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>> Free PDF Sister Carrie (AN AMERICAN CLASSIC), by Theodore Dreiser

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Sister Carrie (AN AMERICAN CLASSIC), by Theodore Dreiser

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In Theodore Dreiser's revolutionary first novel, Carrie Meeber, an 18-year-old girl without money or connections, ventures forth from her small town in search of a better life in booming, turn-of-the-century Chicago.

The chronicle of Carrie's rise from obscurity to fame - and the effects of her progress on the men who use her and are used in turn - aroused a storm of controversy and debate upon its debut in 1900. The author's non-judgmental portrait of a heroine who violates the contemporary moral code outraged some critics and elated others; in fact, Dreiser had to fight against censorship in order to even get Sister Carriepublished. And it was not until 1981 that a completely unaltered edition was available.

Sister Carriewas a movement away from the emphasis on morals of the Victorian era and focused more on realism and the base instincts of humans. Digging deeply into the psychological underpinnings of his characters, Dreiser gives us people who are often strangers to themselves, drifting numbly until fate pushes them on a path they can later neither defend nor even remember choosing.

A century later, Dreiser's compelling plot and realistic characters continue to fascinate a whole different generation of readers.

Published on: 2016-01-14
Released on: 2016-01-14
Format: Kindle eBook

Amazon.com Review
Sister Carrie, Theodore Dreiser's revolutionary first novel, was published in 1900--sort of. The story of Carrie Meeber, an 18-year-old country girl who moves to Chicago and becomes a kept woman, was strong stuff at the turn of the century, and what Dreiser's wary publisher released was a highly expurgated version. Times change, and we now have a restored "author's cut" of Sister Carrie that shows how truly ahead of his time Dreiser was. First and foremost, he has written an astute, nonmoralizing account of a woman and her limited options in late-19th-century America. That's impressive in and of itself, but Dreiser doesn't stop there. Digging deeply into the psychological underpinnings of his characters, he gives us people who are often strangers to themselves, drifting numbly until fate pushes them on a path they can later neither defend nor even remember choosing.

Dreiser's story unfolds in the measured cadences of an earlier era. This sometimes works brilliantly as we follow the choices, small and large, that lead some characters to doom and others to glory. On the other hand, the middle chapters--of which there are many--do drag somewhat, even when one appreciates Dreiser's intentions. If you can make it through the sagging midsection, however, you'll be rewarded by Sister Carrie's last 150 pages, which depict the harrowing downward spiral of one of the book's central characters. Here Dreiser portrays with brutal power how the wrong decision--or lack of decision--can lay waste to a life. --Rebecca Gleason

Review

"The 'restored' Sister Carrie . . . is in many ways a different book, fuller, less cruel, more recognizably Dreiser's own work."—Alfred Kazin, New York Review of Books

"In restoring Dreiser's masterpiece, the editors of the Pennsylvania Edition have given us more than a literary curiosity; like art historians cleaning a da Vinci fresco, they have uncovered the original glowing with an ancient newness."—Richard Lingeman, The Nation

"No work of such historical repute . . . has ever been republished with such major change. . . . The 'new' novel . . . will probably become the accepted standard."—Herbert Mitgang, New York Times

From the Publisher
Theodore Dreiser had a hardscrabble youth and the years of newspaper work behind him when he began his first novel, Sister Carrie, the story of a beautiful Midwestern girl who makes it big in New York City. Published by Doubleday in 1900, it gained a reputation as a shocker, for Dreiser had dared to give the public a heroine whose "cosmopolitan standard of virtue" brings her from Wisconsin, with four dollars in her purse, to a suite at the Waldorf and glittering fame as an actress. With Sister Carrie, the original manuscript of which is in the New York Public Library collections, Dreiser told a tale not "sufficiently delicate" for many of its first readers and critics, but which is now universally recognized as one of the greatest and most influential American novels.

Most helpful customer reviews

95 of 97 people found the following review helpful.
Possibly the greatest novel in American literature
By A Customer
Somewhere in the depths of time a critic once labeled playwright Eugene O'Neill a genius with no talent. It's a description that could just as easily fit Theodore Dreiser, an uneducated, mercurial man who, while still in his twenties, and with virtually no experience composing fiction, managed to crank out what I consider one of the greatest novels in American literature. Very few authors have ever managed to generate the raw power that Dreiser does over the 500 or so pages of "Sister Carrie." It is amazing how much of the human experience he has put into this book, how well he understands the hopes, fears, and desires--mysterious and contradictory as they often are--that drive ordinary people.
The conventional judgment on Dreiser puts him in the naturalistic, social-realist tradition of Zola and Hardy. There is much in this; but I think his real strength lies in depicting character--Carrie, Hurstwood, and Drouet really come alive in these pages. His characters possess a depth and complexity of feeling that one rarely finds in fiction. Dreiser has a melancholy, fatalistic sense that the world may be too vast and impersonal for people to live in it comfortably, and yet his world is vibrantly human as well.
I personally find Carrie a more likable heroine (if you could call her that) than many readers have. She is self-absorbed, yes, but also capable of compassion for others, and she is never intentionally cruel. Like all of Dreiser's characters she is somewhere between the angels and the devils.
This is by no means a perfect book. Dreiser's rhetorical flourishes can become absolutely ridiculous, and so can his habit of injecting philosophical commentary into the texture of the narrative. But the total effect of "Sister Carrie" is powerful, and more than compensates for any defects in the novel.

