Sete anos depois, o romance épico "Goor - A Crónica de Feaglar", volume I está novamente disponível!
PONTOS DE VENDA:
custo: cerca de 16 euros - incluindo despesas de envio (economy) para PORTUGAL
cerca de 52 reais - incluindo despesas de envio (economy ) para o BRASIL
*Pode também contactar directamente o autor: firstname.lastname@example.org
custo: 5 euros/R$12.02
“Lembro que cando rematei de lér a segunda novela de Pedro Ventura (Goor II – A Crónica de Feaglar, aló polo 2007) puiden dicir sen temor ao ridículo que viña de rematar a millor novela de xénero fantástico da miña vida. Aquela novela era o cabo a unha história de coraxe, aventuras e humanidade que tan só facían desexar lér mais e mais (…)”
NOVA FANTASIA (GALIZA - ESPANHA)
"Enquanto leitor senti-me verdadeiramente sugado pela história levando a que consumisse cada pequeno passo da narrativa de forma deliciosa...Tem todos os ingredientes: acção, intriga, romance... Se gosta do género, vai adorar este livro. Eu já vou a meio e estou a adorar! A história é fluida e interessante, tendo lugar num mundo imaginário, onde o valor humano tem um papel muito importante. Quem não comprar este livro não sabe o que perde..."
GALEONDI - YAHOO (BRASIL)
"Goor - As Crónicas de Feaglar I & II são obras inigualáveis. A primeira coisa em que pensei quando terminei de os ler foi "Uau, nunca pensei que houvesse uma obra destas, muito menos escrita por um autor português". (...) Desde cedo entramos num mundo completamente novo. E, apesar de estas duas obras serem classificadas no género Fantástico, desenganem-se se pensam que vão encontrar os seus elementos típicos como fadas, gnomos, elfos, anjos ou vampiros ou o que quer que vos possa passar pela cabeça. Aqui, temos a humanidade dura e crua, onde cada pensamento e acção têm uma intensidade nunca antes expressas desta forma."
SOFIA TEIXEIRA - BLOG MORRIGHAN (PORTUGAL)
Earthman Flash Gordon is joined by a beautiful woman and an esteemed scientist as they journey to the planet Mongo, which is threatening the existence of life on our own world. They find that they must go against the evil Emperor Ming, but to pose a credible threat to Ming they must somehow unite Mongo’s many peoples in the spirit of revolution.
Although Filmation was one of the preeminent television animation studios in the 1970s, its shows have been held in mixed esteem. This was largely due to the limited animation and the frequent use of stock footage, balanced out by frequently entertaining scripts and a moralistic approach to storytelling. Those of us who grew up in that era have our favorite shows, some of which hold up better than others today. Probably my favorite was The New Adventures Of Flash Gordon, an adventure cartoon that had a more sophisticated look than most other shows of that era, not to mention a more mature tone.
Even then, as a preteen, I was aware that the Flash Gordon character had been around for a while, thanks to reading up on the back history of Star Wars— the film George Lucas made when he could not secure the rights for making a Flash Gordon movie. Flash had appeared first in a wonderful newspaper comic strip, created by Alex Raymond in 1934, on direction from the Hearst Syndicate to conceive a rival for the popular Buck Rogers science fiction strip. Thanks largely to the amazing artistry of Raymond, Flash’s popularity came to surpass Buck’s. A succession of other fine artists ensured that Flash’s popularity would last beyond Raymond’s departure from the strip in 1944. George Lucas’s inspiration for his own space saga came largely from the three Buster Crabbe Flash Gordon movie serials which were great theatrical successes and were later shown on television. There was also a TV show in the early days of television starring Steve Holland, but it would take until 1979 for a TV program to approach the creative success of the serials.
Filmation had most of its success with adapted properties, right from its first show, The New Adventures of Superman. They were always on the lookout for what to adapt next, and producer Lou Scheimer was a longtime fan of Flash Gordon. He worked hard to get the rights to do a Flash Gordon movie from King Features/Hearst, and sold NBC on the idea of doing it in live action in prime time. Striving to make the most of the opportunity, he hired Sam Peeples, writer of Star Trek’s successful second pilot, to write a script. What came back to Scheimer was wonderful, but it would cost a fortune to do in live action. He sheepishly told NBC that the movie would have to be done in animation, and fortunately NBC was happy to do it that way.
