight.” —Alexander Chee   “Little is exquisitely sensitive to all the warmth, vigor, humor, woe, and peculiarities of human nature, as if the writer had a dowsing rod capable of divining what hides within the human heart. Carey is without peer.” —Kelly Link “A deliciously disturbing treasure of a novel. Sensual, unassumingly poignant, heartbreaking, cruel, joyous: Edward Carey’s Little is a triumph and one of the most intoxicating novels I’ve read. I never wanted to leave Marie’s side.” —Sarah Schmidt“An amazing achievement…A compulsively readable novel, so canny and weird and surfeited with the reality of human capacity and ingenuity that I am stymied for comparison. Dickens and David Lynch? Defoe meets Margaret Atwood? Judge for yourself.”—Gregory Maguire, New York Times bestselling author of Wicked

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About the Author

Edward Carey is a novelist, visual artist, and playwright. His acclaimed YA series, the Iremonger Trilogy, was a fan favorite, with citations for Best Books of the Year by The New York Times, NPR, and Kirkus Reviews. Carey is also the author of two adult novels, Observatory Mansions and Alva & Irva. Born in England, he now teaches at the University of Texas in Austin, where he lives with his wife, the author Elizabeth McCracken, and their family.

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Product details

Hardcover: 448 pages

Publisher: Riverhead Books (October 23, 2018)

Language: English

ISBN-10: 0525534326

ISBN-13: 978-0525534327

Product Dimensions:

6.3 x 1.3 x 9.3 inches

Shipping Weight: 1.6 pounds (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

53 customer reviews

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#38,918 in Books (See Top 100 in Books)

What an entertaining, imaginative novel! Carey's narrator/protagonist is Marie Grosholtz,better known today as Madame Toussaud. The story begins as Marie, an unattractive, tiny seven-year old who loves to draw, describes her parents. Marie embellishes the pages of her tale with pencil drawings: when she describes her mother's large nose (which Marie inherited) and her father's upwards-thrust jaw (which she also inherited), she draws these body parts in the margins. Little Marie has two treasured belongings: a faceless doll that her mother made and her father's silver jawbone (a soldier, he lost the original in a battle). When double tragedies befall the family, Marie becomes apprenticed to Dr. Curtius, a reclusive anatomist whose job it is to make wax replicas of human organs for the local hospital's training purposes. Together, they begin the business of taking wax impressions of heads. As things prosper, they are convinced that they must move to Paris, where famous heads are more plentiful. The two take lodging with a tailor's widow and her odd (perhaps autistic) son. When the business prospers, they purchase The Monkey House, the former site of a simian exhibition, and it soon becomes the rage for the rich, famous, and powerful to have their heads cast in wax.This is only the beginning, but I don't want to give too much away. [Little] (the derogatory nickname she is given by the widow) is not only a fictional biography of Marie, it is her first-person account of the court of Louis XVI and of the French Revolution--and a fascinating account it is. From Versailles to the streets of Paris to prison, Marie takes us along on a journey that is both glorious and harrowing, and her encounters with a wide cast of characters, from a feral boy to the king himself to Napoleon, opening a window onto the Reign of Terror and beyond. Throughout, her account is accompanied by her marginal drawings, making it all the more believable that this is Marie's own journal. However great the events and personages, we never forget that this is, indeed, her story.Carey has given his protagonist a unique viewpoint into history and a compelling voice. I loved Marie, and I loved her story of hardships, successes, and survival. I will definitely be looking for other works by this author.

This is a literary novel ,quite well written , and recreate the time before and during the Reign of Terror. Little is the nick name of Marie who grows up to be the famous Madam Toussard. Orphaned as a young child, Marie becomes the ward/ assistant/ servant to her deceased mother’s employer, Doctor Curtius an anatomist and artist of wax medical samples. The pair moved to Paris from Bern . Littles strange childhood from poverty to the Royal Palace, and the French Revolution, where she nearly ended on the guillotine. We are introduced to historic characters that the Author has breathed life into. As fascinating as her Waxwork museums are, her life is even more fascinating.

Very interesting and informative book. Often as I read more chapters I found the book hard to put down. However sometimes the author does an information dump. Those chapters gave me pause, as to whether or not to continue reading. In the end, interest in hearing Marie's story carried me past the information overload.

I don’t think I’m read such a fascinating book in a long while. It tells the tale of how Marie Tussaud grew from a girl in a little French village and became the woman who gave us the famous wax work museum.The story is fascinating in itself particularly the time spent in revolutionary paris at the Monkey House… The city comes alive in sight, sounds and smell. It’s a city of bones, the streets each a bone linking the body, head and indeed soul of a city, stinking in its own filth. Marie’s first impression of the city are raw and visceral. How she sees the world….you are definitely going to want to see her view of Paris, its veins, its underground sewers and the meshing up of souls and death. It’s a dark, chilling world but I couldn’t take my eyes off the pages, nor could I stop looking at the gruesome sketches which pepper the text. They’re very graphic and gory but brilliantly evoke the rawness of the words they accompany.Then it’s the splendour of Versailles where she sees the wealth and splendour of the city. It’s interesting that the war is ravaging the city outside, whilst those within these walls feel protected. This contrast will later prove to be the soul of Madame Tussaud’s museum.Words can not do this novel justice, which is odd given that it’s the words in the novel which make this amazing story even more of a treat. I loved everything about it. It’s impressively written, the sketches are stunning and the way the entire books sucks you in to a grim gothic world is nothing like I’ve ever experienced before. I didn’t just read this book, I experienced it.Brilliant. Highly recommended

I love this book I just can't put it down. I have always been enthralled with Madame Toussard's wax museum and all the famous historical people she did. I can't put this book down. I am just enthralled with this book. What a hypnotic captivating read.

There’s books and then there’s literature. This is literature.

I have seen her waxworks, and vaguely knew the history of Madame Tussaud , but never looked deeper into the story of this remarkable woman. Mr. Carey's incredible novel mixes history with an imagined first person telling of the life and times of this most famous of artists. Not to be missed.

While the book was generally interesting, the the first person narrative style made it very hard to read. I tend toward historical fiction because I enjoy learning about different times, places, and people In their historical context. In this case I learned far too much about Trausand’s mind and thoughts, (save me the repetition and minute detail!!!), and not quite enough about Paris and the French revolution. An interesting story, boring toward the end. Though I am glad I finished the book, I will probably not remember much, nor recommend it to friends.

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Little: A Novel, by Edward Carey PDF

Little: A Novel, by Edward Carey PDF

Little: A Novel, by Edward Carey PDF
Little: A Novel, by Edward Carey PDF