85 of 90 people found the following review helpful.
The Heights of Naturalism
By Jeffrey Leach
It is no mystery why Frank Norris praised to high heaven Theodore Dreiser's 1900 novel "Sister Carrie." Norris, one of America's great naturalist writers, saw in Dreiser's tale about a young woman on the make a reflection of the same bleak vistas he wrote about in "Vandover and the Brute," "The Octopus," and "McTeague." When Dreiser submitted his book for publication, it was Norris who read the book and made a glowing recommendation to the publisher. There were immense problems with "Sister Carrie" from that point forward: the wife of the publisher hated the story and worked hard behind the scenes to prevent its release. With a contract already signed, Dreiser's book did become a reality but the publishing house refused to support it with any marketing. The story languished for years in a paper limbo before finally emerging to great success and acclaim. Thank goodness it did because this may be one of the most powerful books ever written about social climbing and the perils of bad morals. Dreiser went on to publish more novels (American Tragedy, The Financier) before dropping out of the literary scene and converting to communism before his death in 1945.
"Sister Carrie" doesn't promise much at the beginning. In fact, this is yet another story about a rural person arriving in the big city seeking fame and fortune. In this case, it is Carrie Meeber, a young woman moving to Chicago to live with her sister and her husband while she tries to find work. Carrie quickly discovers big city life is tough; her sister's home life bores her to death, the work she finds in a shoe factory is pure drudgery, and she doesn't have enough money to buy decent clothes because she has to pay her sister four dollars a week for rent. Carrie hates her base co-workers and spends most of her free time watching people pass on the street outside of her sister's apartment. When Carrie loses her job after an illness, it looks like she will have to return home to Columbia City and forget about her dreams in Chicago.
Enter George Drouet, a semi-successful salesman with a voracious appetite for the ladies. George finagled Carrie's address when he met her on the train into Chicago, and now the two meet again by chance. The results of this meeting shape the rest of the book. Carrie abandons her sister's lodgings and becomes "kept" by George. It is during this period that Carrie meets George Hurstwood, the wealthy manager of a fancy Chicago tavern and friend of Drouet. Through a series of misunderstandings about the marriage status of Carrie and Hurstwood, and serious lapses in moral judgments, Hurstwood and Carrie move on to bigger and better things in New York City.
It is at this point that Norris must have began enthusing, for Dreiser embarks on a harrowing tour through the destruction of a human being's body and soul. Just when you think a person could sink no lower, Dreiser yanks you back to reality and illustrates for you just how bad things can get before the inevitable occurs. When the author contrasts the utter humiliation of one character with the elevation in status of another, the tension becomes too much to bear. This novel is painful to read, but at the same time it is so riveting it is nearly impossible to put it down. We've all seen or known people who suffered the fates revealed in this story, or at least I have, and that makes it even more chillingly realistic. How Dreiser managed to capture the feel of his characters' lives is a mystery, but that is what makes this book great literature; it is timeless in its examination of the inner workings of the human soul.
"Sister Carrie" is classic literature, but that does not mean there are not problems with the story. Dreiser's prose takes some getting used to before it starts to flow. In fact, this may be the best book I have ever read where the prose is often mediocre. I told one person that the author's style reminded me of an intoxicated welder, and I still believe that to be the case for most of the book. Dreiser has a tendency to jam his sentences together into an unwieldy mix of clauses and commas. After a few hundred pages this hardly seems to matter but it could provide a reason for someone just starting the book to quit reading it. Do not quit, however, because the story ends up being so good that the stylistic problems quickly fade into insignificance.
Another difficulty involves the middle portion of the story, when Carrie, Drouet, and Hurstwood vie for position with each other. These chapters appreciably drag while providing no clues about the goldmine that soon follows. Looking at the story as a whole, I understand now why these chapters were necessary but I didn't while I was reading them. Again, do not give up too soon lest you miss out on the extraordinary buildup to the soul shattering conclusion.
Ultimately, the messages conveyed by Dreiser outweigh the dual problems of prose and a few plodding chapters. The scandalous behavior the author wrote about angered many during his time because people believed that divorce, infidelity, loose morals, and social positioning were things better talked about privately than brought out in the open. The fact that Dreiser wrote such things without delivering a blistering rebuke about such behaviors also stunned society. Perhaps it is not too far off to say that Theodore Dreiser was the Jerry Springer of his generation, merely revealing things that everyone knew happened behind closed doors. Whatever the case may be, "Sister Carrie" is sheer brilliance. I was so fired up after reading this book that I went right out and got "American Tragedy." I now understand why Frank Norris went into paroxysms of delight about Dreiser's book.

35 of 35 people found the following review helpful.
fascinatingly beautiful
By A Customer
Living an average middle-class life, I have always wondered how the very rich and the very poor get where they are. Sister Carrie is a beautifully written and fascinating tale of how one climbs and descends the social ladder of life. I am aware that some readers have criticized this book stating that Dreiser did not develop the characters very well and that Carrie was not very likeable. Well, it is my thought that Dreiser never intended for us to become solely wrapped within the characters. He meant for us to become enveloped in the circumstance. The two main characters, Carrie and Hurstwood, are truly victims of circumstance - Carrie's never-ending unhappiness and Hurstwood's downward spiral. As we go through life, there are so many events and choices that will guide our lives to what they are. When one stops and thinks about this, it is really quite fascinating. I believe Dreiser r was aware of this aspect of life and he wanted to write a novel that would effect the lives of everyone who reads it. I read the entire book in 3 days. I simply could not put it down. I recommend Sister Carrie to everyone. It will leave you thinking and thinking and thinking.

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Jumat, 27 Februari 2015

~ Free PDF White-Jacket (Annotated): The World in a Man-of-War, by Herman Melville

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*This Book is annotated (it contains a detailed biography of the author).
*An active Table of Contents has been added by the publisher for a better customer experience.
*This book has been checked and corrected for spelling errors.

White-Jacket; or, The World in a Man-of-War is the fifth book by American writer Herman Melville, first published in London in 1850. The book is based on the author's fourteen months service in the United States Navy, aboard the frigate USS "Neversink" (actually the USS United States).