The budget would still have to be stretched in order to do the movie to the level that Scheimer wanted. Dino De Laurentis, producer of the live action 1980 Flash Gordon theatrical feature, reportedly helped out with some financing since he was impressed with Filmation’s efforts. When the animated version, (titled Flash Gordon: The Greatest Adventure Of All) saw its prime time premiere, it was greeted with practically universal acclaim as one of the most faithful and entertaining comic strip adaptations ever. The movie was then re-edited into the first five episodes of a Saturday morning show, The New Adventures Of Flash Gordon. While those first five episodes gained some new animation, they also excised some scenes such as (most unfortunately) the opening set-up scenes on Earth.
Since Saturday morning viewers did not get to see exactly how Flash came to team up with the lovely Dale Arden and the scientist Hans Zarkov, they were quickly thrown into the story as the threesome was well on its way to Mongo in a rocketship. The ship came down on Mongo, which had been approaching Earth and threatening its destruction. They eventually find themselves in front of Emperor Ming the Merciless, who takes a liking to Dale and covets Zarkov’s scientific genius.
Throughout the rest of the first season, Flash and his comrades repeatedly escape from the clutches of Ming, while making friends and enemies of the various races of Mongo. During the course of their adventures, they create alliances with Thun of the Lion Men, Price Baron of Arboria, and Vultan of the Hawk-Men. Flash’s goal was to unite the various factions of Mongo against Ming, thereby saving earth as well as bringing freedom to the peoples of Mongo. Complicating things were the amorous intentions of a number of females he encountered, including Ming’s own daughter, the luscious Princess Aura.
The first season of the show was based, just as the original movie serial, on the first year or so of Alex Raymond’s comic strip. Flash and his friends traveled to many different areas of Mongo, filled as it was with a large diversity of terrains and humanoids. The exotic settings combined with dynamic action and surprising sensuality to create a cartoon unlike anything on television at the time. Naturally, its quality and distinctiveness led to low ratings; and the serialized nature of the storytelling, comprised of cliffhanging-ending chapters every week, did not help.
But for those who faithfully watched the entire sixteen episodes of the first season unfold, it was magical. The splendor of Raymond’s strip was in great evidence. Nowhere else on Saturday mornings could one find such strong adventure storytelling told in such a serious and compelling fashion. The dangers felt real, and the women were gorgeous. It was enough to blow a kid’s mind!
Sure, it still had a lot of recycled footage, just like all Filmation shows, but it was really good stuff despite the limiting television budget. Filmation used a fair bit of rotoscoping for its adventure programs, giving the characters realistic movement at a level beyond typical Saturday morning fair. So, one didn’t mind watching a glorious run cycle or Princess Aura turning over on a couch over and over again quite so much. Even the ships got rotoscoped, adding further realism to their movements while flying over Mongo. Admittedly, this still looks like Saturday morning television; the budget and time constraints did not allow for full animation. But the directors did a fine job at economizing the animation to get the most out of the artists and provide the best visuals possible. The draftsmanship on the show is very good, especially given the detailed, realistic models the animators had to work with.
As I mentioned, low ratings for The New Adventures Of Flash Gordon led to creative changes on the show, and the second season was a shadow of the first. The drawing was still first-rate, but the storytelling became simpler. Gone was the epic season-long storyline with cliffhanger chapter endings. Instead, each episode was broken up into two unrelated stories, often featuring a childish pink dragon named Gremlin. At this point, it still wasn’t really a bad show. Some of the second season stories were decent enough (even Paul Dini’s name shows up in the writing credits), but it just wasn’t the same anymore.
Anyone who loved the first season was bound to be disappointed in the second, while those that stopped watching the first season likely never came back to see its less interesting second season. The second season had only eight episodes (sixteen stories), however, so its content does not reflect much on the show as a whole.
Ah, but that first season! Glorious.
by Randall Cyrenne
Só alguém muito desatento poderá encontrar alguma originalidade na base desta história de "Ficção Científica" - o que isto me custou escrever! Não conhecem o trabalho de Jack Finney ou, pelo menos, uma das adaptações cinematográficas de Invasion of the Body Snatchers? Nem a Jadzia Dax do Star Trek Deep Space Nine? Animorphs? Então voltem cá depois de terem aprendido alguma coisa...
