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Young Dorian wished that his portrait would bear the marks of age rather than his face. Much to his shock, the painting is, in fact, aging - and Gray is not! While Dorian's face is unchanging, his personality is in ugly ways. He's becoming cruel and secretive, showing a sadistic side of himself that is making those around him fear for their very lives! This is a tale of mounting menace that will send chills down your spine.

• Sales Rank: #8118852 in Books
• Published on: 2008
• Binding: Paperback

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[Z322.Ebook] Fee Download Bach: Music in the Castle of Heaven, by John Eliot Gardiner

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One of the Best Books of the Year
*�The Economist�*�The Christian Science Monitor�*�Financial Times *

Johann Sebastian Bach is one of the most unfathomable composers in the history of music. How can such sublime work have been produced by a man who seems so ordinary, so opaque—and occasionally so intemperate?

John Eliot Gardiner grew up passing one of the only two authentic portraits of Bach every day on the stairs of his parents’ house, where it hung for safety during World War II. He has been studying and performing Bach ever since, and is now regarded as one of the composer’s greatest living interpreters. The fruits of this lifetime’s immersion are distilled in this remarkable book, grounded in the most recent Bach scholarship but moving far beyond it, and explaining in wonderful detail the ideas on which Bach drew, how he worked, how his music is constructed, how it achieves its effects—and what it can tell us about Bach the man.

• Sales Rank: #116769 in Books
• Published on: 2015-03-03
• Released on: 2015-03-03
• Original language: English
• Number of items: 1
• Dimensions: 9.16" h x 1.35" w x 6.10" l, 1.98 pounds
• Binding: Paperback
• 672 pages

Review
“Lively, argumentative and passionate. . . . In performance and now in print, Mr. Gardiner is Bach's most eloquent champion.”
—The Wall Street Journal

“Fresh, persuasive. . . . As eloquent a writer as he is a musician, Gardiner brings to his study the invaluable perspective of the practitioner.”
—The New York Times Book Review

“So thoughtful, well-researched, and beautifully written that it should satisfy both the well-informed enthusiast and readers simply seeking to become better acquainted with a musical giant. . . . It never happens often enough, but now and then, a subject gets the book it deserves. So it is with John Eliot Gardiner’s�Bach.”
—The Daily Beast
�
“A nuanced account. . . . [Gardiner] writes with the care of a scholar, the knowledge of an expert musician, and the passion of a believer.”
—The Christian Science Monitor

“It is hard to imagine what the English maestro John Eliot Gardiner . . . might do to surpass Bach in its commitment, scope and comprehensiveness. . . . [He] has done a masterly, monumental job of taking the measure of Bach the man and the musician.”
—The New York Times

“It is Gardiner’s experience as a conductor that informs so much of this book. Not only does he explain the harmonic, contrapuntal and polyphonic underpinnings of Bach’s music . . . he also comments on these scores from practical experience, having spent countless hours working out instrumental balances and sonorities, textures and dynamics, in concert halls and churches alike.”
—The Washington Post

“Monumental. . . . What Gardiner offers is an intimate knowledge of the choral music . . . and a powerful sense of its cultural context, structural evolution and doctrinal intent. . . . His ‘portrait’ reads like a pilgrim’s progress, in which a privileged man-of-the-modern-world is transformed by Bach’s musical revelation.”
—Financial Times

“Very rewarding. . . . This book is not a biography in the conventional sense . . . but an attempt to uncover the man through his music. . . . [Gardiner] discovers a wealth of hitherto unseen invention and ingenuity.”
—The Economist

“An inspiring book. . . . Superb, timely, thought-provoking, authoritative and extremely useful and readable. . . . It should find its way onto any serious music-lover’s shelves. From there it must often and regularly be taken off and read.”
—Classical.Net

“An erudite work resting on prodigious research and experience and deep affection and admiration.”
—Kirkus Reviews

“Typical John Eliot to combine so much erudition with even more passion and enthusiasm. It made me want to rush and listen to all the pieces whether familiar or unfamiliar. A treasure chest.”
—Simon Rattle, principal conductor of the Berlin Philharmonic

“Bach is a unique portrait of one of the greatest musical geniuses of all time by one of the greatest musical geniuses of our own age. John Eliot Gardiner uses his extraordinary immersion in Bach’s music to illuminate Bach the man more brilliantly than in any previous work, and has created his own deeply moving work of art.”
—Amanda Foreman, author of A World on Fire

“A superb achievement, scholarly, lively, controversial and judicious. Like all great biographies of creative artists it builds a bridge from the past to the present and brings the work to new life.”
—Ian Bostridge

“A tremendous feat of narrative. . . . [Gardiner] tells this long and richly involved story in a way that makes everything clear, and sets the life and the music in a historical perspective where every detail is relevant and every comment illuminating. Simply as a biography this is splendid, but the fact that it comes with such a wealth of musical understanding and experience makes it invaluable. I learned an enormous amount, and I know I'll return to it again and again.”
—Philip Pullman

About the Author

John Eliot Gardiner is one of the world’s leading conductors, not only of Baroque music but across the whole repertoire. He founded the Monteverdi Choir and Orchestra, the Orchestre de l’Op�ra de Lyon, the English Baroque Soloists, and the Orchestre R�volutionnaire et Romantique. He has conducted most of the world’s great orchestras and in many of the leading opera houses. He lives and farms in Dorset, England.�

Excerpt. � Reprinted by permission. All rights reserved.
1

Under the Cantor’s Gaze

In the autumn of 1936 a thirty-year-old music teacher from Bad Warmbrunn in Lower Silesia suddenly appeared in a Dorset village with two items in his luggage: a guitar and a portrait in oils of Bach. Like old Veit Bach, the founder of the clan, escaping from Eastern Europe as a religious refugee almost four centuries earlier, Walter Jenke had left Germany just as Jews were being banned from holding professional posts. He settled and found work in North Dorset, married an English girl and, with war imminent, looked for a safe home for his painting. His great-grandfather had purchased a portrait of Bach in a curiosity shop sometime in the 1820s for next to nothing. Doubtless he did not know at the time that this was – ​and still is – ​by far the most important Bach portrait in existence. Had Jenke left it with his mother in Bad Warmbrunn, it would almost certainly not have survived the bombardment or the evacuation of Germans from Silesia in the face of the advancing Red Army.

