15 Best Books of All Time

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15 Best Books of All Time

1. The Godfather (Mario Puzo) Great characterization, vivid descriptions, fascinating look at a powerful subculture, well researched, much of it based on true people and events. The book is way better than the movies, and the movies deserved their Best Picture Oscars.

. Catch- (Joseph Heller) Most original novel I've ever read. Brilliant, funny, thought-provoking anti-war tract.

. The Complete Works of William Shakespeare (the Bard). No bookshelf is complete without it. My copy has everything sonnets, tragedies, histories, comedies. I particularly recommend Hamlet, perhaps the greatest play ever written.

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4. Slaughterhouse Five (Kurt Vonnegut) Wonderful writing style, captivating story, original and funny way with words.

5. Johnny Got His Gun (Dalton Trumbo) Anti-war stream of consciousness from a World War I soldier who finds himself in an Army hospital after having both legs, both arms and his face blown off. He's alive, but he can't see, hear or smell or talk. Writing style is interesting, little attention paid to punctuation rules. Powerful.

6. The Right Stuff (Tom Wolfe) The Space Race as Cowboy Saga. Meticulously researched, reads like a novel, but all true. I loved it, but then, I've always been interested in space, astronauts, flight, etc.

7. The Way of Harmony, (Jim Dreaver) The book I'm currently reading. It's heavy on meditation and gives you the keys to the kingdom of inner peace and happiness . Probably won't be in my list two years from now, but today I think it's great. Makes you feel good just reading it.

8. Cosmos (Carl Sagan) The entire history of the universe, with special emphasis on the third planet from the sun and its silly inhabitants. Told in layman's terms, lavishly illustrated, thought-provoking and informative. Outdated in many ways now, but still a classic.

. Shoeless Joe (W.P. Kinsella) The book on which the movie Field of Dreams was based. The novel was better than the movie, and the movie was great. But if you don't like baseball or have unresolved psychological issues with your dad, it might not do much for you.

10. An Incomplete Education (Judy Jones) Everything you always wanted to know about everything, written in a breezy, trendy, humorous way. Irreverent but dead-on in its facts and accuracy. A book you can pick up anytime, turn to any page, learn something and be amused.

11. Les Miserables (Victor Hugo) I put this here for the stage play, not the novel, which is good but ponderous. The musical is beautiful, inspirational and moving.

1. Superstoe (William Borden) Ordinary storytelling, but fascinating concept, told in a whimsical and amusing fashion. What if a truly brilliant thinker were president? A somewhat eccentric genius is convinced to run, and his cabinet is a bunch of equally wacky and brilliant fellow ex-university professors. They completely revamp the American political and social scene.

1. Dave Barry Talks Back (Dave Barry) Maybe the funniest book ever written. A collection of his columns. Yes, he's done several collections, but this is the best. But maybe you have to be a male baby boomer to truly appreciate the humor. A close second to this book is Dave Barry Slept Here A Sort Of History of the United States. Not a collection of columns, but an actual theme carried throughout. Hilarious.

14. In Cold Blood (Truman Capote) A true story written like a novel, even more so than The Right Stuff. If all his facts, stories and dialogue were accurate, it would be a remarkable work. But the cynic and journalist in me wondered, because Capote doesn't concern himself with attribution, and I have since learned he invented a lot of it. Still a fine read.

15. The Winds of War / War and Remembrance (Herman Wouk) A joint entry for the original novel and its sequel. Competent storytelling, but the best part of these novels is that they bring World War II alive for anyone who didn't live through it.

Honorable Mention Messages (David Cunningham) It's told all in emails, which makes it breezy and easy to read, but the characters are poorly developed and the plot thin. Still, I admire the author for his lofty goal of answering the questions Why are we here? Is there life after death?

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Representaion of Satire in Gulliver's Travels

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Gulliver's Travels is a book written by Johnathan Swift. This book is about the adventures of a man on four different journeys. These journeys are read in first person in the form of a log-book. Gulliver is a man who is at sea and records all his encounters. In one of his journeys he is a man who is a giant compared to everyone else. In another one of his journeys, he is a -inch tall man compared to everyone. This book is known for it's satire. Satire is the use of ridicule , sarcasm, and irony to expose or attack something. In this case, satire is used to make fun of the 18th century British and European Society through Swift's description of imaginary countries such as Lilliput and Brobdingnag.