O pior é que Meyer cola nesta história a sua fórmula acéfala de Twilight - uma afronta a qualquer mulher inteligente e um péssimo modelo para as jovens - para mais um disparate que não passa de umas centenas de páginas de mais um "livro para tontinhas" - infelizmente há muitas e isto acaba por ser receita para o sucesso... O Péssimo é passar a filme! Tristes tempos estes...
Lá temos uma história de amor doentio "meyeriana" (que se lixe o fim da humanidade...) e viva a estupidez masoquista! A história dos invasores também é ridícula, com claras falhas.
Previsível, monótono, com uma prosa repetitiva, personagens planas e com personalidades irreais, sem profundidade, etc - all Meyer, portanto! Se tiverem dois dedos de testa e amor-próprio evitem mais este disparate!
Querem algo "a sério"? The Possessors
"If being a brainless fucktard was a crime, Stephenie Meyer would be going straight to the electric chair. No trial."
Floating Dragon – Um dos melhores trabalhos de Peter Straub sem dúvida — em contraste com Mr. X. um exercício de algum narcisismo exagerado. Um livro ( muito ) inteligente de horror sobrenatural em “grande escala”. Aqui tudo parece tecido com cuidado milimétrico e essa teia agarra-nos desde o primeiro instante. O ritmo… é adequado e as personagens são intrincadas e inesquecíveis, não sendo apenas figurantes “carne para canhão” – como geralmente acontece nos livros de contornos “body count”. A ideia de ser um calhamaço desaparece para quem suportar bem o peso dos artifícios necessários ao suspense. Imagine-se que até as personagens femininas são credíveis e isentas dos estribilhos habituais! Além do mais, este livro é realmente bizarro e arrepiante – sendo nestes aspectos até superior a King. Mas não direi mais para não ser spoiler! Prepare-se para sentir arrepios…
A partir de hoje, a Andreia Torres (co-administradora do blogue) ficará responsável por parcerias, entrevistas, pedidos de divulgação e pela gestão das encomendas de livros. O facto prende-se com a minha reduzida disponibilidade temporal.
From now on, Andreia Torres (co-administrator of the blog) will be responsible for partnerships, interviews, requests for divulgation and management of the orders for books. The fact has to do with my limited time availability.
Altered Carbon de Richard K. Morgan. Tido por alguns como uma obra de culto no universo Ciberpunk ( ou talvez apenas por isso ). O enredo é interessante, tal como a ideia que lhe serve de tálamo. Porém, à luz de uma comparação com William Gibson, passa a ser a visão sobre esta obra a ficar “alterada”. Mas até nem precisamos de tanto (desculpa Léo Spitzer) para perceber como o livro é aborrecido – tanta “palha” poderia ter sido cortada por um editor avisado! O estilo é forçado, muito! Insistir em “marcas de estilo” só para agradar aos apreciadores do género geralmente dá nisto – um absurdo forçado, artificial e ridículo. Só um Anatole France vestido de “leather” aprovaria. As descrições das personagens são paupérrimas e as cenas de sexo parecem descritas por um rapazola de 13 anos. No fim, não é Spillane nem Gibson… Mas há quem goste…
No âmbito da nossa política de parcerias, agora da minha responsabilidade, vamos continuar a divulgar a nossa primeira parceira:
Trabalha como revisora de textos, crítica literária e escritora. Nas horas vagas é blogueira, ama literatura. É uma leitora assídua, compulsiva por livros, jornais, revistas, catálogos e tudo que tiver letrinhas para ser lida.
Pesquisadora obcecada por novidades, por história e tudo que implica um novo conhecimento para o desenvolvimento de sua escrita.
Especializada em Teoria da Literatura, Edição, Revisão e Metodologia Cientifica. Agatha escreveu seu primeiro romance sobrenatural chamado "Desolada", com o lançamento previsto para Agosto de 2013, na Bienal do Rio de Janeiro.
Além de sua antologia de Crônicas chamada "Melancolia", que terá seu lançamento em Abril de 2013.
A Autora também ganhou o concurso de contos, produzidos pela Editora Deuses. A Antologia se chamará: Catarse - A Apoteose dos Contos em companhia com mais 24 escritores finalistas. O lançamento ainda não tem previsão, porém logo serão lançadas notas sobre as novidades neste blog da autora.