I grew up under the Cantor’s gaze. The celebrated Haussmann portrait of Bach1 had been given to my parents for safekeeping for the duration of the war, and it took pride of place on the first-floor landing of the old mill in Dorset where I was born. Every night on my way to bed I tried to avoid its forbidding stare. I was doubly fortunate as a child in that I grew up on a farm and into a music-minded family where it was considered perfectly normal to sing – ​on a tractor or horseback (my father), at table (the whole family sang grace at mealtimes) or at weekend gatherings, outlets for my parents’ love of vocal music. All through the war years they and a few local friends convened every Sunday morning to sing William Byrd’s Mass for Four Voices. As children my brother, sister and I grew up getting to know a grand miscellany of unaccompanied choral music – ​from Josquin to Palestrina, Tallis to Purcell, Monteverdi to Sch�tz, and, eventually, Bach. Compared to the earlier polyphony, Bach’s motets, we found, were a lot more difficult technically – ​those long, long phrases with nowhere to breathe – ​but I remember loving the interplay of voices, with so much going on at once, and that pulsating rhythm underneath keeping everything afloat. By the time I was twelve I knew the treble parts of most of Bach’s six motets more or less by heart. They became part of the primary matter in my head (along with folksongs, ribald poems in Dorset dialect and heaven knows what else, stored in my memory) and have never left me.

Then, during my teens, I came to know some of his instrumental music: the Brandenburg Concertos, the violin sonatas and concertos (with which, as a distinctly average fiddle-player, I often struggled – ​and usually lost – ​between the ages of nine and eighteen, at which stage I switched to the viola), some of the keyboard pieces and several cantata arias for alto, of which my mother was very fond. Even now I cannot hear arias such as ‘Gelobet sei der Herr, mein Gott’ (‘The Lord be praised’) or ‘Von der Welt verlang ich nichts’ (‘I ask nothing of the world’) without a lump in my throat, remembering her voice floating across the courtyard from the mill-room. But my early apprenticeship in Bach, the nurturing of a lifelong engagement with his music and a longing to understand the stern Cantor at the top of the stairs, I owe to four remarkable teachers – ​three women and one man – ​who helped to determine the kind of musician I was to become.

The man was Wilfred Brown, the great English tenor, who visited my school when I was fourteen, singing both the Evangelist and the tenor arias in a performance of Bach’s John Passion. I was so captivated that, unpardonable in a principal second violin, at one point I stopped playing altogether and just gawped. As an interpreter of Bach’s Evangelist, Bill Brown was nonpareil. His singing was characterised by an extraordinary subtlety of inflection and word-painting, and by a pathos that was inseparable from his own Quaker beliefs and the humility they brought, something I recognised from my mother’s Quaker upbringing. Later on he offered to give me singing lessons from the time I was sixteen until I was twenty-two, sometimes travelling to Cambridge to do so and always refusing a fee.

Imogen Holst, daughter of Gustav and amanuensis to Benjamin Britten, was a regular visitor to my parents’ home and sometimes led their choral weekends and gave singing lessons to me and my sister. She, I suppose more than any other musician I had encountered at that early stage, stressed the importance of dance in Baroque music. This was so clearly visible in her own interpretation and her way of conducting Bach that someone once filmed her just from the waist downwards while conducting the B minor Mass. To this day, thanks to Imo, I feel that the worst interpretative sin (committed with painful regularity even now) is to plod in Bach; denying or resisting the rhythmical elasticity and buoyancy of his music ensures that its spirit shoots out of the door. In speaking touchingly of her father, she stressed the indispensability of music, that it was a part of life that ‘can’t be done without’.

Letting Bach dance was one lesson well learnt; the other was how to make him ‘sing’. This sounds so obvious and so much easier than it is in practice. Not all of Bach’s melodies are singer-friendly or melodious in the way that, say, Purcell’s or Schubert’s are. Often angular, the phrase-lengths uncomfortably long, peppered with little curlicue flourishes and ornaments, they require a lot of purpose, underpinned by iron breath-control, before they can truly sing. And that applies not just to the vocal lines, but to the instrumental ones as well. This I learnt from my violin teacher, Sybil Eaton, a pupil of the celebrated Greek violinist and musicologist Minos Dounias. Sybil certainly ‘sang’ when she played the fiddle, but, through her inspirational teaching and sheer love of Bach, she was also able to help her pupils to take melodic wing, whether we were playing concertos, solo partitas or obbligato parts to arias from the Passions or the cantatas.

The person who crystallised all these ideas for me was Nadia Boulanger, justly recognised as the most celebrated teacher of composition in the twentieth century. When she accepted me as a student in Paris in 1967, she had just turned eighty and was partially blind, but with all her other faculties in tip-top order. Her way of teaching harmony was founded on Bach’s chorales, which she regarded as models of how to establish a beautiful polyphony – ​with each voice being accorded equal importance while still playing a different role in the four-way conversation, now advancing, now retreating: contrapuntally conceived harmony, in other words. She insisted that the freedom to express yourself in music, whether as a composer, conductor or performer, demanded obedience to certain laws and the possession of unassailable technical skills. One of her favourite sayings was ‘Talent [by which I think she meant technique] without genius is not worth much; but genius without talent is worth nothing whatsoever.’

Confined for two years to an unvarying diet of harmony and counterpoint exercises and solf�ge (the particularly nasty but effective French system of ear-training), I metaphorically kicked and scratched like a cornered animal. On at least one occasion, from sheer frustration, Hindemith’s Elementary Training for Musicians ended up in the gutter – ​thrown out of the window of my bed-sit in the 4th arrondissement. But I owe her a colossal debt. She had a way of challenging every preconception as well as a knack of exposing one’s shortcomings, technical or otherwise, quite mercilessly. She saw something in me that I did not even see in myself. It was only after I had left the boulangerie that I realised that what had seemed like torture at the time was actually an act of kindness, equipping me to avoid certain professional embarrassments in the future. And, despite her severity, she was extraordinarily generous, even bequeathing to me her unique collection of transcriptions of Renaissance and Baroque music (from Monteverdi to Rameau), including scores and parts of her favourite Bach cantatas, all meticulously annotated – some of my most treasured possessions.