On Gulliver's first adventure, in Book I, he awakens on an island to find himself as a giant, tied down, and a prisoner. He is surrounded by six inch tall people known as the Lilliputians of Lilliput. Later on, he befriends the Lilliputians and begins to learn a little about their culture. He learns of their language, religion, and political practices. In the aspects of religion, there was a time where people were split between those who cracked the eggs at the large end versus the smaller end. This represented the satire of the separation of the Catholicism and Protestantism.

In political aspects, a politician wore high heals or low heals. High heals and low heals represented the Whigs and Tories. ( Now, Democrat and Republican. ) Another creative persona was how political favors were granted. Whether or not your wish was granted, if you were a politician, was determined by how well you could dance on a string in front of the King.

On Gulliver's second voyage, in Book II, he is now found to be a six-inch tall man surrounded by sixty-foot giants. These are the giants of Brobdingnag. There is a direct attack on humanity when Gulliver begins to fear for his life because of the size of the giants. The size of the Brobdingnag giants shadows the human form and habits, therefore, mocking the pride of the human form and appearance.

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These examples from Book I and II of Gulliver's Travels shows how Swift was using satire to try to get society to see their absurd ways and make them mad enough to want to do something to, hopefully, change it for the better. This is a better known work for the use of satire.

Please note that this sample paper on Representaion of Satire in Gulliver's Travels is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Representaion of Satire in Gulliver's Travels, we are here to assist you. Your persuasive essay on Representaion of Satire in Gulliver's Travels will be written from scratch, so you do not have to worry about its originality. Order your authentic assignment and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

Gothic Literature

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English Gothic literature began during the Romanticism period and has lasted until today still holding its own crowd of people and fans who enjoy the work. Gothic literature became part of the American writings when in the 1800s Charles Brockden Brown wrote his very first published novel, Wieland or, the transformation. Wieland shared many alike and different traits to the English gothic literature of the old times such as, trickery, deceit, ancestral curses, and explained supernatural events that drive the mild mannered Wieland into a crazed killing machine. (Thomson)

It is hard to define gothic literature in modern day English so instead of defining it, it has been divided up into four different types of gothic literature, equivocal gothic, supernatural gothic, historical gothic, and natural or explained gothic. Equivocal gothic makes events in the text ambiguous by way of mentally disturbed characters. Supernatural gothic consists of unexplainable events that may involve ghosts, zombies and other creatures of the dead. Natural or explained gothic first starts out as an unexplainable, supernatural event, but then unmasks itself becoming a feasible event that could happen currently in our society today. Historical gothic is a scenario set in the past with no occurrence of supernatural events.

Gothic literature can be summarized into four major points that often appear in most gothic writings. The first is the appearance of the supernatural or uncanny usually in or from a paranormal source. The second is the appearance of both terror, mental trauma, or horror, gore and violence. The fourth is a sense of mystery, distress and dread. The final aspect that could be found is the distressed heroine who usually is in trouble either being threatened by death, or forced to do an act, which she does not want to do. Gothic literature is also considered very feminine because of how the protagonist is usually female and female authors write most books.

Wieland is a novel filled with mystery and deception. Its can be classified as, equivocal gothic, because of how the mentally disturbed characters run the story, supernatural gothic, because of the unexplained spontaneous combustion that befalls Wieland Sr., and explained supernatural, because of how The "voices of god" turn out just to be a prank by Carwin's Ventriloquism. Transformation or all the characters takes place in the novel such as Carwin's Ventriloquism transforming Wieland from a calm man to a religious man of sorrows who slays his own wife and children. Clara also transforms from a sweet and innocent girl to discovering her murderous instincts. Carwin mentions that he has a "second personality" that forced him to do all of the heinous deeds he committed but at the end of the novel, it seems that he still hasn't changed from his old ways.