A Autora também possui um blog literário, da qual ela escreve sobre seus pensamentos a respeito da literatura e do mercado literário.
Seu blog Essência também traz para seus leitores informações literárias de escritores brasileiros e estrangeiros, informação jornalística, livros do dia escolhido por ela, literatura infantil e muitos outros atributos junto a parceria com a Editora Deuses, onde trabalha actualmente como revisora e editora.
Para conhecer o blog clique aqui!
Neste blog pessoal, vocês encontrarão suas Crónicas, Contos, Pensamentos e Trechos de seus Projectos como escritora, lançamentos, parcerias e muitas outras informações.
Sejam bem vindo e não deixem de comentar, sua opinião é muito importante.
Envie um e-mail para: email@example.com
A respeito da Editora Deuses, envie para: firstname.lastname@example.org
Acesse seu facebook: www.facebook.com/ag.deassis
Seguem a autora no Twitter: @AgathadeAssis1
The Apparition Trail
Steampunk meets the supernatural in a Canada that might have been...
The year is 1884, and Corporal Marmaduke Grayburn of the North West Mounted Police always gets his man. But when he is assigned to the secretive Q-division — an elite unit of paranormal investigators founded by legendary Mountie Sam Steele — Grayburn discovers that his own psychic powers might lead to more than he bargained for.
With the aid of the eccentric paranormal researcher Arthur Chambers, Grayburn sets out in search of a missing minister and a magical Native artifact known only as the Manitou Stone. But in a land where perpetual motion machines and locomotives meet ancient sorcery, can Grayburn discover the secret of the stone and maintain the uneasy peace between the scattered Indian tribes and settlers? Or will his own buried secrets lead him towards the dark fate that waits at the end of the Apparition Trail?
About Lisa Smedman
Lisa Smedman is an author and a game designer. She has done extensive work on various role playing games for Wizards of the Coast, TSR and the extremely popular game - Deadlands! She is the author of five best selling Shadowrun novels - including The Lucifer Deck, Blood Sport, Psychotrope, The Forever Drug and Tails You Lose. In addition, Lisa has authored two novels and contributed numerous short stories for anthologies set in the Forgotten Realms world. Extinction is currently on the New York Times best seller list. Lisa lives in Vancouver, Canada.
"The Apparition Trail, is a heady combination of both historical fantasy and science fiction ... a truly ripping tale of adventure ... a fun, fast paced yarn with several unexpected twists." —Arinn Dembo, Vancouver Courier
"If your mental image of the RoyalCanadian Mounted Police is something like "The Dudley Do-Right Show" or...shudder...the 1999 film, just get that out of your head right now. The world Lisa Smedman has created may have its moments of comic relief, but you won’t find the bungling buffoons you might be expecting. Some of the characters are downright heroic and some of the moments are unquestionably chilling." — Lisa DuMond, Freelance Writer/Editor
"She keeps a complex plot moving; meanwhile she maintains a Victorian sensibility in keeping with the character of Grayburn. The result is a fantasy with deep, unusual roots." — Sue Burke, reviewer La Revista Galaxia
"Smedman does an excellent job of creating a frontier society which is quite different from the typical frontier society of cowboys, madams and Indians which seem to populate so many Westerns. Her world, with its perpetual motion machines, magic, and Victorian sensibilities is a breath of fresh air which invites the reader in and welcomes them even as it warns them that this world is as harsh and unforgiving as any other." — Steven H Silver, reviewer
"The Apparition Trail by Lisa Smedman. Those of you who know me (and read my column) know what a big fan of Forgotten Realms I am. One of my favorite series is the War of the Spider Queen books, which author Lisa Smedman turned in a classic fourth book. I tore into this book when I received it and was not disappointed. In an alternate 1884 Canada, we follow the path of paranormal investigation, psychic powers and a plot that will keep you along for the ride. Tesseract Books." — Armand Rosamilia
"Smedman has a great deal of fun introducing perpetual motion machines, including redesigned train engines and air bicycles (held up by helium balloons)." — Donna McMahon, reviewer SF Site
Já está disponível para download gratuito a Antologia editada pelo Roberto Bilro Mendes e pelo Ricardo Loureiro e que reúne as obras de ficção publicadas na ISF Magazine e no Site da ISF no ano de 2012! 3 versões (e.pub, mobi e pdf) disponíveis de forma GRATUITA!