How was I to translate this painfully acquired theory and ear-training into actual sound when standing in front of a choir and orchestra? Luckily by this stage (1967–​8), while I was a student in Paris and Fontainebleau, from time to time I had access to an ‘instrument’ in London – ​the Monteverdi Choir. It had all started back in 1964 when I was in my third year at Cambridge. My tutor, the social anthropologist Edmund Leach, authorised me to take a year off from the History tripos to sieve through the possible directions my life might take and, crucially, to find out whether I really had it in me to become a full-time musician. Ostensibly I was there to read Classical Arabic and medieval Spanish; in practice the task I set myself was to perform Monteverdi’s 1610 Vespers, a work that, although I had first heard it as a child, was still very little known and had never before been performed in Cambridge. Despite the dual handicap of my relative inexperience as a conductor and my little formal musical training up to that point, I had set my heart on conducting one of the most challenging works in the choral repertoire. I spent the best part of that year studying the original part-books on microfilm and, with the encouragement of the Professor of Music, Thurston Dart, preparing a new performing edition. I also ended up doing everything involved in planning a public performance in King’s College Chapel – ​from assembling and training the choir and orchestra, to having the tickets printed and putting out the chairs.

Vibrant colour contrasts and passionate declamation seemed to me to be the hallmark of this music. The test for me was whether I could draw any of that from a group of student singers trained in a totally different tradition. To that extent the Monteverdi Choir started life as an anti-choir – ​in reaction to the well-mannered euphony and blend which characterised the celebrated chapel choir at King’s in my day, whose mantra was ‘Never louder than lovely’. Their style was summed up for me by a performance, at Boris Ord’s memorial service, of Jesu, meine Freude – ​that most extended and interpretatively challenging of Bach’s motets – ​sung in English with effete and lip-wiping prissiness: ‘Jesu . . .’ (pronounced Jeez-ewe), followed by a huge comma and expressive intake of breath, ‘. . . priceless treasure’ (pronounced trez-ewer). I seethed. How had the wonderfully exultant music that I had known since I was a child come to be treated in such a precious, etiolated way? Was this not like adding a layer of face powder and a few beauty spots to the dour old Cantor’s portrait?

My first attempt at performing Monteverdi’s masterpiece took place in March 1964 with some of the same performers. It fell a long way short of the ideals I had set for it, yet people who heard it were encouraging, even enthusiastic. For me it was not just a test of skill, but the epiphany I had been searching for. The decision was made: better to follow an overwhelming passion, even one that would need years of study and practice and with absolutely no guarantee of success, than to pursue safer career paths for which I might already have had the rudimentary technical qualifications. I was encouraged to persist in my rebellion against the vestiges of Victorian performance and to find a more permanent footing for the Monteverdi Choir. My starting-point, then as now, was to bring passion and expressivity to the vocal music of the Baroque, and, as appropriate, to the nationality, period and personality of the composer. In a typical programme, such as we gave in the Cambridge Festival in 1965, devoted to music by Monteverdi, Sch�tz and Purcell, we set out to enable listeners to hear the idiosyncratic approach of each master sung in the original language, to follow each composer as he experimented with music based on recitation over a figured bass line and revelled in the new expressive range it offered. It was heady stuff, and our efforts were doubtless crude and exaggerated; but at least they did not sound half-baked or indistinguishable from Anglican pieties during a wet November Evensong.

I was desperately short of working models. Nadia Boulanger no longer conducted. Nor did Thurston Dart, from whose Sherlock Holmes-like approach to musicology I had learnt a great deal in the postgraduate year that I studied with him after he moved to King’s College, London. I did, however, have the luck to observe the distinguished keyboard virtuoso and conductor George Malcolm. George knew how to draw dazzling performances of a most un‑English ardour from his choir at Westminster Cathedral, and, amazingly, he took the trouble to travel up to Cambridge to hear my first Vespers performance. Here was a true master and, I felt, a kindred spirit, whose approbation and encouragement at that stage made all the difference to me, although he had virtually given up choral conducting.

Then, at a friend’s invitation, I went to hear Karl Richter conduct his Munich Bach Choir in 1967. Richter was acclaimed as the foremost exponent of Bach’s choral music at the time, but even his muscular LP recordings of cantatas hadn’t prepared me for the oppressive volume and sheer aggression of the motet Singet dem Herrn as delivered by seventy lusty Bavarians from the gallery of the Markuskirche. This was a world apart from the mincing ‘holy, holy’ approach of King’s or the Bach Choir in London in their annual Good Friday Matthew Passion outing at the Royal Festival Hall, but hardly more inspiriting. Nor did Richter’s thunderous approach to the Goldberg Variations next day on a souped‑up Neupert harpsichord, given in the Musikhochschule (Hitler’s former residence), do much to restore my faith. Here, as in most of the live performances or recordings that I had access to, Bach came over as grim, sombre, po‑faced, lacking in spirit, humour and humanity. Where was the festive joy and zest of this dance-impregnated music? A few years later I heard a performance of the John Passion under Benjamin Britten, a very fine conductor who combed out the separate strands of Bach’s elaborate counterpoint before my ears, revealing the work’s drama from the inside. Yet, even so, to me it sounded fatally ‘English’. I felt a similar disappointment when I first heard Mozart played in Salzburg and Vienna in 1958: the elegant surface of the playing seemed to overlay and disguise the turbulent emotional inner life of the music.

Most helpful customer reviews

235 of 246 people found the following review helpful.
A Report from the Field
By Bach Lover
This is, and I am sure it will continue to be, one of the most interesting, well researched and valuable of books written on J.S. Bach and his times to date. I began it the day it arrived and have barely put it down. That is saying a lot as I have been buying and listening to and reading about Bach for the past 50+ years.
Just a quarter of the way into its more than 600 pages, I can report that this book should prove to be invaluable to anyone interested in Bach, the Baroque, and the musicians of that era and before. It is Gardiner's clear and compelling writing, the depth of his research, and his emphasis on Bach's life that is so very compelling. Who was Bach? Why was he that way? And how did his life shape his music? Answering these questions are the objectives of the book. He does it better than anyone I have read. There is much new information discovered only in the last decade or more.
I will revise this review when I've finished reading, but I wanted to send a dispatch that in the first four chapters, this is proving to be a wonderful and instructive read. And a last note: the footnotes are terrific.