Sales Rank: #1546376 in eBooks
Published on: 2016-01-15
Released on: 2016-01-15
Format: Kindle eBook

About the Author
Herman Melville’s reputation was immediately established in 1846 with the publication of his first novel, Typee, yet for the most part he lived in near-seclusion and died in relative obscurity for a man of his talents. He wasn’t fully appreciated until the 20th century. The conservative religious Americans of his day didn’t trust him: his unorthodoxy regarding religion, his South Seas travels, his cynicism, his bitter criticism of the hypocrisy of missionaries, and his satires of religion and religious figures made him an outcast. Today, however, some critics claim that only Dostoyevsky is his equal among 19th century writers. At seventeen, he became a merchant seaman, sailing first to Liverpool, where the sexual activity at the docks at first shocked him but then opened up a new world for him, for he was attracted to men. At age twenty-one, he sailed to the South Pacific. Four novels came from this experience: Typee, Omoo, Mardi, and White Jacket. Another early novel, Redburn, is set primarily aboard ship. Philosophically, the strength of his early novels is his disdain for the white man trying to force civilization onto a people who were blissfully happy without it. He particularly objected to the indoctrination of religion. All of the books contain an undeniable homoeroticism. Melville moved to the countryside to write Moby Dick. The novel is an adventure story and a tale of revenge, but it is also an audacious experiment. The reaction from critics was so harsh that from the publication of Moby Dick in 1851 until about 1938, Melville was not afforded much respect among scholars. In 1852, Melville published Pierre, which is autobiographical in its anatomy of the despair Melville was feeling at the rejection of Moby Dick. Pierre was scandalous for its day, almost as if Melville were thumbing his nose at society. Melville was now only thirty-two but considered a failed writer. His next story was refused for publication, so he retired and lived in relative obscurity for the remainder of his days. When he died, however, he left Billy Budd, which some critics think the equal of Moby Dick.

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1 of 1 people found the following review helpful.
Melville's "White-Jacket" and Independence Day
By Robin Friedman
This review dates from July 3, 2012, in commemoration of Independence Day of that year. For 2015's Independence Day, I decided to repost the review for a new scholarly edition of the book rather than the offprint edition I initially reviewed.

I wanted to celebrate the Fourth of July by reading a classic work of American literature and decided to reread Melville's "White-Jacket", alternatively titled "The World in a Man-of-War". The book was Melville's fifth novel, written just before "Moby-Dick". It proved appropriate to July 4 for many reasons as, in his study of Melville, Andrew Delbanco aptly describes "White-Jacket" as a "paean on behalf of democracy". Melville: His World and WorkIt is that and more.

Written in 1850, "White-Jacket" purports to describe Melville's own experiences when he shipped in 1843 as an "ordinary seaman on board of a United States frigate, then lying in a harbor of the Pacific Ocean." Melville's voyage as a sailor lasted about 14 months as the ship sailed south around Cape Horn and then north in the Atlantic until ultimately reaching the United States where Melville was discharged. Melville calls the ship the "Neversink". It was a large sailing vessel, a man-of war, consisting of over 500 sailors and commanded by a captain, Captain Claret. There is also a Commodore on board the "Neversink" who commands a fleet. (At the time of the voyage, there were no admirals in the United States Navy.) Melville wrote "White Jacket" quickly and claimed he did not think highly of the book. In that judgment he seems to me mistaken.

This is a lengthy book consisting of 90 short chapters written in a large, expansive almost bravura style. It does not have a continuous developed plot but rather is episodic in form. Melville describes in great detail life onboard the Neversink, and the people on board. He makes great use of the telling anecdote. "White Jacket" is also full of long passages of reflection about navy life and the ambiguities of human nature. In many places, the book becomes almost more a long essay than a novel.

The book tells the story about an individual and about a world and microcosm. The book is narrated by "White-Jacket", and the reader never learns his name. The baggy white jacket the narrator wears and that give him his nickname frames many of his adventures as the jacket, together with the narrator's introspective, "meditative" disposition, separate him from most of his fellow sailors. As the book progresses, the white jacket subjects the narrator to ridicule at various times and, near the end of the book, almost becomes his shroud which leads to his death. After falling overboard from the mast, the narrator is able to cut off the old jacket to be rescued by the crew and return to a common humanity.

Besides this individual component of the story, Melville uses the ship as a metaphor for diversity and for American life and democracy where good and evil and people of all backgrounds and positions are intermixed. There is a degree of cameraderie and freedom from the restraints of a 9 to 5 life (or its 1850 equivalent) onboard the Neversink. There are acts of heroism and strong, noble individuals, including particularly Jack Chase, Melville's superior on the mast whose praises are sung throughout the book. Melville dedicated his late final novel "Billy Budd" to Jack Chase.

The strongest impression left by the book, however, is its criticism of excesses and cruelties in the Navy. In particular, "White Jacket" includes many passages and chapters about the punishment of flogging which was widely practiced on the Neversink under Captain Claret, an individual who is also shown as having good qualties. Melville offers graphic and repeated descriptions of flogging, including a description of how White Jacket himself fortunately and narrowly missed a severe flogging and of how an aged, revered sailor named Ushant received a flogging for disobeying an order of the Captain to trim his beard. Melville's book may have been a factor in an Act of Congress which outlawed flogging in the navy.

Melville also describes the large degree of stratification in the Navy between the seamen, or "people" and the officer crew, from the Commodore and Captain, through the Lieutenants and the young dictatorial Midshipmen. The book recognizes the need for discipline and organization on a military vessel at sea. But Melville writes sharply about petty tyrannies of one person over another, about rigid social distinctions, and about unnecessary excessive, and harsh discipline. The backdrop to the book is American democracy with its many people and freedoms, but also its excesses and injustices, including the institution of slavery. Melville also is critical of many of his fellow sailors, with their ignorance, profligacy, smugglings and thefts, and violence. At the end of the book, Melville writes:

"Oh, ahipmates and world-mates all round! we the people suffer many abuses. Our gun-deck is full of complaints. In vain from Lieutenants do we appeal to the Captain; in vain-- while on board our world-frigate-- to the indefinite Navy Commissioners, so far out of sight aloft. Yet the worst of our evils we blindly inflict upon ourselves; our officers can not remove them, even if they would. From the last ills no being can save another; therein each man must be his own saviour."