Another term that shows itself in Wieland is the explainable and unexplainable supernatural. The explainable supernatural occurs when Carwin uses his ventriloquism and impressions to make Theodore hear the fake voices of god that trigger his transformation. Carwin also impersonates Clara's voice and Catherine's voice throughout the novel. The unexplained supernatural is portrayed about why Wieland Sr. spontaneously combusted. He was a very religious man who supposedly did not obey god. This event is never explained in the book and remains a mystery even today. This event could be also classified as an ancestral curse because of this event possibly set of a chain reaction of events that caused the trauma in this novel. Two psychologies also exist in gothic literature, horror, and terror. Brown decided to use terror. The psychology of Wieland possesses a mysterious and eerie atmosphere. This atmosphere is used to psychologically scare and freak out the characters, classifying Wieland as a novel of terror.

Wieland compares with English gothic literature because, in theory, it still is. Even though it was written in America, It holds many of the traits that could classify it as English gothic literature. When this book was published as the first American gothic novel it inspired many writers. If it was not for Wieland, Edgar Allen Poe and Nathanial Hawthorne may have not written gothic literature at all and gothic literature as a whole would cease to exist in the Americas.

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Compulsive gambling

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Compulsive gambling is a very addictive disease that can cost you more than its worth. So why do people become compulsive gamblers? In America -% of adults are afflicted by this addiction. Four out of Five compulsive gamblers are men. Over 0% of compulsive gamblers have gambled since their mid-teens. There are many reasons why people become compulsive gamblers. This paper will go over many types of research that have been done on this disorder and show you a variety of reasons why people subject themselves to this behavior.

Problem gamblers do not ingest, inject, or inhale substances as chemically addicted people do. Just what is it to which they become addicted? The answer to this question is action. Action is an aroused, euphoric state involving excitement, tension, and anticipation of the outcome of a gambling event. It is the thrill of living on the edge. Problem gamblers describe gambling as "high" similar to that experienced from many drugs. Some experience these sensations when just thinking about gambling, as well as when they are actually gambling. Action also has been described as a "rush" that may include rapid heartbeat, sweaty palms, and even nausea. It is not uncommon for problem gamblers to describe being in action as "better than drugs and better than sex." When they are in action, they lose track of time and sleep; food, water, and using the bathroom become lower priorities than staying in action.

Some doctors believe that gambling is considered an impulse control disorder. Which means that the individual is incapable or resisting his impulses to gamble. Others believe that it is an obsessive-compulsive disorder or a non-pharmacological addiction. This means that they show an intense desire to perform a specific behavior preceded by an unpleasant feeling. Compulsive gambling may not fit into one of the models mentioned above, but rather a mixed group with different types that share certain characteristics. Both biological and psychological factors play a role in compulsive gambling. Pathological gambling is a chronic that disrupts the life of the individual and those close to him. Not only is pathological gambling associated with financial problems due to the large amounts of money spent on the activity or the loss of a job, but this disorder increases the likelihood of other emotional and psychiatric problems, and general health problems in the individual or his family (Lorenz V, Yaffee, R. 40-4).

Suicide is a possible consequence of pathological gambling. Other consequences might be mood disorders, schizophrenia and some neurological conditions. The World Health Organization (WHO), as well as the APA, classified Compulsive gambling as an impulse control disorder, because the individual becomes increasingly incapable of resisting his impulses to gamble (http//ehostvgw18.epnet.com). All the impulse control disorders share the following characteristics difficulties to resist an impulse, desire or temptation to perform some behavior that is detrimental for the individual or others; a progressive emotional discomfort or tension before performing the act; pleasurable or gratifying feelings while performing the behavior, in some cases, negative feelings of guilt, remorse or shame when the act is over. All these characteristics are recognizable in a compulsive gambler.

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Some doctors consider that pathological gambling is best understood as an obsessive-compulsive disorder. Patients that have obsessive-compulsive disorders show an intense desire to perform a specific behavior preceded by unpleasant feelings and physiological activation, all of which are relieved when the behavior is performed. In addition, it has been noted that in a compulsive gambling creates a repetitive thought related to gambling that they cannot remove from their minds. This leads them to gamble against their will, especially in advanced phases of the disorder (Lesieur 7-87).