45 of 47 people found the following review helpful.
John Eliot in the Castle of Heaven
By Johannes Climacus
I do not mean to derogate from Sir John Eliot Gardiner's status as one of the great luminaries of the podium in our age--to say nothing of his status as a pioneer and perfecter of period performance practice--but in the end the capstone of his career might well turn out to have been in the medium of prose rather than musical performance! This is, quite simply, the most fascinating, engrossing, erudite and stunningly written work on the Leipzig Cantor available. Too bad it focuses primarily on his sacred music (I would love to have Gardiner's obiter dicta on many of the keyboard, chamber and orchestral works treated only tangentially here); but within that limited scope, Gardiner has achieved something quite remarkable: a work of musical historiography that manages to combine rigorous scholarship with philosophical acumen and literary flair. As a philosopher with a keen interest in the interface between aesthetics and religion, I particularly appreciated Gardiner's thorough understanding of the exigencies of church music within the Lutheran tradition, and his situating of tht tradition within the larger framework of Church history, scriptural exegesis and Christian spirituality. His effort to discern Bach's character and aspirations from his church music rather than principally from the documentary evidence (which is relaitvely meager) fixes the reader's (and listener's) attention where it must always begin and end--namely, with the scores themselves, as performed and heard. His charting of Bach's creative development, through the seasons and struggles of his career calls our attention anew to the status of the sacred music--particularly the Cantatas--as a kind of spiritual journal recounting the consolations and desolations of a fragile, fallible genius who also happened to be something of a mystic. For Gardiner, in the end, Bach's sacred-musical testament amounts to the bravest and most brilliant of stands against the depredations of our human condition at its most terrifying--and *for* the transcendence to the rapture of creativity fitfully but effectually points.

I cannot recommend this work highly enough. Its pages will afford a fresh encounter with the composer, even if you have been studying his works and his commentators (as I have) for nearly a lifetime. But even more tellingly perhaps, you will encounter John Eliot Gardiner in a new way--as an accomplished writer and winsomely humane scholar.

82 of 94 people found the following review helpful.
An outstanding revelation of Bach's choral works for those who know music.
By Amazon Customer
I really like this book, although I probably won't finish it. I have about 50 of Gardiner's cantata recordings and other works but I am not a musician and don't read music. The book is a wonderful synthesis of historical information on Bach and Gardiner's intuitions derived from his intimate knowledge of the music, especially the choral works. But I can't "hear" the music when Gardiner describes it, and I can't read he notes he shows.

This book cries out for a total multimedia treatment. When JEG mentions a phrase or musical element, I'd like to be able to click and hear it. I've been to one of his lecture concerts and to several of Helmut Rilling's and that's whee I really learn. I'm really sorry the book can't quite give me that.

All that said, I really like this book. I recommend it to anyone who's willing to deal with the issues.

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[T673.Ebook] Free PDF The Monogram Murders: A New Hercule Poirot Mystery (Hercule Poirot Mysteries), by Sophie Hannah, Agatha Christie

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Since the publication of her first novel in 1920, more than two billion copies of Agatha Christie's books have been sold around the globe. Now, for the first time ever, the guardians of her legacy have approved a brand-new novel featuring Dame Agatha's most beloved creation, Hercule Poirot.

Internationally bestselling author Sophie Hannah breathes new life into the incomparable detective. In this thrilling tale, Poirot plunges into a mystery set in 1920s London—a diabolically clever puzzle that will test his brilliant skills and baffle and delight longtime Christie fans and new generations of readers discovering him for the first time. Authorized by Christie's family, and featuring the most iconic detective of all time, this instant Christie classic is sure to be celebrated by mystery lovers the world over.

• Sales Rank: #53042 in Books
• Published on: 2014-09-09
• Released on: 2014-09-09
• Format: Deckle Edge
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.05" w x 6.00" l, .0 pounds
• Binding: Hardcover
• 320 pages

Amazon.com Review
S.J. Watson Interviews Sophie Hannah

S.J. Watson is the New York Times bestselling author of Before I Go to Sleep.

SJ: In The Monogram Murders, you channeled the voice of the legendary Hercule Poirot. How was writing a longstanding character invented by someone else different from writing your own?

Sophie: Not as different as you might think. I know Poirot so well, from reading all the Christie Poirot novels lots of times. In a way, writing this book felt similar to writing about a real person I was very familiar with. It was a bit like writing an episode in the biography of someone I greatly admire.

SJ: What is your all-time favorite Agatha Christie mystery?

Sophie: That’s a tough one. Currently, Sparkling Cyanide - so clever and surprising - but I change my mind all the time. My favorite Poirot novel is After The Funeral.

SJ: What kind of research did you do prior to sitting down and writing The Monogram Murders?

Sophie: I reread all the Christie Poirots, and I booked a week's holiday at Greenway, Agatha Christie's former holiday home in Devon. I hoped that inspiration would strike if I went there, and it did. On the first night there, I propped myself up in bed with my laptop, about five metres away from an enormous portrait of Agatha, and starting putting together my plot. By the time I left at the end of the week, I had the whole story in my mind and on my computer - every last detail. If I were a superstitious person, I would say that Agatha helped me...but of course I'm far too sensible and rational to suggest that! (Or am I?)

SJ: What do you think are some of the quintessential traits of an Agatha Christie mystery? Did you try to incorporate any into The Monogram Murders?

Sophie: I tried to incorporate what I think of as all the crucial ingredients of a Christie/Poirot novel: a gleeful delight in storytelling; an outlandish/apparently impossible opening scenario that is later revealed to be eminently possible; the perfect combination of ease and pleasure for the reader with a challenging intellectual puzzle; a profound intelligence that at no point makes the reader feel stupid or condescended to; the centrality of motive and psychology; the combination of a light/feel-good experience for readers with a sophisticated awareness of the dark depravity of human beings. Christie, more than any other crime writer, is able to include polar opposites in her novels - light-dark, easy-difficult - without either ever detracting from the other.

