Senin, 16 Agustus 2010

[H243.Ebook] PDF Ebook The OpenSpace Agility Handbook, by Daniel J. Mezick, Deborah Pontes, Harold Shinsato, Louise Kold-Taylor, Mark Sheffield

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The OpenSpace Agility Handbook, by Daniel J. Mezick, Deborah Pontes, Harold Shinsato, Louise Kold-Taylor, Mark Sheffield



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The OpenSpace Agility Handbook, by Daniel J. Mezick, Deborah Pontes, Harold Shinsato, Louise Kold-Taylor, Mark Sheffield

OpenSpace Agility™ is a repeatable technique for getting a rapid, genuine and lasting Agile adoption. OpenSpace Agility can be used to effectively introduce any kind of change into any kind of organization. It works with what you are currently doing, and can be added at any time.

OpenSpace Agility encourages very high levels of human engagement. It incorporates the power of invitation, iteration, Open Space, game mechanics, passage rites, storytelling and more…so that real and authentic change in your organization can actually take root.

The Open Space meeting format is a primary tool of OpenSpace Agility. The OpenSpace Agility method leverages the amazing power of iteration and the Open Space meeting format to help you get genuine and lasting success with your Agile adoption program.

With this handbook, you will learn how implement the OpenSpace Agility method. You’ll learn about how invitation, iteration, Open Space, game mechanics, passage rites, executive storytelling (and more) can be used to achieve a rapid and lasting Agile adoption. Inside this book, you’ll find specific, actionable step-by-step guidance on implementing the method. You will discover:

  • Why people power the Agile practices, not the other way around
  • Why engagement is an essential ingredient in any successful Agile adoption
  • How invitation increases engagement, passion and responsibility
  • How to immediately put the OpenSpace Agility method to work … in your organization


Learn more at: www.OpenSpaceAgility.com

About the Authors

Daniel Mezick, Deb Pontes, Harold Shinsato, Louise Kold Taylor and Mark Sheffield are all professional Agile coaches. Together these authors have developed and refined the OpenSpace Agility method, by implementing it inside organizations in the USA and Canada. You can learn more about each author and watch testimonial videos from actual clients, by visiting OpenSpace Agility web site:

www.OpenSpaceAgility.com

  • Sales Rank: #1604993 in Books
  • Published on: 2015-10-16
  • Original language: English
  • Dimensions: 8.50" h x .31" w x 5.50" l,
  • Binding: Paperback
  • 130 pages

Most helpful customer reviews

2 of 2 people found the following review helpful.
A Hidden Gem
By Mr Francois Knuchel
This is a brilliant how-to book. It addresses the problem of resistance and poor engagement in agile adoptions and organizational change. Why is it, for instance, that the majority of agile adoptions, despite huge investments, fail? The approach presented resolves root causes and offers a completely fresh and novel way of implementing agile. And while this new book focuses on ‘agile’, it applies equally to organizational transformation overall.

The title, The Open Space Agility Handbook, sounds pretty inconspicuous and unobtrusive. And in one sense that’s all it is, as the title says it’s a handbook on how to adopt agile practices, using an Open Space Technology framework; a step by step how to guide on implementing agile. What the book’s title does not betray, however, is the transformative power of its approach. It represents a revolutionary approach to large scale agile adoptions, and beyond; it tackles head on one of the key challenges of organizational interventions and change management itself. As innocuous as the book may seem, don’t be fooled by its simplicity. It describes an elegant solution to one of the most difficult challenges of management, that of scaled organizational change. What’s more, it is completely fit for purpose in the age of distributed leadership, it follows the principles of opt-in and it walks the talk of self-organization.

On the surface the book is for agile coaches, trainers and leaders wanting to implement agile into their organizations, using a scaleable process of invitation and co-creation, rather than dilapidating mandation and imposition. The book describes in immaculate detail, yet in very clear easy to understand language, how this can be done. The book is supported by beautiful diagrams step by step in a highly practical way, with very easy to follow hands-on instructions. The diagrams all form part of a larger diagram representing the overall road map. As a guide it is beautifully presented.

