A Tremendous Start, But Beware, November 8, 2002

The Wheel of Time is probably the best-known and most widely read fantasy series other than The Lord of the Rings.
When this book was published in 1988 or 1989, it created a sensation — a tremendous first volume that had the usual good-evil battle and tons of action but also was filled with magic, history, politics, sociology, cultural background and realistic characters. When I re-read the first five books, I was amazed at the details of history and politics that Jordan provided in his world. Jordan also has numerous protagonists, not just one or two primary ones like many other fantasy writers.

Moreover, Eye of the World features strong men and, through their magical abilities and powerful personalities, stronger women. Jordan has been rightly lauded for the prominent and powerful roles he created for the female characters.

The Great Hunt, The Dragon Reborn, The Shadow Rising and The Fires of Heaven followed and created a tremendous series such that The New York Times noted that Jordan had come to dominate the genre that Tolkien made famous.

In Eye of the World, the writing is smooth, the various characters and their motivations work well, and there’s action aplenty. The sense of innocence and mystery that correspond to the heroes’ relative lack of knowledge of their surroundings and the world at large is palpable and realistic.

Unfortunately, starting with Lord of Chaos (book 6), Jordan’s creation became unwieldy. Instead of concentrating on following the themes and story-threads of books 1-5 (which combined are more than 3500 pages, hardcover), he created new storylines, bogged down the narrative and halted the pace of the epic. Book 8 in particular is an unmitigated disaster — 650 pages (hardcover) of wheel-spinning (pardon the pun) with almost no progress to the story. Book 9 began to jump-start the narrative once again.

The series is at 10 books (the tenth will be published in about two months from now) and growing (13 total possible — it’s a common numerical theme in the books), thus the last volume will be published in 2006, at the earliest.

The Eye of the World is great, as are the next four in the series. They are, however, addictive, so know what you’re getting into.

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Warning! Warning! Warning!, October 6, 2002

Ok, I’m giving this book only three stars despite the fact that, judged solely on its own merits, it probably deserves the 4 or 5 most people give it. Before you condemn me too harshly though, I’m doing it for a very good reason!

Before you read all the glowing reviews and buy this book, be warned: This is the start of a very long, drawn-out series. Not long and drawn-out in the sense that it’s an “epic” story that needs time and patience to tell, but more in the sense that the author has discovered he has a virtual cash machine in his keyboard, and he’s milking it for every last penny it’s worth.

“But if they’re good…” you think. Uh-huh. But they’re not, you see.

The first four or five books in the series are excellent; I’d be lying if I said otherwise. Can Robert Jordan write? You bet your bottom he can — but only when he puts his mind to it. Starting with the abysmal “Path of Daggers,” the series’ progress has slowed to a sad crawl. In each successive book, less and less happens, and more paper is wasted describing clothing, repeating characters’ annoying mannerisms, and introducing new characters who don’t seem to do anything to advance the plot. Maybe he doesn’t know how to finish it… but that doesn’t stop him adding to the misery.

How much of this do you think you can take? The 10th book is coming out soon; are you that patient? Will you really be able to stand seeing these cinderblock-sized lumps taking up more and more space on your bookshelf, nudging out more deserving titles? Will your wallet stand up to being burdened with a never-ending book series you’re obliged to read because you’ve got too much invested to quit? What about when people come over, notice that massive row of “Wheel of Time” novels, and ask, “Oh. Robert Jordan fan, eh?” Will you be proud to turn them on to this series… or embarrassed? Give ya’ a clue: Mine are boxed.

Really. It’s your call. Go on and start this series if you want to. But don’t say nobody warned you…

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An original, fantasy epic, December 18, 1999

This book was recommended to me by the manager of a brick and mortar store nearby. I have read a great deal of science fiction/fantasy, and after a while, it all starts to feel the same. You know what I mean: how many times can we revisit Tolkein-esque charcaters like elves, dwarves, and orcs? I was very pleased to discover an entirely new world.

Robert Jordan has created a landscape of magnificent proportions. Accents, legends, superstitions, politics…His amazing attention to detail allowed me to become fully immersed in the story. Even more surprising is that the quality of his writing is maintained throughout the book’s length of 782 pages. I couldn’t put this novel down, with the result that I finished it well inside of a week.

This is the first book of a series, and the reviews for some of the later books aren’t as glowing. However, I feel that this book is a great read, and can stand on its own. It is not uncommon for series to degrade over time — take a look at "Wishsong of Shannara"by Terry Brooks, "The One Tree" by Stephen R. Donaldson, or "The Sorceress of Darshiva" by David Eddings. All three of these books fail to live up to the quality of others in their respective series, but that doesn’t mean you should avoid the series altogether.

"Eye of the World" provides us with an epic that is also refreshingly new. Robert Jordan presents us with a world that is the most richly colorful since Tolkein. If you’re a fan of fantasy, then don’t miss reading this book.