SJ: Do you think Agatha Christie would have been pleased with The Monogram Murders?

Sophie: I can't speak for her. I fervently hope so! Wherever she is, I hope she's pleased!

Review
“Sophie Hannah does an egoless, silky job of reviving Agatha Christie’s beloved Belgian detective Hercule Poirot...enough so to hope that Hannah turns to Miss Marple next.” (USA Today)

“Christie herself, some might say, could do no better.... Enough twists, turns, revelations and suspects to cook up a most satisfying red-herring stew. Literary magic.” (Washington Post)

“Does Sophie Hannah’s Poirot live up to our expectations? Yes, he does, and markedly so.... As tricky as anything written by Agatha Christie. The Monogram Murders has a life and freshness of its own. Poirot is still Poirot. Poirot is back.” (Alexander McCall Smith, New York Times bestselling author of The No. 1 Ladies' Detective Agency)

“Perfect...a pure treat.” (Tana French, New York Times-bestselling author of The Secret Place)

“Terrific.... uncanny. As Hercule Poirot himself would say, ‘Bravo, Madame Hannah. Bravo.’ ” (Boston Globe)

“Sophie Hannah is a prodigious talent. I can’t wait to see what she does next.” (Laura Lippman)

“Sophie Hannah’s idea for a plot line was so compelling and her passion for my grandmother’s work so strong, that we felt that the time was right for a new Christie to be written.” (Mathew Prichard, grandson of Agatha Christie)

“Sharply written and rigorously plotted, this Poirot mystery rivals many of Christie’s own.” (NPR)

“Equal parts charming and ingenious, dark and quirky and utterly engaging…I was thrilled to see Poirot in such very, very good hands. Reading The Monogram Murders was like returning to a favorite room of a long-lost home.” (Gillian Flynn, #1 New York Times bestselling author of Gone Girl)

“Sophie Hannah’s The Monogram Murders does Christie proud. Our favorite detective is back and in impeccable form!” (Charles Todd, New York Times bestselling author of An Unwilling Accomplice)

From the Back Cover

"Equal parts charming and ingenious, dark and quirky and utterly engaging. Reading The Monogram Murders was like returning to a favorite room of a long-lost home" -Gillian Flynn, #1 New York Times bestselling author of Gone Girl

"Perfect... a pure treat." -Tana French, New York Times bestselling author of The Secret Place

"As tricky as anything written by Agatha Christie. The Monogram Murders has a life and freshness of its own. Poirot is still Poirot. Poirot is back." -The New York Times Book Review

"Christie herself, some might say, could do no better . . . . Enough twists, turns, revelations and suspects to cook up a most satisfying red-herring stew. Literary magic." -The Washington Post

"Terrific . . . . uncanny. As Hercule Poirot himself would say, 'Bravo, Madame Hannah. Bravo.' " -The Boston Globe

NEW YORK TIMES BESTSELLER

Since the publication of her first novel in 1920, more than two billion copies of Agatha Christie’s books have been sold around the globe. Now, for the first time ever, the guardians of her legacy have approved a brand new novel featuring Dame Agatha’s most beloved creation, Hercule Poirot.

‘I’m a dead woman, or I shall be soon…’

Hercule Poirot's quiet supper in a London coffeehouse is interrupted when a young woman confides to him that she is about to be murdered. �She is terrified – but begs Poirot not to find and punish her killer.�Once she is dead, she insists, justice will have been done.

Later that night, Poirot learns that three guests at a fashionable London Hotel have been murdered, and a cufflink has been placed in each one’s mouth. Could there be a connection with the frightened woman? While Poirot struggles to put together the bizarre pieces of the puzzle, the murderer prepares another hotel bedroom for a fourth victim...

Most helpful customer reviews

345 of 354 people found the following review helpful.
Really Not Up to Snuff
By JMB
Regardless of the glowing praise on the back of the dust jacket, Sophie Hannah has not written "a new Christie" novel. The beauty of the genuine Christie mysteries, and of the Poirot novels in particular, is their elegance of plot and character. Though she utilized the occasional red herring and sudden appearances of new characters to turn a plot, Agatha Christie's writing and plot lines were graceful and not unnecessarily complicated. Her dialogue sparkled and snapped, and her famous detectives were imbued with charm and life. Sophie Hannah, on the other hand, has written a ham-fisted pastiche of a Poirot mystery that dwells unnecessarily on useless and obscure clues, far too many red herrings and a convoluted plot line that stretches credibility. Her Poirot is charmless and flat, the Japp//Hastings substitute so bland and characterless as to be completely superfluous and forgettable. I generally enjoy Sophie Hannah's mystery work, but have found that the last two or three of her books have been tiresome in their overwrought attempts at psychologically twisted cleverness. This attempt was as irritating as her last few books have been. Hannah's choice to set much of the story in the Culver Valley, as she has done with all her "own" mysteries, is, frankly, jarring and pointlessly twee. Finally, the conceit of splashing Agatha Christie's name across fully half the book's cover and listing all Agatha Christie's books at the back of the novel strikes me as in the poorest of taste. This is NOT an Agatha Christie novel, and the use of Christie's name and the inclusion of the list of her own works smacks of presumption and crassness on the part of Hannah and the publisher.

248 of 253 people found the following review helpful.
Poirot just knows...
By FictionFan
A terrified woman bursts into the coffee house where Hercule Poirot is partaking of the best coffee in London. When Poirot tells her he is a detective, she seems tempted to share her worries but in the end tells him only that she is about to be murdered and that, once she is dead, justice will have been done. Pausing only to beg him to prevent the police from investigating, she pleads cryptically 'Oh, please let no one open their mouths' and flees back into the night. Meantime Mr Catchpool of Scotland Yard, who lives in the same lodging house as Poirot, has been called to the Bloxham Hotel where three guests have been found murdered. Poirot (psychically) suspects there may be a link...