The common elements to all kinds of addiction are a desire to satisfy a need, loss of control over the substance or behavior. Symptoms of abstinence and tolerance, thoughts about the use of the substance and performance of the behavior despite its adverse consequences (Marks 187). All these elements are present in compulsive gambling. Although problem gambling is similar to substance abusers in many ways, it is much more difficult to detect because there are no physical signs of it as there are with addiction to alcohol or other drugs. You cannot smell problem gambling on a problem gamblers breath. A problem gamblers eyes do not dilate. Dice, chips, and cards do not leave marks on a problem gambler's arms. Problem gambling does not make you walk funny, stagger, and fall down in a stupor the way excessive alcohol consumption can. Given all this, it is not surprising that problem gambling is a hidden, difficult to detect addiction. The absence of physical signs of gambling addiction also makes it easy for the problem gambler to conceal and deny the problem. (Oxford University Press)

The closest people to a gambler are his or her family, friends, and co-workers who can be easily deceived by him or her. Problem gamblers are skilled liars, and are very clever at concealing their gambling activities and gambling related problems. The absence of physical signs of the addiction aids the problem gambler in maintaining the deception. Gambling is known as a disorder of impulse control, like the need to steal or set fires, new studies show newinformation. The first study of pathological gamblers to use medical techniques has found that they may suffer from disturbances in their central nervous systems. The study showed that the gamblers had lower levels than usual of the brain chemicals that regulate arousal, thrill and excitement. They may engage in activities in the noradrenergic system, which secretes them. (New York Times, October , 18) Chronic gamblers like sky divers and those who take to other high-risk sports are more prone to thrill seeking than most people.

"Pathological gamblers seem to be driven by the need for the thrill; it stimulates an under active noradrenergic system," said Dr. Alec Roy, a psychiatrist formerly at the National Institute on Alcohol Abuse and Alcoholism. Dr. Roy did the new study with the institute's co-director Markku Linnoila, a psychiatrist. (The Archives of General Psychiatry Nov 16). In the study, 17 chronic gamblers, many of whom were in legal trouble because of crimes they had committed to pay gambling debts, came for tests and observation at the institute. Using urine samples and spinal taps, the researchers determined that there was a significant deficit in levels of a byproduct of the brain chemical norepinephrine. Norepinephrine is secreted under stress, as in moments of great risk or intense excitement. Some brain researchers think such a deficit can lead to a need to engage in activities like risky, exciting games that will stimulate the brain to secrete more of it. "If gamblers have an abnormality of the adrenergic system, it could make them seek the excitement of gambling as a way to increase their norepinephrine levels," said Dr. Roy. He noted that chronic gamblers have told researchers that they gamble for the thrill, not the money (New York Times October, 18).

Behavioral psychotherapy is an educational model of therapy; it is self-directed with the therapist acting as educator, adviser and coach. Outpatient management begins with two assessment sessions to set up the treatment, each taking one hour, with once a week therapist sessions of approximately half and hour. The main focus of therapy is homework between sessions, monitored on homework sheets by the client. Progress is monitored on homework sheets by the client. Progress is monitored every four weeks and if progress is not maintained, then therapy is discontinued. If outpatient therapy is unsuccessful, clients are offered an inpatient program. In our own work with pathological gamblers, we have recognized similarities with anxiety disorders. The uncontrollable urge to gamble described by patients is similar to the compulsion felt by patients with obsessive-compulsive disorder. That a behavioral technique such as imaginal (systematic) desensitization was effective for anxiety disorders and pathological gambling, suggests that some aspect of the therapeutic response is common to both disorders. There is growing evidence for using exposure in the treatment of pathological gamblers. In exposure, clients are asked to grade their gambling triggers from very difficult to relatively easy. They are then asked to enter the easiest of the situations and remain there until the urge to gamble habituates. This is repeated daily until they are able to move onto the next stage. While their in this situation, they are asked to resist the urge to gamble. Therefore the four principles of exposure are used with gamblers (graded, prolonged, repeated, and the person focuses on the task). Graded exposure differs from imaginal (systematic) desensitization in that the pairing of relaxation is not present. In treatment of anxiety disorders the need for relaxation has been shown to be largely unnecessary, with the habituation model employed by exposure providing the best results (Marks, 187).