Besides constituting a "paean on behalf of democracy", "White-Jacket" has a more immediate relationship to the Fourth of July. Several chapters in the book describe the celebration of the holiday on board the Neversink. When the ship ran out of grog before the holiday, the ship's officers allowed the sailors to celebrate the day by performing a play or "theatrical". The men decked themselves in costumes and wrote, rehearsed, and performed their own drama called "The Old Wagon Paid Off!" starring none other than Jack Chase. During the July 4 performance, ship discipline was relaxed. With the exception of the Commodore and the Captain, the ship's officers attended the performance, and shared a spirit of brotherhood and fellowship. White-Jacket said "the unwonted spectacle of the row of gun-room oficers mingling with 'the people' in applauding a mere seaman like Jack Chase, filled me at the time with the most pleasurable emotions." White Jacket continued:

"Nor was it without similar pleasurable feelings that I witnessed the temporary rupture of the ship's stern discipline, consequent upon the tumult of the theatricals. I thought to myself, this now is as it should be. It is good to shake off, now and then, this iron yoke round our necks. And after having once permitted us sailors to be a little noisy, in a harmless way -- somewhat merrily turbulent -- the officers can not, with any good grace, be so excessively stern and unyielding as before."

Alas, rigourous discipline soon returned to the ship.

In the story of the individual narrator, of life on the Neversink, and of the freedom and cameraderie of the theatrical on July 4, "White-Jacket" reminded me of the ideals celebrated in the United States on Independence Day.

Robin Friedman

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"
It is the year AD 1510 and young Zahran wants to be a sailor more than anything in the world. As Portuguese caravels arrive to seize his town of Calicut, India, stories begin circulating about the legendary one-eyed pirate and smuggler, Dayjur, who is known for his reckless bravery. Enchanted by the stories, Zahran dreams of joining the infamous corsairs of the Arabian Sea and has his first encounter with Dayjur.

As the Portuguese blast Calicut into rubble, Zahran is left orphaned after his entire family is killed. Now with his city in ruins and thousands dead, Zahran plans a daring scheme to seek revenge for his family that leads him to Dayjur’s ship, the Jahanam, where the pirate’s and teen’s lives become entangled in a twist of fate. After Dayjur reluctantly adds Zahran to his crew as a cabin boy, the Jahanam gallops into the open ocean. As Zahran’s adventure begins, he must battle to survive and get along with his crusty crewmates—all while learning the tale of Dayjur’s fascinating life journey fueled by vigilance, peril, and escape.

Kingdom of Peacocks shares a young corsair’s retelling of the swashbuckling story of smugglers and pirates who stood against the Portuguese oppression in the early sixteenth century.
"

Sales Rank: #1802095 in eBooks
Published on: 2016-01-06
Released on: 2016-01-06
Format: Kindle eBook

About the Author

Fadel AlMheiri was born in Abu Dhabi, United Arab Emirates, where during his childhood he would gather his friends in his modern tent outside his home and shot flicks out of stories he wrote in boring school lessons. Later, Fadel switched majors from studying engineering to media, and went on to pursue his childhood dream. Originally a screenplay, Kingdom of Peacocks is his first of his trilogy novel.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Beautifully written characters and a gripping story
By Ms S Bodinar
Smugglers, pirates and evocative scenes of an ancient, poetic Arab world; this is a book to be savoured! Brilliant colloquial dialogue only added authenticity to the main character, making his adventures utterly believable. If you want to immerse yourself in exciting historical storytelling, that will truly keep you on the edge of your seat, I heartily recommend this book.

1 of 1 people found the following review helpful.
Needs an editor.
By Shaari
I'm hoping that the author will read this review. Dear Fadel, I live in Abu Dhabi and am an English teacher. I'm about 30% of the way through the book and what's really becoming apparent, in my opinion, is that you need a proper editor. I'm willing to volunteer if you wish, or you can find one elsewhere. There's a lot of awkward phrasing, oddly chosen adjectives, and somewhat stilted dialogue. What there is, in abundance, is richness of flavor. You've chosen good historical framing for this tale, and it's interesting enough that I'm still planning on finishing the book. For right now, however, my impression is that it's a merely average cross between history and fantasy, and not worth the $3.99 being charged. If you'd like to contact me, you can do so at shaari1@yahoo.com.

Here is one example, to illustrate what I mean when I say you need an editor.
---
"What was the thing you said about my grandfather as a naham?" asked AlYasamin.
"Oh, that came from the pearl trips he would take. As motivation and to help the fishermen forget the difficulties of being away from their chubby wives, they had to have the strongest and sweetest voice to sing mwaweel. Your grandfather nailed it."
---
One, you use Arabic phrases which you italicize, but unlike earlier, where you explain what jashes are, you fail to explain these, except by inference. Second, you switch from using a more formal writing style, to randomly using modern, colloquial, American English slang, and say "nailed it".

2 of 2 people found the following review helpful.
Close your eyes and still see
By Stacey C. Tijerina
Fantastical! Your mind's eye will not forget

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This is a story of a fictional family in the mid 1800s that left their comfortable life by the sea to venture into a new lifestyle in the wild, untamed distant mountains. We follow young Gib and his family as they encounter many adventures while establishing their new homestead.

Sales Rank: #3207869 in Books
Published on: 2016-01-05
Original language: English
Number of items: 1
Dimensions: 11.02" h x .38" w x 8.50" l, 1.00 pounds
Binding: Paperback
140 pages

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0 of 0 people found the following review helpful.
It is a great read for anyone from 10 to seniors
By Carol
This is a well written story of a family moving from a town by the beach into the mountains in the late 1800's. It is a great read for anyone from 10 to seniors.

0 of 0 people found the following review helpful.
Highly recommend
By Jean D.
the characters were very descriptive as were the scenes. You could put yourself right into this family's adventures. Highly recommend.

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Sabtu, 21 Februari 2015

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Published on: 2016-01-14
Released on: 2016-01-14
Format: Kindle eBook

Most helpful customer reviews

0 of 0 people found the following review helpful.
Not bad Donach DeRoiste, not bad
By AME
This book was recommended by someone very dear to me, I really wasn't going to read it until much later but I opened it and could not put it down.
It has a clever mix of history, politics, religion and war that is all about avarice, power and indifference to humanity, Earth and to all we hold dear. It is heartbreaking to realize what we are doing to each other and our planet. I guess the status quo will remain until we, as united citizens of Earth, stand up and say; in many languages but one voice, "ALRIGHT, ENOUGH,THIS FAR BUT NOT ANOTHER STEP FURTHER." This book opened my eyes and I think it should be suggested reading in schools and colleges!

0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
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0 of 0 people found the following review helpful.
this was an excellent read.
By Susan A. Spurlock
For a first time Author, this was an excellent read.