On a deeper level it is far more than a handbook. While the book illustrates the how, it represents a fresh way of adopting agile. Although concentrating on agile only, the principles and philosophy behind it have ramifications beyond agile, and the book should appeal to a wider corporate audience, in fact to anyone seeking to introduce system change in an organization. The approach could just as easily apply to the adoption of lean, teal, peer-to-peer learning, distributed leadership, conscious business, environmental sustainability, beyond budgeting, reinventing organizations or indeed any other form of organizational transformation.

But why do we need a different approach to agile, lean, teal etc adoptions, or to change management? Simply put, because the majority of agile adoptions, lean implementations or change management interventions don’t work (the statistics vary from 60% – 80% failure rates depending on how one defines failure, anything from simply not achieving expected results to catastrophic breakdown). One reason is that these interventions are mandated or imposed, without consulting those doing the work. This leads to unintended consequences of resistance at best, silent internal sabotage at worst.

In the case of agile those doing the work are software engineers, people who are both very intelligent as well as often introvert in nature: they resist imposed change, but do not articulate their views. Instead they either simply ignore directives (‘internal sabotage’) or walk away completely (and they can afford to). Corrective notions of “improving communications” and “achieving better buy-in” completely miss the point. What is needed is to invite the relevant work-force to co-create the change together, as a collaborative iterative effort, with everyone’s perspective valued.

How can one invite a whole department or even a whole large company to co-create change at scale? Through a process of self-organization in a framed structure of iterations and experimentations, which fully engage the relevant workforce constructively in the process. This is achieved by applying the principles of Open Space Technology at the beginning and the end of the timed iterations. Open Space Technology is a self-organizing large scale counter-intuitive meeting of minds format which has been tried and tested over the last 30 years in over 150 countries, always with great success. However, if you want to know the details of how it all works and how to do adaptions and transformations, read the book!

While fundamentally tackling highly complex problems, the book is presented in a superbly simple way, easy to follow and clearly illustrated. The approach is based on the combination of Open Space Technology and the original Agile Manifesto, and both follow the most fundamental principle of Lean (Toyota), i.e. RESPECT. As the concepts of INVITATION (as opposed to directed or imposed), peer-based SELF-ORGANIZED LEARNING (SOLE) and CHANGE CO-CREATION become increasingly understood and appreciated in organiszations, this simple how-to book will find a growing audience in and beyond agile.

“A leader must lower himself like water and give credit to his subordinates. If he wants to take credit, they will leave him soon. If a leader frequently interferes with subordinates, they will protest. A leader’s job is to create an atmosphere in which they want to do (work) for themselves with enthusiasm and can fulfill their potential” Lao Tzu (604-531 BC), Tao Te Ching.

2 of 2 people found the following review helpful.
Its all about the people
By Robert J. Gabourie
I find that reviews that only praise a book are worthless since they do not get down to the meat of what I will like or dislike about the book. So let me start by saying that I really enjoyed the book.

I received the book at the Agile Alliance Agile Conference in August 2015. I attended a talk by Daniel Mezick called "Scaling Agile With Open Spaces" not entirely sure what I would get from the talk. This book was the best piece of swag I got from the conference and here is why.

I am a fan of Harrison Owin's Open Space Technology (OST) for creating change through open discussions of important topics. When I read Openspace Agility Handbook I was really pleased how they take the core philosophies of OST and the Agile Manifesto and combined them. It was the first agile transformation framework that I have read that stayed true to the tenets of The Manifesto.

Daniel Mezick first and foremost focuses on human choice. It is through respecting the individual's choice that we eventually gain buy-in from from all individuals. Daniel emphasizes several times that we need to respect peoples choice to find flaws in what we are doing that encourage engagement. Peoples objections become a way to engage and create leaders who take charge of the transformation.

Choice and encouragement may one of the primary themes of this book, but there are a lot of other note worthy things.

The hole process starts with 60 days of education and coaching. It is designed to get initial understanding, buy-in, and opinions.

It then uses OST as an opening meeting designed to allow people to gather understanding and owner ship of agility within their organization. This meeting does not have mandatory attendance. That is part of the power of this approach. This meeting will draw those who feel strongly for or against the introduction of agile thought within the organizations. This aligns with the OST Principle "Who ever comes is the right people." It also ensures powerful conversations.