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Probably Hurston’s greatest gift to world literature, September 23, 2001

By 

Michael J. Mazza (Pittsburgh, PA USA) – See all my reviews

  

  

  

"There Eyes Were Watching God," by Zora Neale Hurston, is widely acknowledged as a beloved classic of American literature. This novel is truly one of those great works that remains both entertaining and deeply moving; it is a book for classrooms, for reading groups of all types, and for individual readers.

In "There Eyes," Hurston tells the life story of Janie, an African-American woman. We accompany Janie as she experiences the very different men in her life. Hurston’s great dialogue captures both the ongoing "war of the sexes," as well as the truces, joys, and tender moments of male-female relations. But equally important are Janie’s relationships with other Black women. There are powerful themes of female bonding, identity, and empowerment which bring an added dimension to this book.

But what really elevates "Their Eyes" to the level of a great classic is Hurston’s use of language. This is truly one of the most poetic novels in the American canon. Hurston blends the engaging vernacular speech of her African-American characters with the lovely "standard" English of her narrator, and in both modes creates lines that are just beautiful.

"Their Eyes" captures the universal experiences of pain and happiness, love and loss. And the whole story is told with both humor and compassion. If you haven’t read it yet, read it; if you’ve already read it, read it again.

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An American Masterpiece, well worth reading, October 17, 2007

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Joanna Daneman (Middletown, DE USA) – See all my reviews

  

  

  

“Their Eyes were Watching God” has been variously described as feminist literature (though written in 1930), African-American literature (though the story is about people, first and foremost, and race is secondary to the novel) and as a lost masterpiece. It’s a lost masterpiece. Thanks to Alice Walker and Oprah Winfrey, the book was brought back to the public’s attention.

One of the issues with reading Hurston’s novel is that it’s written in dialect–in Hurston’s rendition of how Southern Florida black dialect could be spelled out to her. So reading the book is a bit slow; you have to sound out the words in your mind. If this is a problem, then I’d suggest you listen to the book on tape (ably performed by Ruby Dee) and then read the book afterwards.

The story has barely a plot; Janey is a young woman who’s grandmother was born in slavery. Her aspirations are no further than the front porch; to live in comfort means being simply able to sit, to sit on the porch and not be in constant motion, working every hour of every day for bare subsistence. She finds an older, established husband for Janey and insists she marry. Janey, then, has a life where, with reasonable work, she can fill her belly and sleep in shelter. Her life is not much better than that of a well-cared-for mule.

One day, Janey runs off with Jody Starks, a man of means who charms her with his worldy ways. This is a man going places. And they do go places; to Eatonville, a town that was chartered as an African-American community. Starks sees opportunity in every corner of dusty Eatonville, buys land, builds a store and a house and installs the beautiful Janey as a symbol of his mastery.

As Mayor, Starks has appearances to keep up. He has Janey stay in the house or work in the store, and when in the store, she is to keep her head covered. Janey has a wealth of long abundant hair, which Hurston uses as a symbol of life. Janey’s hair is flowing and startling; men covet it. As the hair is covered, so is every enjoyment and thought Janey has. She chafes for 20 years under Stark’s restrictive rules.

The scene where the “town mule”–a mule freed by Starks from an abusive owner and that became a sort of mascot, dies and is buried in the swamp is exceptional writing, worthy of Mark Twain. The mule is eulogized (by Stark, standing at one point on the mule as podium) and then abandoned to the waiting buzzards. The following scene where the buzzards arrive to do their undertaking is a flight of fancy that is hardly equalled in American literature. All along the book, Hurston takes smaller flights of language; her descriptions sometimes soar, or are humorous or completely imaginative.

Janey runs off after Stark’s death with “Tea Cake”–a younger man. While her first two marriages were for the sustenance of the body (food, shelter, comfort, a home) this marriage is for the sustenance of the soul. Tea Cake plays guitar, plays games, dances, gambles, sings and flirts. Hurston is too clever to make him perfect; he hurts Janey, as only someone who loves another person can hurt them, and he is a bit of a cad, yet he brings out something in Janey that no life of pure material wealth could do–freedom and sensuality and joy. The culmination of the story is rather contrived, but still, the completion of the three marriages tells almost a fable-like story of a quest for personal growth. Janey comes home to Eatonville, and tells her story to Phoeby, her friend. The rest of the tale is up to us to fill in.

Sometimes the writing reminds me of Virginia Woolf–the interior dialog and mood of the character is the action as much or more than the action happening on the story’s stage. Sometimes Hurston reminds me of Twain in her delving into the linguistic richness and uniqueness of Floridian life. Her education as a folklorist sharpened her ear, but her deep honesty into the interior life of women is what makes this story so great. It’s definitely one of the top American novels and deserves to be read.

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Every woman’s hero., January 27, 2000

At the end, I closed the book and I cried. Then I wanted to open it and start reading all over again from the beginning. Janie is a woman who has endured oppression, suppression, and tragedy. She found love and she found herself. She not only survived but discovered her own strength and accepted life without self-destructing. Janie, is every woman’s hero, most certainly mine.

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