Behold the Man – Se forem apenas cristãos fundamentalistas podem considerar este livro mais uma blasfémia, enformada num desnorteado “time travel” que pretende ser ( apenas ) mais uma sátira. Se não forem tão limitados intelectualmente e houver algo de metafísico nos vossos espíritos, certamente o irão considerar uma obra-prima. Brilhante e provocador, Moorcock parte de um pressuposto inteligente, cria uma história repleta de questões pertinentes e desafios espirituais, em que o Homem ( a sua condição ) é o elemento central. Esqueçam o nonsense e o absurdo da moda – isto é the “real deal”! Gostar do género e não conhecer é… ridículo!
Se já leram algum artigo da minha lavra, devem ter percebido que detesto Stephenie Meyer e todos os sucedâneos que foram surgindo nos últimos tempos, quais cogumelos mais ou menos venenosos. Estas críticas não se tratam ( apenas ) de uma mera questão de gosto,pois sempre apresentei argumentos bem fundamentados. Apesar de não ser um exercício fácil para o intelecto, já gostei de livros com uma escrita menos conseguida. Neste caso, nem isso! Como leitora, Meyer fez-me sentir um Titanic humano, a telegrafar de antemãosave our souls a cada palavra lida. Como não sou nem o fatídico transatlântico, nem masoquista, nem… desviei-me rapidamente da rota desse acefalino calhau de gelo flutuante, verdadeiro atentado à inteligência. Mas aceito que haja quem goste – pelos vistos são muitos! Aceitar as razões porque gostam já é outra história…
Até em Portugal os fungos vão surgindo, com muita gente a tentar usar o “raquítico modelo de enredo meyeriano”, adornado com ingredientes diversos e, muitas vezes, criando caldeiradas inenarráveis. As editoras ( até as supostamente mais elitistas ) ajoelham perante o fenómeno e beijam a mão ao mainstream, enquanto lambem a beiça, antevendo o sabor de mais uns euros. Um amigo meu, ligado ao sector editorial, disse-me que vender livros começa a ser como vender lollipops: o que interessa é a cor, a forma e o sabor docinho, facilmente viciante. Quem se interessa com os ingredientes?
Mas não estou só nesta “luta”…
Q: When is a vampire not a vampire?
A: When it goes out in daylight, sees itself in a mirror, doesn’t drink human blood, and still manages to suck.
The release of “Twilight” achieves two significant objectives; not only has Stephanie Meyer’s ponderous salute to teen abstinence and patriarchal supremacy been given physical form, but it also marks the endgame for what has been a decades-long castration of the vampire genre. Anne Rice could pause to savor her flawless victory if she hadn’t turned her back on books about bloodsuckers, and indeed “Twilight” is something Rice herself might have created had she returned to religion in 1978 instead of 1998 and never actually learned to write.
This first adaptation of Meyer’s Sweet Carpathian Valley High series introduces us to awkward teen Bella Swan (Kristen Stewart), who moves from Phoenix, AZ to live with her sheriff father Charlie (Billy Burke) in Forks, Washington. Forks is one of the rainiest places in the mainland U.S., which naturally makes it the perfect location for the local vampire clan.
These vamps are a kindler, gentler breed that have weaned themselves off of human blood. The “father,” Carlisle Cullen (Peter Facinelli), even serves as the town’s doctor. His foster children, including the brooding Edward (Robert Pattinson), attend the local high school with the normal kids. Their presence raises eyebrows due to their unearthly good looks (and diabolical amounts of ivory Max Factor foundation) and the fact that they don’t date outside the clan. How very Mormon.
All this changes when Bella and Edward meet. Bella has some strange pheromone/hemoglobin combination that turns the normally non-murderous Edward into the wolf from those Tex Avery cartoons. Nevertheless, Bella feels more kinship with the unnaturally sophisticated and mysterious Edward than she does with the multicultural group of local kids she’s befriended (that doesn’t seem at all out of place in a rural Washington town of 3,000).
And who wouldn’t? With his yearning eyes and tortured past, Edward is the romantic ideal for most 13-year old girls (and some boys): he’s androgynously gorgeous, has a dope ride, and doesn’t want to do anything but talk about your feelings and snuggle. It would appear that in addition to robbing his brood of their need for blood, Carlisle also removed their balls.