From that initial meeting there is a 100 day process where people are allowed to experiment and play with adding agile thought processes within their work. This time period is designed to allow all those involved to discover what they do not know and seek help. Most importantly it allows all involved to form opinions about what it means to be a more agile organization.

There is another OST meeting that works as a company wide retrospective. This meeting also has optional attendance for the same reasons the previous one does.

It ends with a 30 day period designed to help the people in the organization take full ownership of its transformation.

The book is an easy read and was easily digested. It focuses on the people more then any process and is designed to work for various sized businesses.

Where the book falls short is that it makes the process sound easy, despite warning that it might not be. It also does not address with any detail concerns that can arise in larger organizations. Things like distributed workforce or multiple shifts.

Despite those short comings, I feel the book is well worth the read. It is an original solution to the problem of transformation, and its human centric approach is very refreshing.

2 of 2 people found the following review helpful.
Best book on bringing agility to an organization.
By Robert Richman
Companies spend millions of dollars implementing agile only to find it doesn't work. NOT because agile doesn't work, it's because of the WAY they implement it. You can't simply "Install" agile like you're downloading an app. If the culture rejects it, it doesn't matter how great your strategy is. Mezick spent decades as a technology coach and finally figured out the agile way to implement agile. So obvious and yet groundbreaking. The handbook spells out all the principles and techniques to make it happen.

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The OpenSpace Agility Handbook, by Daniel J. Mezick, Deborah Pontes, Harold Shinsato, Louise Kold-Taylor, Mark Sheffield PDF
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The OpenSpace Agility Handbook, by Daniel J. Mezick, Deborah Pontes, Harold Shinsato, Louise Kold-Taylor, Mark Sheffield PDF
The OpenSpace Agility Handbook, by Daniel J. Mezick, Deborah Pontes, Harold Shinsato, Louise Kold-Taylor, Mark Sheffield PDF

Sabtu, 14 Agustus 2010

[J466.Ebook] PDF Download Volkswagen Rabbit/Scirocco/Jetta Service Manual, 1980-1984: Including Pickup Truck, Convertible, and GTI (Robert Bentley Complete Service M

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In addition to comprehensive maintenance and repair on the 1.6 and 1.7 liter engines, there's a wealth of specific information on the bigger GTI 1.8 liter engine (which includes modified fuel injection, a special cylinder head, oversize valves, and much more), the Pickup Truck (which uses a different, leaf spring rear suspension), and the Convertible's top adjustment. Complete tune-up steps and emission control specifications for the fuel-injected and carbureted engines, including the electronic ignition systems found on many models, help ensure that your car will run at peak performance. There is also a comprehensive body repair section, with detailed body dimensions for the sedan, Cabriolet, Scirocco and Pickup. This Volkswagen Rabbit, Scirocco, Jetta service manual covers 1980, 1981, 1982, 1983, and 1984 models with gasoline engines. This manual includes both the American-made Rabbit and VW Pickup Truck, and the German-made Convertible, Jetta and Scirocco models built for sale in the United States and Canada

  • Sales Rank: #407502 in Books
  • Published on: 1987-03
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.02" h x 1.43" w x 8.50" l, 3.65 pounds
  • Binding: Paperback
  • 720 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
A "must have"for anyone interested in doing their own repairs on a classic VW.
By Amazon Customer
Excellent book.A bit soiled on some pages but I suppose that's to be expected with a used auto repair manual.Very good pictures and detailed instructions.It arrived quickly. Overall I'm satisfied with my purchase.

0 of 2 people found the following review helpful.
not bentleys best effort
By Osorio Batres Silvia Rebeca
IT is a very good manual but not up to the calibre of bentleys other manuals. Some things are hardly covered at all for example the carburetor system or scirocco wiring for different models.

2 of 2 people found the following review helpful.
Only the best
By Jonathan T. Wills
Bentley is the best for VWs. Has it all and still relatively easy to read and follow steps. Could have more and clearer pictures for us who need visuals.