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A real who-dunit in the City of Boston. Was it a serious lapse in judgment or was it intentional? In truth, it matters not. What does matter is that a solitary act by a college student, babysitting Millions of Dollars’ worth of art, in the early morning hours of March 18, 1990, resulted in the theft of thirteen priceless works from the Isabella Stewart Gardner Museum. With the push of a button, the Museum in the Fens lost part of its soul when it was piundered by ruthless thieves.

Theories swirl even today, about who was behind it and why the paintings haven't been found. Countless people have written on the subject and yet over twenty years later, still no answers. Until now. Artful Deception is unlike anything else ever written about the heist. It is told from a unique perspective in that it focuses on a crime alliance that purposely seeks no limelight, notiriety or scrutiny from law enforcement, friend or foe. They say little, seek help from no one and are fearful of the press. For once, in the annals of Boston crime, the usual suspects from Southie and the North End were not rounded up after the robbery. Why? Because they didn't have a clue about it until after it went down. When Jimmy "The Tooth" Kelly, Frankie "The Shanks" Martell and Sal "The Clam'' DePasquale found out about it and how much the loot was worth, they desperately wanted a piece of the action. Instead, they hit a stonewall.

Questions surrounding the mystery are endless. If it wasn't the Irish or the Italian mobsters, then who was it? Why were some paintings taken and not others? Was it an inside job? Was it payback by someone who had it in for the FBI, the Boston Irish, or the Italian mob? Were people being protected and if so, why? Who was in charge of the Boston field office in 1990? Was McGrath ever close to solving the case? What did the United States Attorney do to try to solve it. Was the Strike Force looking at it? Who was McGrath's boss at the time? Why weren't there any Boston police cruisers seen in the area during their routine patrol? Why didn't the two robbers disguise themselves?Why was one guard able to fall asleep and the other couldn't because he was petrified about what might happen to them? How did the thieves know the layout of the museum's convoluted basement...were they schooled or had they been there before?

Fasten your seatbelts and get ready for a fast-paced, spell-binding story of political scandal, deceipt, public corruption and deception, as you join FBI agent Ted McGrath and his crew in their quest to recover the paintings. While McGrath, Savage, Fenore, agent Mullen and Attorney Fowler try to keep the momentum going, certain people in places of power want the group to fail. As progress is made in the twenty year old mystery, it becomes clear to McGrath and Fowler, that someone is equally determined to stymie the investigation and desperately wants sins of the past to remain in the vault. The convoluted twists and turns of the maze-like investigation, will have your head spinning, while the ebb and flow of emotion, frustration, anger, disgust and loathing, will have you talking to yourself. Once immersed in this incredible story, the pages can't be turned fast enough to see where the mission next takes McGrath's "Amigo's", what obstacles they face, the risks they must take and what they finally accomplish as a team, turning what appeared to all to be simply a Fool’s Errand, into an incredible masterpiece of detective work.

Published on: 2016-01-12
Released on: 2016-01-12
Format: Kindle eBook

From the Inside Flap
An incredible story of a real-life who-dunit in the City of Boston. Not since the likes of The Friend's of Eddie Coyle, has a former federal prosecutor written a suspense thriller that will have you sitting on the edge of your chair. Was it a serious lapse in judgment or was it intentional? In truth, it matters not. What does matter is that a mindless act by a college student, babysitting Millions of Dollars' worth of art, results in the theft of thirteen priceless works from the Gardner Museum. With the push of a button, the Museum is pilferaged by ruthless thieves. It is a meticuously written, creative account of Boston's most famous art robbery and a delightful literary thaw to what is one of the FBI'S oldest "cold cases".

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About the Author
James McGovern is a New England native, a Suffolk University Law School graduate, an active member of Boston's legal community and a committed Red Sox fan. While serving with the United States Attorney's Office in Boston in 2006, McGovern was given the extraordinary opportunity to take a second look at the FBI's cold case of the Gardner Museum heist, the largest art theft in US history. Artful Deception, a work of historical fiction, was written with the specific intent to turn what has been largely a local story into a worldwide, electronic appeal for assistance in recovering the stolen art. McGovern introduces FBI agent Ted McGrath to help solve the incredible story of this real-life who-dun- it in the City of Boston.

Born and raised in Providence, Rhode Island. He is a member of the Sons of Irish Kings has three grown children and lives with his wife, Lynn and a persnickety calico named Frankie. McGovern is currently working on his second novel, a medical mystery.

Most helpful customer reviews

4 of 5 people found the following review helpful.
Artful Deception....
By Amazon Customer
One well done book that brings a fresh point of view on a subject I once thought was a cut and dry heist. A great read for those of us who know what we were told about the story, but still feel like that there is a lot more going on. Captures the Boston vibe and attitude perfectly and I only Hope to read more of these characters in the future.

1 of 1 people found the following review helpful.
Bringing a mystery to life!
By David Barron
Having lived in greater Boston most of my life, and being a frequent visitor to the Gardner Museum, this mystery has always intrigued me. The author presents a clear account of the events as well as the nefarious activities of the FBI. Unlike other novels of this nature, the story is told in a clear and concise manner and his revelations of Boston's darker side provided an interesting sidelight. The event was very well researched, resulting in an informative and entertaining read. I look forward to the author's next venture.

1 of 1 people found the following review helpful.
Artful Deception
By Jan Dobsovits, Marshfield, MA
Jim McGovern's debut novel, Artful Deception, revolves around the March 1990 theft of thirteen priceless art treasures from Boston's Isabella Stewart Gardner Museum. Though the nuances of local flavor will be instantly appreciated by natives, this is not a novel with limited regional appeal. It is extremely well-researched and very well-written. Put on a pot of coffee, or brew the tea. Once you're introduced to Detective McGrath, and his passion for this case, you will not be able to put this page turner down.