In conclusion, compulsive gambling is an addiction many people do not understand or know about. Although no drug is consumed, there are still chemical dependencies present. Fortunately problem gambling has received a great deal of attention recently. As knowledge of the disorder spreads it people identify the symptoms of the disorder, and stop them before it can turn into a serious problem. Further understanding of pathological gambling and addiction is guided by the development of better theory. Improved theory can guide research more effectively.

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Hiya

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Nineteenth century English poet Matthew Arnold created a basis for analyzing literature and life from what he believed to be the two foundations of all modern culture Hellenism and Hebraism. Arnold characterized Hellenism, typified best by the ancient Greeks who supplied the name, as sweetness and light. Hellenistic influence on culture is manifest in appreciation for the apparent gentleness in the beauty of nature, coupled with acknowledgment of its power and wildness. Hebraism, the tradition of the Hebrews and subsequent Jews and Christians, is built on fire and strength. Its focus is primarily conduct and morality, and tradition rather than custom. These two foundations, Arnold says, ought to be balanced in ones adherence to them. Evil follows as a result of an imbalance of the two, and conflict results from the tension they can generate together. Just such a tension or imbalance often propels the plot of The Scarlet Letter. Let it be known that we speak of the terms Hellenism and Hebraism as characteristics in people in things, manners of action and thought, or ways of life; the terms as such, while maintaining religious connotation, are divorced from the religious denotations they carry with them. Hellenism must not be equated with Paganism, and Hebraism with Judaism and Christianity. Through the characters of Hester, Pearl, Dimmesdale and Chillingworth, Hawthorne effects the message that a balance of Hellenism and Hebraism, however he may have described them, is the condition in which one is enabled to pursue moral perfection.

Hawthorne develops the contrast of Hellenism and Hebraism in the first chapter of the novel. He writes that the founders of a new colony. . .have invariably recognized it among their earliest practical necessities to allot a portion of the virgin soil as a cemetery, and another portion as the site of a prison (5). The reference to virgin soil, so close syntactically to cemetery and prison generates a sense of violation of something pure and beautiful. His assertion that these allotments are the earliest necessities creates an immediate and damning characterization of the colony; they are practiced violators of the innocent virginity of nature, which presents the irony of their punishing Hester for a crime of sexuality. The message of the imagery is clear life in the Puritan community yields imprisonment and death. But Hawthorne plants a seed of hope in the midst of such harshness. The rose-bush beside the prison door provides a sense of hope to the criminal that the deep heart of Nature could pity and be kind to him (6). This hope is embodied in Hester Prynne, and it is her deep heart that will be kind and merciful, even to those who oppress her. Hawthorne does not trust his reader to discover this, and invites us to hope that this bush will symbolize some sweet moral blossom (6). Hence the sweetness of Hellenistic, nature-loving life, when added to the strictness of the Puritan community is a means to moral blossoming.

But Hesters redemption is through Pearl. The relentless attack from the God-fearing Puritans would be unbearable for her without Pearl. Pearl links herself with the symbol of moral blossoming by saying later in the book that she has no father, but was picked from the rose-bush outside the prison door. She is thereby simultaneously the symbol for Hesters moral transgression, and the catalyst for her moral reparation and blossom. Hester and Dimmesdales union was so foreign and unknown to the Puritan society that its product, Pearl, was equally foreign. As the union is sinful and cannot last, Pearl benefits Hester by maintaining the wild characteristics that one needs in order to neutralize the acidity of unmixed Hebraism that punishes Hester, and imprisons and paralyzes all the community. The paralysis with which the dark, fire-and-brimstone attitude infects the Puritans is countered for Hester in Pearls sweet, mythological communion with nature and her endless supply of energy. Having already within her a sense of the gravity of her actions and the responsibility for their consequences, Hester can balance her outlook on life to an almost perfect degree by allowing Pearls Hellenistic sweetness to course through her veins. She sees herself neither as a carriage of sin, nor as a beast of nature. Hester has the power of communion with both society and nature, but though the sun shrinks from her; she is neither utterly rebellious, nor utterly submissive in her conduct. This balance allows Hester to realize some form of peace with the past, and to begin perfecting her morality.

