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Vanity Fair Paperback – Apr 29 2003
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"I do not say there is no character as well drawn in Shakespeare [as D'Artagnan]. I do say there is none that I love so wholly."
--Robert Louis Stevenson
"The lasting and universal popularity of The Three Musketeers shows that Dumas, by artlessly expressing his own nature in the persons of his heroes, was responding to that craving for action, strength and generosity which is a fact in all periods and all places."
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Founded in 1906 by J.M. Dent, the Everyman Library has always tried to make the best books ever written available to the greatest number of people at the lowest possible price. Unique editorial features that help Everyman Paperback Classics stand out from the crowd include: a leading scholar or literary critic's introduction to the text, a biography of the author, a chronology of her or his life and times, a historical selection of criticism, and a concise plot summary. All books published since 1993 have also been completely restyled: all type has been reset, to offer a clarity and ease of reading unique among editions of the classics; a vibrant, full-color cover design now complements these great texts with beautiful contemporary works of art. But the best feature must be Everyman's uniquely low price. Each Everyman title offers these extensive materials at a price that competes with the most inexpensive editions on the market-but Everyman Paperbacks have durable binding, quality paper, and the highest editorial and scholarly standards. --This text refers to an alternate Paperback edition.See all Product Description
Inside This Book(Learn More)
While the present century was in its teens, and on one sun-shiny morning in June, there drove up to the great iron gate of Miss Pinkerton's academy for young ladies, on Chiswick Mall,1 a large family coach, with two fat horses in blazing harness, driven by a fat coachman in a three-cornered hat and wig, at the rate of four miles an hour. Read the first page
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Top Customer Reviews
It opens with two young women departing from a ladies' academy: dull, sweet Amelia (rich) and fiery sharp-witted Rebecca (poor). Becky Sharp is a relentless social climber, and her first effort to rise "above her station" is by trying to get Amelia's brother to marry her -- an effort thwarted by Amelia's fiancee. So instead she gets married to another family's second son, Rawdon Crawley.
Unfortunately, both young couples quickly get disinherited and George is killed. But Becky is determined to live the good life she has worked and married for -- she obtains jewels and money from admiring gentlemen, disrupting her marriage. But a little thing like a tarnished reputation isn't enough to keep Becky down...
"Vanity Fair" is actually a lot more complex than that, with dozens of little subplots and complicated character relationships. Reading it a few times is necessary to really absorb all of it, since it is not just a look at the two women in the middle of the book, but at the upper (and sometimes lower) social strata of the nineteenth century.
The main flaw of the book is perhaps that it sprawls too much -- there's always a lot of stuff going on, not to mention a huge cast of characters, and Thackeray sometimes drops the ball when it comes to the supporting characters and their little plots. It takes a lot of patience to absorb all of this. However... it's worth it.Read more ›
First, what sets this novel apart from others of its kind is the active role of the narrator, presumably the author himself, or perhaps an unnamed character. Analogizing to sportscasts, this narrator is not content with doing the play-by-play; instead he(she?) constantly butts in with color commentary on the characters, exhortations to the reader, and rhetorical moralizing on such issues as men's treatment of women (bad), women's treatment of women (possibly worse), the harm that comes from living beyond one's means (which extends well beyond the spendthrift), and the question of what makes a gentleman and what makes a lady (honor and honesty). This is all done with such a sense of irony, satire or sarcasm that it's hard to tell when the narrator is being serious. It is this narrative distance from the characters that sets this novel apart from the sentimentality of Dickens, the earnestness of Eliot, the moral seriousness of Tolstoy. I don't think this is cynicism on Thackeray's part but rather an unwavering commitment to seeing the world as it really is, unblinkered by any ideology, philosophy or religion.
The second point derives from the first. There are no heroes or heroines, and no villains. All of the characters, regardless of gender, age, class are possessed of both good and bad qualities.Read more ›
Regarding the novel's pace, the author presents a complex, rounded view of the numerous characters, major and minor, and this couldn't have been done at a best-seller type pace. Every character is a mixture of good and evil, of weakness and strength.
This is a work to be savored for its' wisdom - and I believe there is a great deal of wisdom in the novel. Above all, I don't see how it's not possible to not be fascinated by the two female "heroines," nor to want to know what theie eventual fates are. A GREAT, PROFOUND WORK OF IMAGINATION.
This criticism aside, I found the characters to be cleverly described. I would form an opinion about the nature of one character, only to have that opinion changed by his or her subsequent actions, or Thackeray's critical observations of those actions. At times, I found this frustrating. But I quickly learned to appreciate it. My knowledge of the characters grew with time, at that was realistic.
Overall, a recommended read. There are greater classics, but this is still one to enjoy. It gives an interesting perspective on life of the wealthy, and former wealthy, English during the Napolean era.
Most recent customer reviews
Another reviewer stated it best. This book has not aged well.
The whole time I was reading this I was thinking "Make it stop! Make it die!"
Going into Vanity Fair, I had expected it to be something like Jane Austen meets Anna Karenina. I planned to read it just like I did Anna Karenina, in (roughly) 100 page blocks... Read morePublished on Aug. 31 2010 by Andrea
Greed, gold-digging and deception sit at the heart of "Vanity Fair." It's no joke that it's subtitled "a novel without a hero" -- William Makepeace Thackeray mercilessly skewered... Read morePublished on May 14 2007 by EA Solinas
Greed, gold-digging and deception sit at the heart of "Vanity Fair." It's no joke that it's subtitled "a novel without a hero" -- William Makepeace Thackeray mercilessly skewered... Read morePublished on March 7 2007 by EA Solinas
As Thackeray's Vanity Fair was my first serious foray into 19th century british literature, I found it a bit daunting at first. Read morePublished on July 2 2004 by Keith Anderson
William Makepeace Thackeray was a wonderfully insightful and intelligent rabble-rouser. He speaks in this tale with a very gossipy tone and spectacular wit and with elements of... Read morePublished on March 25 2004
One of the greatest triumphs of the 19th Century / Victorian novel is the way in which it masters the English language, utilizing it with such eloquence that, nearly bordering on... Read morePublished on March 18 2004 by Pete Amaro
The reputation of Thackeray's "Vanity Fair" perseveres to this day, but I'm not sure it demands to be read in preference to many of its contemporaneous peers. Read morePublished on March 4 2004 by A.J.