This quaint fantasy of the boy putting the brakes on would never fly in a traditional romance, hence the “vampire” angle, and the first half of the movie is devoted almost exclusively to the pair’s budding courtship. Unfortunately, this translates into scene after scene of Bella and Edward gazing longingly at each other – in the forest, up a tree, beside the cold and lonely sea – before any real tension develops. The conflict comes courtesy of a wandering trio of nomadic vampires committing murders for no apparent reason and not Edward’s “family,” which is largely (and dubiously) accepting of Bella’s potentially disastrous presence. In fact, the only one who shows any sense is his sister Rosalie (Nikki Reed), who wisely suggests killing her before she dooms them all.
True, bumping off Bella would be the prudent vampire course of action, but as I already said, these are some lousy bloodsuckers (direct sunlight doesn’t kill them, for example, it makes them sparkle). And honestly, what have they really got to lose? Edward and company are immortal, possessing super strength and heightened senses, and they’re unburdened by most of the traditional vampire weaknesses. And how have they utilized this awesome power? By going to high school for a hundred years. Worse than that, James – the bad vamp who tracks Bella back to Arizona and is the only wampyr in the movie with any joie de unvivre – is rewarded for embracing his dark gift with dismemberment and immolation. The message is clear: don’t inconvenience that handsome boy who was so gallant in resisting your base urges by also straying beyond the boundaries of domestic complacency.
The action finally picks up in the second act, primarily due to the Cullens’ blunder (hey, we outnumber these guys 7 to 3… let’s split up!), leading to a climax that might have been satisfying had the audience not been lulled to sleep by 90 minutes of soporific direction and eye-rolling dialogue. There’s no doubt “Twilight” will satisfy rabid fans of the book, but it isn’t likely to make converts of anyone else.
Precedido por distopias como The Sound of His Horn ( década de 50 ), Philip K. Dick cria uma obra de uchronie baseada na perturbadora hipótese de as forças do Eixo terem saído vencedoras do último conflito bélico mundial. Esta conjectura não tem nada de aberrante para quem sabe um pouco de História do Séc. XX. O palco principal do enredo será os US, divididos pelos dois “pesos-pesados” – Japão e Alemanha. O what if relacionado com o regime Nazi gera sempre fascínio, por muito que se deteste a doutrina que o suportou, por este estar associado não só a uma certa aura mística como também a um grau de desenvolvimento tecnológico que, a ter tido continuidade, teria sido certamente capaz de superar o “real” – o autor não negligencia estas enormes oportunidades. Obra complexa e com bastante profundidade ( arrisco mesmo o termo existencial ), incide sobre a vida nessa América ocupada, sem descurar detalhes que acabam por dar ainda mais condimento à história, caso se entenda correctamente o seu contexto e utilização – ler este livro sem conhecer minimamente as décadas de 30 e 40 poderá mesmo não resultar! Mas há algo mais por detrás desse relato – A percepção do que é realmente real e uma ideia de real but wrong (1) e que esse wrong tende sempre a encarrilar novamente no caminho correcto. Dick consegue até colocar a “alternativa dentro da alternativa”! “The Grasshopper” tem muito que se lhe diga! Quanto ao tão criticado final, não me parece que seja apenas uma excentricidade em voga (como diferença) na literatura da época. Não creio que fosse essa a intenção. Haveria tanto para dizer sobre esta obra mas o perigo dos spoilers, neste momento de lançamento nacional, remete-me ao silêncio. Aconselho aos apreciadores do género e não só!
Vem este texto a propósito de ter descoberto que esta obra irá ser publicada (Já? Ironic!) pela SdE. Maior garante de qualidade é o facto de a tradução estar a cargo do autor David Soares. Além do mais tive o prazer de constatar que, ao contrário de outros tradutores da nossa praça, o David não se coloca em bicos de pés para debicar o estrelato alheio. Sem dúvida uma virtude! Temos ainda um ensaio de Nuno Rogeiro – a ler!