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Kamis, 12 Agustus 2010

[N483.Ebook] Free PDF , by Denise Chong The Girl in the Picture: The Story of Kim Phuc, the Photograph, and the Vietnam WarFrom Penguin Books

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  • Published on: 1905-07-06
  • Binding: Paperback

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Rabu, 11 Agustus 2010

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1Q84, by Haruki Murakami

“Murakami is like a magician who explains what he’s doing as he performs the trick and still makes you believe he has supernatural powers . . . But while anyone can tell a story that resembles a dream, it's the rare artist, like this one, who can make us feel that we are dreaming it ourselves.” —The New York Times Book Review
 
The year is 1984 and the city is Tokyo.

A young woman named Aomame follows a taxi driver’s enigmatic suggestion and begins to notice puzzling discrepancies in the world around her. She has entered, she realizes, a parallel existence, which she calls 1Q84 —“Q is for ‘question mark.’ A world that bears a question.” Meanwhile, an aspiring writer named Tengo takes on a suspect ghostwriting project. He becomes so wrapped up with the work and its unusual author that, soon, his previously placid life begins to come unraveled.

As Aomame’s and Tengo’s narratives converge over the course of this single year, we learn of the profound and tangled connections that bind them ever closer: a beautiful, dyslexic teenage girl with a unique vision; a mysterious religious cult that instigated a shoot-out with the metropolitan police; a reclusive, wealthy dowager who runs a shelter for abused women; a hideously ugly private investigator; a mild-mannered yet ruthlessly efficient bodyguard; and a peculiarly insistent television-fee collector.

A love story, a mystery, a fantasy, a novel of self-discovery, a dystopia to rival George Orwell’s—1Q84 is Haruki Murakami’s most ambitious undertaking yet: an instant best seller in his native Japan, and a tremendous feat of imagination from one of our most revered contemporary writers.

  • Sales Rank: #48286 in Books
  • Published on: 2011-10-25
  • Released on: 2011-10-25
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.40" h x 2.10" w x 6.30" l, 2.85 pounds
  • Binding: Hardcover
  • 944 pages

Amazon.com Review
Amazon Best Books of the Month, October 2011: The year is 1984, but not for long. Aomame, on her way to meet a client--the gravid implications of which only come clear later--sits in a taxi, stuck in traffic. On a lark, she takes the driver's advice, bolts from the cab, walks onto the elevated Tokyo expressway, descends an emergency ladder to the street below, and enters a strange new world. In parallel, a math teacher and aspiring novelist named Tengo gets an interesting offer. His editor has come upon an entry for a young writer's literary prize, a story that, despite its obvious stylistic drawbacks, strikes a deeply moving chord with those who've read it. Its author is a mysterious 17-year-old, and the editor proposes that Tengo quietly rewrite the story for the final round of the competition. So begins Haruki Murakami's magnus opus, an epic of staggering proportions. As the tale progresses, it folds in a deliciously intriguing cast of characters: a physically repulsive private investigator, a wealthy dowager with a morally ambiguous mission, her impeccably resourceful bodyguard, the leader of a somewhat obscure and possibly violent religious organization, a band of otherworldly "Little People," a door-to-door fee collector seemingly immune to the limits of space and time, and the beautiful Fuka-Eri: dyslexic, unfathomable, and scarred. Aomame names her new world "1Q84" in honor of its mystery: "Q is for 'question mark.' A world that bears a question.'" Weaving through it, central motifs--the moon, Janáček's Sinfonietta, George Orwell's 1984--acquire powerful resonance, and Aomame and Tengo's paths take on a conjoined life of their own, dancing with a protracted elegance that requires nearly 1,000 pages to reach its crowning denouement. 1Q84 was a runaway best seller in its native Japan, but it's more instructive to frame the book's importance in other ways. For one, it's hard not to compare it to James Joyce's Ulysses. Both enormous novels mark their respective author's most ambitious undertaking by far, occupy an artificially discrete unit of time (Ulysses, one day; 1Q84, one year), and can be read as having a narrative structure that evinces an almost quantum-mechanical relationship to reality, which is not to say that either author intended this. More to the point, the English translation of 1Q84--easily the grandest work of world literature since Roberto Bolaño's 2666--represents a monstrous literary event. Now would somebody please award Murakami his Nobel Prize? --Jason Kirk