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Kamis, 19 Februari 2015

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Will wishing on a star save her life…and bring her love? Die, Aldridge. The painted threat oozes down the stable's walls. Nicole Aldridge, the only child of England's finest jockey, is driven by one goal: to protect her father from merciless blackmailers. To make ends meet, she disguises herself as a boy to compete in a celebrated derby. But her new employer is Dustin Kingsley, the marquis of Tyreham, a devastatingly attractive nobleman who soon ensnares Nicole in his sensual thrall. London's most eligible bachelor, Dustin has despaired of finding a woman who can be his equal in every way. When he discovers that his new jockey and the restless beauty he meets under a starlit sky are one and the same, he uses his seductive wiles to coax out Nicole's deepest secrets. But their passion spirals out of control, plunging Dustin and Nicole into a world of shadow and mystery. With enemies all around and hope fading fast, destiny grants the desperate lovers one last wish.

Sales Rank: #2760485 in Books
Published on: 2016-01-26
Formats: Audiobook, MP3 Audio, Unabridged
Original language: English
Number of items: 1
Dimensions: 6.75" h x .50" w x 5.25" l,
Running time: 12 Hours
Binding: MP3 CD

From Publishers Weekly
When England's best jockey refuses to throw a race for a murderous gang, his daughter, Nicole Aldridge, knows he has to go into hiding. To make an income, she poses as a young man and takes a job as a jockey for the renowned horse breeder Dustin Kingsley, Marquis of Tyreham?and brother of Echoes in the Mist's Trenton Kingsley. Dustin immediately recognizes her as a woman, nicely avoiding the more cliched aspects of this overused device. Nicole and Dustin love each other immediately, which, while it scotches any romantic tension, does motivate Dustin to investigate the gang threatening his "miracle." Kane's stiff and unnatural writing is the biggest distraction: even before a reader can settle into her armchair, Nicole comes out with "Thus, I know what pressure you've been suffering these past weeks," continuing on to "Exactly who are these horrible men? Are they capable of making that threat a reality?" All in all, for a Regency romance, this is a pretty good mystery.
Copyright 1996 Reed Business Information, Inc.

About the Author
Andrea Kane s psychological thriller THE GIRL WHO DISAPPEARED TWICE became an instant New York Times bestseller, the latest in a long string of smash hits. THE LINE BETWEEN HERE AND GONE is the next exhilarating installment in the Forensic Instincts series. With a worldwide following and novels published in over twenty languages, Kane is also the author of eight romantic thrillers and fourteen historical romances. She lives in New Jersey with her family.

Excerpt. © Reprinted by permission. All rights reserved.
Chapter 1

Newmarket Suffolkshire, England April 28, 1875

Die, Aldridge.

The painted words pierced Nicole's soul like the fatal stab of a dagger.

Bloodred, they trickled down the stall's rear wall, sending shards of terror streaking up her spine. Unconsciously, she gripped Oberon's reins more tightly, unable to enter the thoroughbred's quarters, equally unable to back away.

All semblance of the past hour's reveling vanished in a heartbeat, the jubilant celebration spawned by her father's victory in the 2,000 Guineas forgotten in lieu of this grotesque spectacle.

Die, Aldridge.

Nicole's eyes squeezed shut -- a futile gesture, for it could not erase the imprint of that pointed, sinister threat.

"Nickie?" From thirty feet away, Nicholas Aldridge sensed, rather than saw, his daughter's reaction. Extricating himself from his fellow jockeys, he made his way through Newmarket's stable to her side, patting Oberon affectionately as he passed. "What's wrong?"

His question died in his throat as he followed Nicole's gaze. "Damn," he swore softly.

"Papa," she managed, turning to face him. "What...?"

"It's paint, Nickie. Only paint. Not blood."

"I realize that." She wet her lips with the tip of her tongue. "But its meaning is clear." Violet blue eyes studied her father astutely. "It's because of the race, isn't it? Because you wouldn't cooperate?"

Her father glanced furtively from side to side. "How did you know about that? Sullivan swore to me he wouldn't say a word."

"Sully told me nothing. He didn't need to. I'm not blind, Papa. Nor am I deaf. I've heard you tossing about at night, just as I heard your hushed conversations with Sully. Thus, I know what pressure you've been suffering these past weeks. But I had no idea the consequences of your refusal could be as serious as -- " Nicole broke off, her tormented stare returning to the ominous crimson letters. "Who painted that?" she demanded. "Exactly who are these horrible men? Are they capable of making that threat a reality?"

"The scum who painted that message are merely pawns, Nickie. They deliver messages with their fists." Shoving back his cap, Nick dragged a forearm across his brow, then gulped at the bottle of ale he held. "As far as who issued their orders, I have no idea. But will he make sure they're carried out? I fear -- " His mouth snapped shut.

Nicole needed no further reply. Her chin came up, determination overriding panic. "Then we must act. Now. Before they have time to do so first."

"Act?" Fatherly protectiveness surged to life in Nick's eyes. "Nicole, you don't understand what -- who -- we're up against. These men are experts at coercion. There's no way for me to escape. I knew that from the instant I was approached, just as I knew there'd be hell to pay if I didn't throw this race. My visitors made that very clear." His somber gaze returned to the painted message. "Consequences," he muttered. "Pursuit. Harassment. Hell, even a beating. I expected all that. I also figured they'd try to blacklist me. None of it would have worked. I'm too damned tough to whip into submission and too damned good at what I do to be banned from the course. But murder?" His expression grew haunted, as if by uttering the word aloud he'd made the prospect all the more tangible.

"Let's go, Papa." Nicole was already in motion, having urged Oberon into his stall and untacked him with the skillful speed of a professional head lad. Snatching up a rag, she seized her father's bottle of ale, dousing the wall and vigorously scrubbing until the warning was no more than a muted blur. "There. Now no one will know the reason we fled."

"Fled?" Nick's head jerked around. "I just finished telling you -- "

"Hey, Nick!" Gordon Sullivan's deep voice interrupted them. Seconds later he strode into Oberon's stall. "We're celebrating your victory. What's keeping you and the elf?"

Unsmiling, Nick turned to his longtime friend and colleague. "They were here, Sully. They left their calling card."

Sully's grin vanished. "Dammit. I was afraid this might happen." He broke off, his uncertain gaze flickering to Nicole.

"Say what you like," Nick supplied. "My clever elf has figured it all out."

An unsurprised nod. "What type of calling card?'