Não me recordo! Juro que não me recordo de "no meu tempo" alguém ter comprado um livro por causa da capa. Iria certamente recordar-me porque essa pessoa ficaria com um selo de estupidez ad eternum e ninguém iria refrear a vontade de recordar tal demonstração de falta de inteligência. Para mim, comprar um livro por essa razão ia para o campo das piadas tipo "cúmulo da ignorância" e achava pouco provável que pudesse ser uma situação real. Mas muito deve ter mudado nos últimos anos... O QI deve ter decaído bastante desde que saí de Portugal! Que outra razão para justificar estes comentários a um livro, tirados da página do Facebook da Editorial Presença (e que são uma mera amostra):
"Amei a capa do livro *-*"
"Também gostei muito da capa!"
"Ainda bem xxxx! Assim já fico com mais vontade de o ler, está à minha espera há tanto tempo na estante. E admito, a capa influenciou grandemente a minha compra na altura."
Só há um comentário a tentar meter conversa sobre o livro propriamente dito. Ninguém lhe liga!! Vão para a rua ler os sinais de STOP!! Isso sim está ao nível da vossa inteligência!!! Abater árvores para vocês é um crime!!!
The following are standard procedures for writing book reviews; they are suggestions, not formulae that must be used.
1. Write a statement giving essential information about the book: title, author, first copyright date, type of book, general subject matter, special features (maps, color plates, etc.), price and ISBN.
2. State the author’s purpose in writing the book. Sometimes authors state their purpose in the preface or the first chapter. When they do not, you may arrive at an understanding of the book’s purpose by asking yourself these questions:
a. Why did the author write on this subject rather than on some other subject?
b. From what point of view is the work written?
c. Was the author trying to give information, to explain something technical, to convince the reader of a belief’s validity by dramatizing it in action?
d. What is the general field or genre, and how does the book fit into it? (Use outside sources to familiarize yourself with the field, if necessary.) Knowledge of the genre means understanding the art form. and how it functions.
e. Who is the intended audience?
f. What is the author's style? Is it formal or informal? Evaluate the quality of the writing style by using some of the following standards: coherence, clarity, originality, forcefulness, correct use of technical words, conciseness, fullness of development, fluidity. Does it suit the intended audience?
g. Scan the Table of Contents, it can help understand how the book is organized and will aid in determining the author's main ideas and how they are developed - chronologically, topically, etc.
g. How did the book affect you? Were any previous ideas you had on the subject changed, abandoned, or reinforced due to this book? How is the book related to your own course or personal agenda? What personal experiences you've had relate to the subject?
h. How well has the book achieved its goal?
i. Would you recommend this book or article to others? Why?
3. State the theme and the thesis of the book.
a. Theme: The theme is the subject or topic. It is not necessarily the title, and it is usually not expressed in a complete sentence. It expresses a specific phase of the general subject matter.
b. Thesis: The thesis is an author’s generalization about the theme, the author’s beliefs about something important, the book’s philosophical conclusion, or the proposition the author means to prove. Express it without metaphor or other figurative language, in one declarative sentence.
Title: We Had it Made
General Subject Matter: Religious Intolerance
Theme: The effects of religious intolerance on a small town
Thesis: Religious intolerance, a sickness of individuals, contaminates an entire social group
4. Explain the method of development-the way the author supports the thesis. Illustrate your remarks with specific references and quotations. In general, authors tend to use the following methods, exclusively or in combination.
a. Description: The author presents word-pictures of scenes and events by giving specific details that appeal to the five senses, or to the reader’s imagination. Description presents background and setting. Its primary purpose is to help the reader realize, through as many sensuous details as possible, the way things (and people) are, in the episodes being described.
b. Narration: The author tells the story of a series of events, usually presented in chronological order. In a novel however, chronological order may be violated for the sake of the plot. The emphasis in narration, in both fiction and non-fiction, is on the events. Narration tells what has happened. Its primary purpose is to tell a story.
c. Exposition: The author uses explanation and analysis to present a subject or to clarify an idea. Exposition presents the facts about a subject or an issue as clearly and impartially as possible. Its primary purpose is to explain.
d. Argument: The author uses the techniques of persuasion to establish the truth of a statement or to convince the reader of its falsity. The purpose is to persuade the reader to believe something and perhaps to act on that belief. Argument takes sides on an issue. Its primary purpose is to convince.