Review

“A book that . . . makes you marvel, reading it, at all the strange folds a single human brain can hold . . . A grand, third-person, all encompassing meganovel. It is a book full of anger and violence and disaster and weird sex and strange new realities, a book that seems to want to hold all of Japan inside of it . . . Murakami has established himself as the unofficial laureate of Japan—arguably its chief imaginative ambassador, in any medium, to the world: the primary source, for many millions of readers, of the texture and shape of his native country . . . I was surprised to discover, after so many surprising books, that he managed to surprise me again.”
—Sam Anderson, The New York Times Magazine
 
“Profound . . . A multilayered narrative of loyalty and loss . . . A fully articulated vision of a not-quite-nightmare world . . . A big sprawling novel [that] achieves what is perhaps the primary function of literature: to reimagine, to reframe, the world . . .  At the center of [1Q84’s] reality . . . is the question of love, of how we find it and how we hold it, and the small fragile connections that sustain us, even (or especially) despite the odds . . . This is a major development in Murakami’s writing . . . A vision, and an act of the imagination.”
—David L. Ulin, Los Angeles Times
 
“Murakami is clearly one of the most popular and admired novelists in the world today, a brilliant practitioner of serious, yet irresistibly engaging, literary fantasy . . . Once you start reading 1Q84, you won’t want to do much else until you’ve finished it . . . Murakami possesses many gifts, but chief among them is an almost preternatural gift for suspenseful storytelling . . . Despite its great length, [his] novel is tightly plotted, without fat, and he knows how to make dialogue, even philosophical dialogue, exciting . . . Murakami’s novels have been translated into a score of languages, but it would be hard to imagine that any of them could be better than the English versions by Jay Rubin, partnered here with Philip ­Gabriel . . . There’s no question about the sheer enjoyability of this ­gigantic novel, both as an eerie thriller and as a moving love story . . . I read the book in three days and have been thinking about it ever since.”
—Michael Dirda, The Washington Post
 
“Fascinating . . . A remarkable book in which outwardly simple sentences and situations snowball into a profound meditation on our own very real dystopian trappings . . . One of those rare novels that clearly depict who we are now and also offer tantalizing clues as to where literature may be headed . . . I’d be curious to know how Murakami’s yeoman translators Jay Rubin and Philip Gabriel divided up the work . . . because there are no noticeable bumps in the pristine and deceptively simple prose . . . More than any author since Kafka, Murakami appreciates the genuine strangeness of our real world, and he’s not afraid to incorporate elements of surrealism or magical realism as tools to help us see ourselves for who we really are. 1Q84 is a tremendous accomplishment. It does every last blessed thing a masterpiece is supposed to—and a few things we never even knew to expect.”
—Andrew Ervin, The San Francisco Chronicle
 
“[1Q84] is fundamentally different from its predecessors. We realize before long that it is a road. And what the writer has laid down is a yellow brick road. It passes over stretches of deadly desert, to be sure, through strands of somniferous poppies, and past creatures that hurl their heads, spattering us with spills of kinked enigma. But the destination draws us: We crave it, and the craving intensifies as we go along (unlike so many contemporary novels that are sampler menus with neither main course nor appetite to follow). More important, the travelers we encounter, odd and wildly disparate as they are, possess a quality hard to find in Murakami’s previous novels: a rounded, sometimes improbable humanity with as much allure as mystery. It is not just puzzlement they present, but puzzled tenderness; most of all in the two leading figures, Aomame and Tengo. Converging through all manner of subplot and peril, they arouse a desire in us that almost mirrors their own . . . Murakami makes us want to follow them; we are reluctant to relinquish them. Who would care about the yellow brick road without Scarecrow’s, Woodman’s and Lion’s freakiness and yearning? What is a road, particularly Murakami’s intricately convoluted road, without its human wayfarers?”
—Richard Eder, The Boston Globe
 
“1Q84 is one of those books that disappear in your hands, pulling you into its mysteries with such speed and skill that you don’t even notice as the hours tick by and the mountain of pages quietly shrinks . . . I finished 1Q84 one fall evening, and when I set it down, baffled and in awe, I couldn’t help looking out the window to see if just the usual moon hung there or if a second orb had somehow joined it. It turned out that this magical novel did not actually alter reality. Even so, its enigmatic glow makes the world seem a little strange long after you turn the last page. Grade: A.”
—Rob Brunner, Entertainment Weekly
 