While Pearl is the instrument of her mothers balance, she herself is as yet incomplete. She is untamed to such an extent that her natural home seems to be in the state of nature, away from the presence of any civilized society. When she enters the woods with her mother, the flowers on the forest floor appeared to whisper, adorn thyself with me, thou beautiful child, adorn thyself with me! and she was gentler there than in the grassy-margined streets of the settlement, or in her mothers cottage (1). Her inability to commune with other people results from her utter lack of moral responsibility. She is a daughter of Hester, and of Nature, and nothing else. She is not student, or a friend, or a parishioner, or anything else. She therefore does not have a role in which she can form her moral character. Likewise, she does not have a role that confines or limits her. When asked by Hester, child, what art thou? Pearl replies O, I am your little Pearl! (68). The answer is half correct. She is Hesters little Pearl, and Natures little Pearl, and as yet nothing else. But this imperfection in Pearl is temporary, and the final stages of the book reveal her incipient introduction to human society, the balancing of her Hellenism with a touch of Hebraism. She achieves this introduction by discovering and being able to recognize Dimmesdale as a father figure. Pearl is tamed on the scaffold by her genuine emotion for her father, an emotion which makes her not just a daughter, but part of a family--something she demonstrated a desire for throughout the novel by asking Dimmesdale to meet them in public. Her tears on the scaffold are that of a daughter for her father, for the tradition of Family and union with other people, and they are her admission into the world of society, into the perfect balance in which one can achieve moral greatness.

Though Dimmesdale is Pearls entrance into a balanced life, he himself cannot benefit as Hester does from Pearls untamed energy. Unable to maintain the precious spark of rebellion that he began in his union with Hester, he sees, rightfully, its sinfulness. But he sees only its sinfulness, and cannot but make himself a slave to the Hebraistic tradition that surrounds him. This tradition that punished Hester rightfully, continues to punish Dimmesdale entirely within his own mind. The strength and fire of the strict Puritan tradition neither strengthen nor purge him, as they did for Hester, because he cannot see the sweetness and light to which they intend to guide him. He becomes crippled and weakened by his indefatigable guilt, and Chillingworths calculated perpetuation of it. Dimmesdale becomes so weak that he cannot even bring himself to see that he needs to escape Chillingworth, despite his intuition over the years. Hester needs to tell him, thou must dwell no longer with this man (14), and she later recognizes that has been crushed under this seven years weight of misery (15). If Dimmesdale is to be redeemed, it will not be by the escape for which Hesters seven years balance of punishment and forgiveness has prepared her. Dimmesdale also lacks the ability to see anything other than his one fault. He falsely believes that by keeping this fault hidden, he can do good for others which would otherwise be impossible. What he does not recognize is that despite keeping it hidden, his sin is the very reason he is able to do good for others, and that by hiding this fact, he is negating his own good effects, and maintaining the imbalance in the Puritan community which paralyzes him. The role Dimmesdale performs as empathetic preacher makes impossible the method of escape that Hester suggests, and that he at first accepts.

Dimmesdale does escape, however, in a different sense, and Hester unknowingly provides him with both the energy and the vision--the two things he lacks--to do so. Hester, underestimating Chillingworths effect, is amazed at Dimmesdales inability to see anything but the dark side of his nature. She exclaims in the woods, is the world then so narrow? (14), and though she points him in the wrong direction, she succeeds in shaking Dimmesdale from his course to self-destruction. Refreshed by the renewed love for Hester in the woods, and made to consider the possibility of reconciliation, Dimmesdale returns to his house with the ability to share in the peace that Hester has earned. It is unclear from his words whether at his death he has truly realized the sweetness of forgiveness, but the action he took was the means to achieve this. We have two hints from the text that may resolve this uncertainty. The first is that for the first time in the book, despite the Christian setting, we hear the words God is merciful (171), and it is Dimmesdale himself who speaks them. The significance would not be much, but for the fact that the words are nowhere else in the text, suggesting that perhaps this is more of a profound insight than it might at first appear. The second and more obvious hint is that Chillingworth acknowledges that there was no place so secret,--no high place nor lowly place, where thou couldst have escaped me, --save on this very scaffold! (171), and later reverts into repeating thou hast escaped me! (17).

Please note that this sample paper on Hiya is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Hiya, we are here to assist you. Your cheap custom college paper on Hiya will be written from scratch, so you do not have to worry about its originality. Order your authentic assignment and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!