In fact, I hadn't ever before realised just how psychic Poirot was. How remiss of Ms Christie never to reveal this fact! All these years she led us to believe he came to his conclusions based on his reading of the clues, his ability to see through the red herrings to the facts, the superior power of his little grey cells. Ms Hannah kindly lets us in on the true secret though. Clues are unnecessary. Poirot just knows what has happened. At each stage, as other people flounder to make sense of the plot (well, I certainly did!), Poirot sees straight through to the truth without the need for any pesky evidence or suchlike nonsense. What a gift! Unfortunately not one that makes a detective novel work very well though...

If this book had been written about a detective called Smith, it might have rated maybe three stars. The plot is convoluted, psychologically unconvincing and over-padded. The list of suspects is far too small, meaning that there are no big surprises come the reveal. But the writing style is quite good, some of the characterisation is fine and the descriptions of the places involved in the plot are done reasonably well.

BUT...there is a great big 'Agatha Christie' on the front of the book, so this should really read like one of hers, shouldn't it? It doesn't. From the very beginning Poirot is not right. For a start, he has moved into a lodging house because he wants to escape from his fame for a while and be anonymous. Doesn't sound like the Poirot I know! Secondly we hear almost nothing about his little foibles - his vanity, his moustaches, his rotundity, his endearingly egg-shaped head, his patent leather shoes. We do get to hear a little about his passion for order but just as a sop. Thirdly he goes about searching rooms and seeking out physical clues like Holmes on an eager day. The real Poirot, as we know, is actually much more interested in the psychology of the crime. Fourthly, when the real Poirot speaks French, he kindly only uses words we're all going to get without resorting to a French-English dictionary - mais pas ce pr�tendant. Fifthly, at the end he actually participates in a formal police interview in a police station - but I was past the stage of caring long before then anyway. So I'll be kind and spare you sixthly, seventhly...etc.

I saw Sophie Hannah being interviewed about the book on the BBC News channel, and she said that she had decided not to try to recreate Christie's style. So she created a new character, Catchpool, to be the narrator so that he could bring a new voice to the story. I was willing to go along with this idea, though it seemed a shame not to have Hastings along for the ride. But firstly (sorry), Catchpool is extremely annoying. He can't stand dead bodies, keeps walking away from the investigation, is as thick as a brick and basically hands the entire investigation over to Poirot (mind you, with Poirot's amazing supernatural abilities, who wouldn't?). Secondly, he's struggling not to reveal that he's gay - that's never spelled out, but it's quite clear from the unsubtle hints that are dropped all over the place. Now I know it's obligatory that every police officer in detective fiction is either gay or drunk these days, or both, (I suppose I should be glad that at least he was sober), but this is supposed to be a Christie-style book. I'm certainly not arguing that all gay men should be portrayed like Mr Pye in The Moving Finger, but the idea of Ms Christie having a gay policeman is frankly ridiculous. And Poirot's psychic powers let him down on that one, since he seems determined to pair Catchpool off with a nice woman. Thirdly, Catchpool tells the story in the first-person (past tense, thankfully), and yet knows every detail of what happens when he's not there. So he can describe all of Poirot's conversations verbatim, tells us when people stand up, sit down, blush, etc. - clearly Poirot's psychic abilities are catching.

The last fifth of the book is taken up with the traditional get-together where Poirot reveals what happened, but it goes on for ever and is mainly just Poirot telling us the whole story, with no reference as to how he came by all these amazing insights. As I said before, he just knows! And considering how silly and unlikely the plot is, that seems beyond miraculous.

I can only say that I sincerely hope there won't be another of these. If there is, even I will be able to resist the temptation next time. Because now (cue spooky music), FictionFan just knows too...

192 of 199 people found the following review helpful.
Missed the point entirely.
By T.
While I was excited about reading another Poirot mystery, this book turned out to be a disappointment. The underlying problem is that the author missed the fundamental idea and appeal of Agatha Christie's stories, specifically the ones featuring Poirot. The superficial details are faithfully reproduced: Poirot's verbal tics, his obsession with order and detail, the substitute for Captain Hastings, the interbellum London setting, etc. What's missing is the talent Christie had that distinguishes her from other mystery authors: the ability to create and develop a clever plot.

Consider, in constrast, works like "The Murder of Roger Ackroyd", "Lord Edgware Dies," "Peril at End House," "The ABC Murders," "Evil Under the Sun," etc. The solutions to Christie's mysteries were always brilliant and elegant but fair to the reader. The mystery in Hannah's novel is a mess. It's unnecessarily complicated, it involves too many uninteresting characters, it requires no insight or trick to solve, and it's unsatisfying after it's revealed. Although all the superficial details are there, this new novel fails completely to capture the mood of the original. It's not a drawing-room or village murder, or even a locked-room mystery or murder-in-retrospect. If anything, it's a modern crime thriller or even something like a police procedural (with a private investigator rather than a police officer) disguised as an older novel. We watch Poirot conduct an investigation, interrogate forgettable witnesses, and gradually piece together a bloated, convoluted mystery. The novel lacks the cleverness of Christie's work and her ingenious solutions, and adding Poirot to an otherwise forgettable modern thriller isn't enough to redeem it.

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This concise guidebook consolidates the main concepts of the cancer gene theory, and provides a framework for understanding the genetic basis of cancer. It illuminates the integrated contributions of heredity, the environment, and acquired genetic instability.

• Sales Rank: #2166332 in Books
• Published on: 2010-10-19
• Released on: 2010-10-19
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .77" w x 6.00" l, 1.05 pounds
• Binding: Paperback
• 326 pages

Review

From the reviews:

“The book is exceptional in its clarity and scope of presentation. … Bunz focuses on a laser with short clear descriptions and presentations. … All in all a superb little gem worth being on many a desk. I find it is worth going back to from time to time.” (Philosophy, Religion and Science Book Reviews, bookinspections.wordpress.com, December, 2013)

Most helpful customer reviews

6 of 6 people found the following review helpful.
A Wonderful Short Overview of Cancer Genetics
By Dr. Terrence McGarty
I had this sitting on my shelf as a backup reference for a few months and finally opened the book. At first I was not impressed but when I began reading it the book is exceptional in its clarity and scope of presentation. If one has read Weinberg, the bible if cancer genetics introduction, then this appears to be quite a step down, but in reality it distills and focuses the topics exceptionally well. Whereas Weinberg goes into massive detail, and rightly so, Bunz focuses on a laser with short clear descriptions and presentations.