5. Evaluate the book for interest, accuracy, objectivity, importance, thoroughness, and usefulness to its intended audience. Show whether the author's main arguments are true. Respond to the author's opinions. What do you agree or disagree with? And why? Illustrate whether or not any conclusions drawn are derived logically from the evidence. Explore issues the book raises. What possibilities does the book suggest? What has the author omitted or what problems were left unsolved? What specific points are not convincing? Compare it with other books on similar subjects or other books by the same as well as different authors. Is it only a reworking of earlier books; a refutation of previous positions? Have newly uncovered sources justified a new approach by the author? Comment on parts of particular interest, and point out anything that seems to give the book literary merit. Relate the book to larger issues.
6. Try to find further information about the author - reputation, qualifications, influences, biographical, etc. - any information that is relevant to the book being reviewed and that would help to establish the author's authority. Can you discern any connections between the author's philosophy, life experience and the reviewed book?
7. If relevant, make note of the book's format - layout, binding, typography, etc. Are there maps, illustrations? Do they aid understanding?
8. Check the back matter. Is the index accurate? Check any end notes or footnotes as you read from chapter to chapter. Do they provide important additional information? Do they clarify or extend points made in the body of the text? Check any bibliography the author may provide. What kinds of sources, primary or secondary, appear in the bibliography? How does the author make use of them? Make note of important omissions.
9. Summarize (briefly), analyze, and comment on the book’s content. State your general conclusions. Pay particular attention to the author's concluding chapter. Is the summary convincing? List the principal topics, and briefly summarize the author’s ideas about these topics, main points, and conclusions. Use specific references and quotations to support your statements. If your thesis has been well argued, the conclusion should follow naturally. It can include a final assessment or simply restate your thesis. Do not introduce new material at this point.
Some Considerations When Reviewing specific genres:
Fiction (above all, do not give away the story)
1.From what sources are the characters drawn?
2.What is the author's attitude toward his characters?
3.Are the characters flat or three-dimensional?
4.Does character development occur?
5.Is character delineation direct or indirect?
1.What is/are the major theme(s)?
2.How are they revealed and developed?
3.Is the theme traditional and familiar, or new and original?
4.Is the theme didactic, psychological, social, entertaining, escapist, etc. in purpose or intent?
1.How are the various elements of plot (eg, introduction, suspense, climax, conclusion) handled?
2.What is the relationship of plot to character delineation?
3.To what extent, and how, is accident employed as a complicating and/or resolving force?
4.What are the elements of mystery and suspense?
5.What other devices of plot complication and resolution are employed?
6.Is there a sub-plot and how is it related to the main plot?
7.Is the plot primary or secondary to some of the other essential elements of the story (character, setting, style, etc.)?
1.What are the "intellectual qualities" of the writing (e.g., simplicity, clarity)?
2.What are the "emotional qualities" of the writing (e.g., humour, wit, satire)?
3..What are the "aesthetic qualities" of the writing (e.g., harmony, rhythm)?
4.What stylistic devices are employed (e.g., symbolism, motifs, parody, allegory)?
5.How effective is dialogue?
1.What is the setting and does it play a significant role in the work?
2.Is a sense of atmosphere evoked, and how?
3.What scenic effects are used and how important and effective are they?
4.Does the setting influence or impinge on the characters and/or plot?
1.Does the book give a "full-length" picture of the subject?
2.What phases of the subject's life receive greatest treatment and is this treatment justified?
3.What is the point of view of the author?
4.How is the subject matter organized: chronologically, retrospectively, etc.?
5.Is the treatment superficial or does the author show extensive study into the subject's life?
6.What source materials were used in the preparation of the biography?
7.Is the work documented?
8.Does the author attempt to get at the subject's hidden motives?
9.What important new facts about the subject's life are revealed in the book?
10.What is the relationship of the subject's career to contemporary history?
11.How does the biography compare with others about the same person?
12.How does it compare with other works by the same author?
History and other Nonfiction
1.With what particular subject or period does the book deal?
2.How thorough is the treatment?
3.What were the sources used?
4.Is the account given in broad outline or in detail?
5.Is the style that of reportorial writing, or is there an effort at interpretive writing?
6.What is the point of view or thesis of the author?
7.Is the treatment superficial or profound?
8.For what group is the book intended (textbook, popular, scholarly, etc.)?
9.What part does biographical writing play in the book?
10.Is social history or political history emphasized?
11.Are dates used extensively, and if so, are they used intelligently?
12.Is the book a revision? How does it compare with earlier editions?
13.Are maps, illustrations, charts, etc. used and how are these to be evaluated?