"A threat," Nicole supplied, inserting herself between the men. "Painted in red. Bloodred. Sully, they mean to kill Papa. I've got to convince him to get out of here. Before it's too late."

"Kill him?" Sully echoed. "They used those words?"

"Their precise message was, 'Die Aldridge.' That's terrifying enough for me."

Beads of perspiration broke out on Sully's brow. "Nick, something's not right here. You know as well as I do that these bastards don't kill. Pressure, thrash -- yes. But kill? No." A flicker of apprehension. "Unless they're backed into a corner."

"You're talking about Redley," Nick supplied with a scowl of disbelief. "He was a bloody fool, Sully. Besides, we have no proof those lowlifes killed him."

"Don't we?" Sully's tone was ominously quiet. "You and I both ran the course at Doncaster last September. We both heard Redley boast to everyone within hearing distance that he'd thrown the St. Leger trial for himself, not for the scum who'd browbeaten him. He vowed to turn the tables, blackmail them out of thousands of pounds. Three days later, his quarters were ransacked and he was found dead."

"Oh, my God." Nicole went sheet white. "I thought he'd been robbed."

"It's possible he was." Nick wrapped a protective arm about Nicole's shoulders. "Stop it, Sully. You're scaring Nickie. Besides, the point is moot. I didn't give those hoodlums any cause for alarm. All I did was refuse to throw the race."

"Then why are they threatening to kill you?"

"The reasons don't matter," Nicole intervened. "Papa's safety does. I won't gamble with his life, Sully. I'm taking him away. Now."

Sully took in the all-too-familiar set of Nicole's jaw. "I agree, Nick must disappear, but not through your efforts, through mine."

"No." Nicole's veto was instant and fierce. "That would endanger your life as well. I won't have it."

"Nor will I," Nick concurred. "We'll find another way."

"Neither of you is thinking clearly," Sully accused with an exasperated shake of his head. "It's not my life that's at stake here. Nor is it solely yours, Nick." Scowling, he gave voice to the unpleasant truth. "These men aren't amateurs. They know everything about you -- including the existence of your revered only child. If you're in danger, so is Nicole."

"Damn," Nick hissed, all the color draining from his face. "I never considered that."

"Even if that's the case, Sully, you won't ensure my safety by risking your own," Nicole interrupted, her mind racing for answers. "So please don't get involved. This problem is mine. Mine and Papa's."

"Really?" Sully arched a brow. "And how do you intend to handle it? By dashing off to parts unknown like a reckless filly, Nick in tow? By running away with no strategy or means of survival?" He assessed Nicole's mutinous expression in utter exasperation.

Raucous laughter reached their ears.

"We haven't time for this argument now," Sully pronounced, glancing swiftly over his shoulder to confirm that none of their fellow jockeys had drifted close enough to overhear him. Confident that, for the moment, they remained alone, he dug into his pocket and extracted a key.

"Take Nick to my quarters. They're less than a mile from yours and a whole lot safer. Undoubtedly, whoever left that message knows where you live. By tomorrow they might have figured out that you've taken off, and come looking for you. I'll slip into your rooms tonight, before that happens. I'll fetch your things and bring them to you. By morning we'll have devised a plan to get you out of Suffolk -- both of you -- to transport you somewhere secluded. And I do mean secluded, not London during the heart of the racing season. Once we get you settled, you'll stay put until those bastards find a new victim. They can't hurt you if they can't find you. Now go."

"No bloody way," Nick denounced with a hard shake of his head. "Sully, have you lost your mind? I'm a jockey. How do you suggest I ride if I'm stashed away like some hidden treasure?"

"I don't suggest you ride. I suggest you stay alive. For your sake -- and Nicole's." Sully wasn't mincing words. "Now get the hell out of here before those ruffians come back to effect their threat." He groped in his jacket, pulling out several folded bills. "Take these. It's not much but it's all I've got, and, combined with your prize money, it'll be enough to buy you food and a place to stay."

"Keep your wages." Nick shoved his friend's hand away. "You're as noble -- and as rash -- as my daughter. Even if I were willing to give up racing and drop out of sight to protect Nickie, she and I need an income in order to survive. How long do you think we'd last on a few pounds?"

"We'll have an income, Papa," Nicole inserted, fists clenched at her sides. "I'll provide it."

Simultaneously, both men glared at her.

"What crazy idea are you thinking up this time, Elf?" Nick demanded, eyes narrowed in suspicion.

"It's not crazy. It's perfectly reasonable. Sully just claimed that I, as well as you, are in danger. Or rather, that Nick Aldridge and his daughter are. Well, I can eliminate both the danger and our lack of money."

"And how will you do that?"

"By ceasing to be your daughter."

Another silence, more ponderous than the first.

"Listen to me, Papa." Nicole gripped her father's forearms, excitement tingeing her cheeks as her plan took shape. "Those men will be hunting for Nick and Nicole Aldridge. Well, we won't be found. You'll be in hiding. And I'll no longer be Nicole Aldridge."

"And who, may I ask, will you be?"

An unconcerned shrug. "I haven't invented a name. At least not yet. But what I call myself doesn't matter. What matters is what I shall be, not who. And the answer to that is any one of a dozen things. A stable hand. A...

Most helpful customer reviews

7 of 7 people found the following review helpful.
Alllllllll right Andrea!!!!!!
By A Customer
I prefer not to give anything a 5 star rating because I don't believe anything is perfect but I really enjoy Ms Kane's style of writing. I enjoy her because there are no real games. The story line is not too far from what is usual in most regency novels but the difference is, there is no major misunderstanding that stands between the couple. They come together in a tender kind of way. NO, it's not your typical story where boy meets girl and there is something or someone that deters their romance. It's nice to read a book that one does not mistrust and suspects the other for three quarters of the book. They can 'get together' without the going through half the book figuring out that each had the wrong view and/or opinion.
Nicole and Dustin are from two different worlds, in a way. Nicole is basing her knowledge of the nobility from what she's learned in the stables, applies it to Dustin, has a pre-determned Dustin in her mind. Dustin, however, surprises her by not being the typical nobleman she has been exposed to. Dustin senses something unique about Nicole but isn't able to act upon it as soon as he would like to. He knows there is something 'different' about Nicole but isn't doesn't recognize himself to be in love. He has a bit of a problem admitting it to himself. It doesn't go on and on as some books do which is the refreshing part.
I've said enough without ruining the story. If you're tired and frustrated of reading romance novels that spend at least half of the book resisting the "love" that is to bound to occur, Ms Kane is for you. The love scenes are every bit steamy. They do not go on for chapters as I've seen with other authors but it's just right.
I strongly recommend reading Wishes in the Wind before reading Echoes in the Mist. Echoes in the Mist is, to my knowledge, the conclusion of this book. I thoroughly enjoyed this read and hope this review helps you.