Chapter 1 details the now well understood ways in which cell DNA destruction happens. There is a good short presentation of the Vogelstein model and a setting up of the genetic flows which control the steps in the conversion of cells to the metastatic state. The graphics are crisp and well done and satisfy the point to be made.

Chapter 2 is on oncogenes and the chapter provides a good historical perspective and also establishes the lead in for the following chapters. The viral oncogene discussion is typical for its clarity and briefness. It reads very well to the experienced eye and I suspect it will do as well for the uninitiated. I also found the PIK3CA discussion on kinases exceptionally well done and useful for staging the follow on topics.

Chapter 3 on tumor supressor genes is also well done. The discussion on APC and p53 is a good overview and provides adequate basis for building on the topic.The PTEN discussion also establishes the now well understood need to focus on PTEN since it plays such a critical role in many cancers such as that of the prostate.

Chapter 4 is on gene instability and puts all of the elements together.

Chapter 5 is in my opinion the best and it is on the pathways. This is a significant area because by understanding what they are and how to control them perhaps a wealth of treatment options may become available.The author starts with the full pathway map and then goes pathway by pathway. I found the discussion here more focused and clearer than Weinberg. Clearly Weinberg is the gold standard but by reading through Bunz Chapter 5 one can get a short focused and integrated discussion.

Chapter 6 then takes these principles and looks at them from a cancer by cancer set of lenses. This is useful and it allows the reader to focus in on specifics and what is known and not known.

Chapter 7 provides a brief clinical overview.

All in all a superb little gem worth being on many a desk. I find it is worth going back to from time to time.

Yet there is a gap in the literature that this could have addressed, that is the development of true pathway modeling. The ability to link proteins and enzymes to genes, the detailed epigenetic controls, and the catalyst of secondary pathways and inter-cellular communications. Perhaps it is still too early since much of this is yet to be developed in a fully systematic fashion in the literature.

1 of 1 people found the following review helpful.
Best introduction to cancer genetics.
By Tacitus
I agree with the other reviews on this book. The writing is very good and if you read this book from cover to cover you will have a good grasp of cancer genetics. I think chaper 5 on Cancer Gene Pathways is particularly good. I learned a lot from this chapter ! This book holds an important place on my bookshelf.

2 of 3 people found the following review helpful.
Very nice new book on cancer genetics
By Todd Waldman
This new book on Cancer Genetics, written in its entirety by Dr. Fred Bunz of Johns Hopkins School of Medicine, provides a a very nice introduction to modern Cancer Genetics. It is appropriate for advanced undergraduates and graduate students, as well as medical students. The writing is lucid and concise, and the many figures and diagrams provide useful visual emphasis for particularly important points. Overall, this is an outstanding new volume that would provide a useful backdrop for courses in Cancer Genetics and Biology, as well as being a useful laboratory reference.

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Essential Skills--Made Easy!

C#: A Beginner's Guide offers a step-by-step approach to learning object-oriented programming with C# and the .NET Framework while preparing you for data driven-development. More than 150 easy-to-follow examples are included. The book covers Visual Studio for development and debugging, collections and advanced C# structures, LINQ and traditional database development, as well as file, XML, and JSON handling. By the end of the book, you'll have the foundation you need to begin developing advanced data-driven applications in any C#-based platform.

Designed for Easy Learning

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Ready-to-use code at www.mhprofessional.com

• Sales Rank: #975093 in eBooks
• Published on: 2015-01-02
• Released on: 2014-12-03
• Format: Kindle eBook

Most helpful customer reviews

0 of 0 people found the following review helpful.
Great Book. I have not finished it yet
By Amazon Customer
Great Book. I have not finished it yet, but so far he author explained everything clear and the examples are easy to understand. I would recommend this book to anyone who are just learning the basic of C#.

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[A703.Ebook] Get Free Ebook Fundamentals of Gas Shale Reservoirs, by Reza Rezaee

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Provides comprehensive information about the key exploration, development and optimization concepts required for gas shale reservoirs

• Includes statistics about gas shale resources and countries that have shale gas potential
• Addresses the challenges that oil and gas industries may confront for gas shale reservoir exploration and development
• Introduces petrophysical analysis, rock physics, geomechanics and passive seismic methods for gas shale plays
• Details shale gas environmental issues and challenges, economic consideration for gas shale reservoirs
• Includes case studies of major producing gas shale formations

• Sales Rank: #417943 in Books
• Published on: 2015-07-27
• Original language: English
• Number of items: 1
• Dimensions: 11.20" h x 1.10" w x 8.70" l, .0 pounds
• Binding: Hardcover
• 456 pages

Review

“Comprehensive and up-to-date, Fundamentals of Gas Shale Reservoirs is an essential reference for anyone interested in gas shale reservoirs. It is also a must have text for students, of any discipline, studying non-conventional oil and gas resources and it is bound to become the 'gold standard' textbook in this field. In addition, this book is available in both print and e-book edition, making it easy to choose the format that best suits your needs.”� (Tundraco, 1 October 2015)

�

From the Back Cover

Provides comprehensive information about the key exploration, development and optimization concepts required for gas shale reservoirs

Natural gas production from hydrocarbon rich shale formations, known as “shale gas”, is one of the most rapidly expanding trends in onshore domestic oil and gas exploration and production today. Fundamentals of Gas Shale Reservoirs introduces the reader to the topic of shale gas reservoirs and highlights the importance of the shale gas.

In general this book provides comprehensive information about the key exploration, development and optimization concepts required for shale gas reservoirs. It addresses the challenges that oil and gas industries may confront for gas shale reservoir exploration and development. Specifically it covers such topics as shale gas classification, economic considerations, hydraulic fracturing, environmental considerations and issues, reserve estimation, and fluid flow mechanism in shale among others. Through contributions from leading experts in diverse fields, Fundamentals of Gas Shale Reservoirs� features statistics about gas shale resources as well as countries that have shale gas potential.