6 of 6 people found the following review helpful.
Terrific!
By A Customer
It was great. Ms. Kane draws the readers into
Nicole's (Elf) world. Dustin and Nicole's first
encounter was memorable. Nicole has fine qualities.
She's honest, hardworking, caring, loyal..need I
say more? But she can't cook didley-squat.
Her father, Nick Aldrige is a jockey who is hiding.
Some people approached him and told him to throw
some races or else. But he didn't and so now they
want him. Nicole has this wishing locket her
mother gave her when she was young. You hold the
locket and make a wish and the locket will store
it until fate decides to let it out. It was a great
book. It's a book you HAVE to read time and time
again.

5 of 5 people found the following review helpful.
My least favorite Andrea Kane book - romance is boring and dialogue is sickeningly sweet
By J. P.
[1875, England]
I know I'm in the minority here, but I did not like Wishes in the Wind at all. I didn't hate it - I've read worse historical romances - but I am definitely never rereading this book and will probably sell my copy. Frankly I was surprised that I disliked this book so intensely, since there are some Andrea Kane books that I absolutely love (the most recent example being My Heart's Desire - for more details check out the review I wrote for it). The romance and characters did not engage my interest and Kane's writing, far from being able to save the book, only made the experience of reading it worse: her dialogue was often too lengthy, aspects of the unfolding mystery subplot were over-explained and repeated by the characters when they didn't need to be, and the exchanges between Dustin and Nicole were *way* too sappy for me.

PROBLEMS WITH THE ROMANCE:
Andrea Kane's books are often sweeter than other authors' and this is usually a change that I appreciate - she never employs those horrible misunderstandings that overtake the book where neither the hero nor heroine is being honest; also, her heroines are never immature, bratty, or arrogant/conceited. Wishes in the Wind includes Kane's usual mystery subplot and villains (who are easily guessed at before their unveiling), the nickname-given-to-the-heroine-by-the-hero (in this case it's "Derby"), and the sweet romance, but in this book I found this last to be terribly boring and tepid - I literally had to drag myself through this book, for although I had no interest in getting to the end I am literally incapable of leaving a book unfinished.

Nicole cries far too much and I wanted to yank the handkerchiefs out of her father and Dustin's hands when they're constantly wiping away her tears (if she insists on weeping all the time can't she at least dry her own face?!?!). She and Dustin's exchanges were sickeningly sweet (all the talk about wishing lockets, them being each other's "miracle," the stars winking down at them and looking down on them, fate and love, and on and on) - Ex: "Teardrops glistened on Nicole's lashes. 'I suppose once you've been given a miracle, it's far easier to believe they exist.' 'That's true,' Dustin concurred softly. 'I'm discovering as much myself. Right here, right now.' Their gazes locked. 'My beautiful miracle.' Dustin drew her against him ..." (p.150).

And the above passage occurs not even halfway through the book, which leads me to another complaint ... Dustin and Nicole got together far too quickly. I'm not saying I wanted a relationship that encounters problem after problem, but that they instantly fall in love when they meet by the Thames in London - I hate "love at first sight" books and this comes dangerously close to that. When they say they love each other (p.200 - out of 335) I felt like they still barely knew each other and regardless of when they verbalize the feelings, they act in love practically since their first encounter. This makes it so that the whole book is basically about only resolving the mystery subplot, since their relationship doesn't have any problems (Nicole harps on about certain "obstacles" until she suddenly decides to dismiss them - instead, they should have either been eliminated or explored and dealt with more fully, since her worries seem to have only been included to make their love story not a hurtle-free path - though it still is for all intents and purposes).

THE KINGSLEYS SERIES:
Echoes in the Mist is the first of Andrea Kane's Kingsleys book and features Ariana Caldwell and Trenton Kingsley, the Duke of Broddington (Dustin's older brother). It's followed by Wishes in the Wind, which tells the story of Nicole Aldridge and Dustin Kingsley, the Marquis of Tyreham. I hadn't read the first book but had no problem following this one, though those who read and enjoyed Trenton and Ariana's story will appreciate seeing them often again in Dustin and Nicole's.

BOTTOM LINE and RECOMMENDATIONS:
If you like extremely sentimental books with sappy/corny romance, this is the book for you. If you want to read a better Andrea Kane book (IMO), then buy My Heart's Desire (The Barretts, Book 1) or The Silver Coin (Coin Series, Book 2) instead. If you like historical romances that involve impersonation or mistaken identity, check out my "So You'd Like To ..." Guide with that title.

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Sales Rank: #124926 in Books
Published on: 2016-01-25
Original language: English
Dimensions: 8.50" h x .28" w x 8.50" l,
Binding: Paperback
120 pages

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19 of 22 people found the following review helpful.
This book is nothing but free Kindle. pdf downloads ...
By Bevy
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9 of 13 people found the following review helpful.
This beautiful book has wonderful quality art on each page
By Amazon Customer
This beautiful book has wonderful quality art on each page. This is obviously NOT stolen from KINDLE. Each ARTIST is credited for their work and the publisher gives credit to each artist in the copyright section of the book. Wonderful cover with a generous amount of unique art from artists with copyright permission. Lovely book. Im glad I looked into this. This publisher is on the up and upl.

5 of 7 people found the following review helpful.
Antiques should be first in the title since it more about them and less about tea
By Bernadine Huston
The title is all wrong it said tea cups tea time antiques and lace it has more tea cups and pots than vintage tea. But some pages are in the book more than once. I will enjoy most of the book

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