Other topics covered include:

Organic geochemical properties of shale gas resource systems

Wettability of gas shale reservoirs

Methods used for evaluating pore geometry in shales

Shale gas geomechanics

Gas transport processes in shale

Finally the book includes case studies of major producing gas shales including Barnett, Haynesville, and Marcellus.

Reza Rezaee is a Professor in the Department of Petroleum Engineering at Curtin University, Australia. He is the winner of Australian Gas innovation research 2012 award for introducing a new method to enhance natural gas production from shale gas and tight gas reservoirs. He is a former “Research Fellow”, School of Geology and Geophysics, Oklahoma University.

�

About the Author
Reza Rezaee is a Professor in the Department of Petroleum Engineering at Curtin University, Australia. He is the winner of Australian Gas innovation research 2012 award for introducing a new method to enhance natural gas production from tight gas reservoirs. He has published more than 120 peer-reviewed journal and conference papers and is the author of 3 books. His current research has been focused on integrated reservoir characterization, formation evaluation and petrophysics. He is a former “Research Fellow”, School of Geology and Geophysics, Oklahoma University.

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0 of 0 people found the following review helpful.
Excellent well written book that is very descriptive and helpful ...
By CTB
Excellent well written book that is very descriptive and helpful in this field. Up to date statistics from well known experts in the field. It's about time we had a book like this available for sale!

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[H439.Ebook] Download Social Psychology, by Michael Hogg, Graham Vaughan

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Were you looking for the book with access to MyPsychLab? This product is the book alone, and does NOT come with access to MyPsychLab. Buy Social Psychology with MyPsychLab access card 7e (ISBN 9780273764694) if you need access to the MyLab as well, and save money on this brilliant resource. Updated to include over 250 new references, this trusted, market-leading textbook remains as comprehensive as ever. The 7th edition of this lively introduction places social psychology in a contemporary, real-world context and explores new, cutting-edge research as well as bringing classic theories to life. MyPsychLab gives you access to an unrivalled suite of online resources at www.mypsychlab.com. It provides a variety of tools to enable you to assess and progress your own learning, including questions, videos and interactive learning aids for each chapter of the book. Some textbooks are sold packaged with a student access code card at a reduced cost. If you do not have an access card, you can buy access to MyPsychLab and the eText - an online version of the book - online at www.mypsychlab.com.

• Sales Rank: #2118889 in Books
• Published on: 2013-12-05
• Original language: English
• Number of items: 3
• Dimensions: 10.47" h x 1.22" w x 7.72" l, .0 pounds
• Binding: Paperback
• 784 pages

About the Author
Michael Hogg is Professor of Social Psychology at Claremont Graduate University. Graham Vaughan is Professor of Psychology at the University of Auckland.

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0 of 0 people found the following review helpful.
Three Stars
By Ruth Coltrane
Excellent

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[B576.Ebook] PDF Download Psychology: Themes & Variations, by Wayne Weiten

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PSYCHOLOGY: THEMES AND VARIATIONS, 10th Edition, is a fusion of the full-length and briefer versions that preceded it. The text continues to offer a superb thematic organization together with practical applications and examples that help students see beyond research to big-picture concepts. Often described as a challenging book that is easy to learn from, the book surveys psychology's broad range of content with three aims: to illuminate the process of research and its relationship to application, to show both the unity and diversity of psychology's subject matter, and to help students master the basic concepts and principles of psychology with as little struggle as possible. Weiten's themes provide unifying threads across chapters that help students to see the connections among different research areas in psychology. A dynamic, teaching-oriented illustration program -- including new color-coded Concept Charts -- further enhances these themes.

• Sales Rank: #1200308 in Books
• Published on: 2016-01-01
• Original language: English
• Number of items: 1
• Dimensions: .0" h x .0" w x .0" l, .0 pounds
• Binding: Loose Leaf

About the Author
Wayne Weiten is a graduate of Bradley University and received his Ph.D. in social psychology from the University of Illinois, Chicago, in 1981. He currently teaches at the University of Nevada, Las Vegas. He has received distinguished teaching awards from Division Two of the American Psychological Association (APA) and from the College of DuPage, where he taught until 1991. He is a Fellow of Divisions 1 and 2 of the American Psychological Association. In 1991, he helped chair the APA National Conference on Enhancing the Quality of Undergraduate Education in Psychology and in 1996-1997 he served as President of the Society for the Teaching of Psychology. Wayne Weiten has conducted research on a wide range of topics, including educational measurement, jury decision making, attribution theory, stress, and cerebral specialization. His recent interests have included pressure as a form of stress and the technology of textbooks. He is also the co-author of Psychology Applied to Modern Life (Wadsworth, 2006) and the creator of an educational CD-ROM titled PsykTrek: A Multimedia Introduction to Psychology.

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2 of 2 people found the following review helpful.
GREAT book for an introductory class!
By Shanaz Rahim
The material is very well presented and flows from chapter to chapter. Examples from life and previous studies are abundant and help convey the material. Checkpoints along the chapter review the concepts learned in the section. Very good use of images/graphs/data and they are usually properly explained either in the text or the caption. A few great tools for studing includes an end of the chapter multiple choice test and chapter summaries in two forms (web layout and summary of main theme of the chapter graphically).

MOST IMPORTANTLY, SAME CONTENT AS THE 9TH EDITION!! With the DSM-V out now, I believe that what the professor will cover in and intro class would be sufficient. The eating disorders and mood disorders are reclassified but they still exist. Easy stuff that should be in the lecture or at least Google-able.

Pro tip: Don't buy a used book and expect an access code. Just...no.

3 of 3 people found the following review helpful.
Pretty mad I paid $190 for this new text book ...
By Lindsey Wendorf
Pretty mad I paid $190 for this new text book and there is no access code in it. I have to shell out another $95 for that.

0 of 0 people found the following review helpful.
Thorough, Dense, and Comprehensive!
By Eyes That Shine
This textbook is required for one of our college courses for the psych program. It is used as a comprehensive study of psychology, so we use it is for GRE prep. It is by far one of my favorite textbooks. It is easily laid out. It is a TON of material and literally discusses almost every psychological principle. It's dense, but easy to consume in my opinion. I always refer to it when I need a refresher on a principle or need to recap some material. I definitely recommend for someone needing a well-rounded exam of psychology!

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