“A 932-page Japanese novel set in Tokyo in which the words ‘sushi’ and ‘sake’ never appear but there are mentions of linguine and French wine, as well as Proust, Faye Dunaway, The Golden Bough, Duke Ellington, Macbeth, Churchill, Janáèek, Sonny and Cher, and, give the teasing title, George Orwell? Welcome to the world of Haruki Murakami . . . A symmetrical and multi-layered yarn, as near to a 19th-century three-decker as it is possible to be . . . The label of fantasy-realism has been stuck to it, but it actually has more of a Dickensian or Trollopian structure . . . Explicit, yet subtle and dream-like, combining viciousness with whimsy . . . this is Murakami’s unflagging and masterful take on the desire and pursuit of the Whole.”
—Paul Theroux, Vanity Fair
 
“Do you miss the girl with the dragon tattoo? Do you long for the thrill of following her adventures again through three volumes of exciting, intelligent fiction? If so, I have good news for you. She’s got a sort of soul sister in one of the two main characters in Haruki Murakami’s wonderful novel 1Q84 . . . With more than enough narrative and intellectual heft to make it enjoyable for anyone with a taste for moving representations of modern consciousness in the magical realist mode, this story may easily carry you away to a new world and keep you there for a long time . . . The deep and resonant plot . . . unfolds at a leisurely pace but in compelling fashion by luring us along with scenes of homicidal intrigue, literary intrigue, religious fanaticism, physical sex, metaphysical sex and asexual sex. And music . . . Murakami’s main characters find themselves drawn toward each other as irresistibly, magnetically, hypnotically, soulfully and physically as any characters in Western fiction. Given the plain-spoken but appealing nature of the prose (translated by Jay Rubin and Philip Gabriel), most of you will feel that same power as an insinuating compulsion to read on, despite the enormous length, hoping against hope for a happy ending under a sky with either two moons or one. Two moons—two worlds—a girl with—900 pages—1Q84 is a gorgeous festival of words arranged for maximum comprehension and delicious satisfaction.”
—Alan Cheuse, NPR
 
“Murakami’s new novel is the international literary giant at his uncanny, mesmerizing best . . . The spell cast by Murakami’s fiction is formed in the tension between his grounded accounts of everyday life and the otherworldly forces that keep intruding on that life, propelling the characters into surreal adventures . . . Translation is at the center of what Murakami does; not a translation from one tongue to another, but the translation of an inner world into this, the outer one. Very few writers speak the truths of that secret, inner universe more fluently.”
—Laura Miller, Salon
 
“Bewitching and extraordinarily unsettling . . . Part noir crime drama, part love story, and part hallucinatory riff on 1984 . . . Murakami paces a story as well as any writer alive. He knows how to tell a love story without getting cute. He understands how to blend realism and fantasy (magical realism if you want to get all literary about it) in just the right proportions. And he has a knack for writing about everyday matters—fixing dinner, going for a walk—in such a way that the events at hand, no matter how mundane, are never boring . . . Most impressive, he knows how to inject the logic and atmosphere of dreams into his fiction without becoming coy or vague. He’s Kafka-esque to the extent that he’s not interested in why or how a man may have turned into an insect overnight, but in how the man deals with his new situation. And like Beckett, he furnishes his dreamscapes with a mere handful of carefully chosen props—a tree, a streetlight, a playground sliding board—specifics that ground a scene but leave room for the reader to fill in details. This is perhaps the key point: he makes you, the reader, his collaborator. What he leaves out is as important as what he includes, because it encourages you to fill in the blanks in the canvas . . . Murakami is one of the very few novelists—Dickens comes most easily to mind—who can make a serious, play-by-the-rules reader cheat and jump ahead to find out what’s happened to a character . . . Even while we are being entertained by the weirdness of the world he’s creating, we feel a gnawing anxiety that this same book is unraveling our own sense of normality. You don’t know where things are going while you read it, and you can’t say exactly where you’ve been when you’re finished, but everything around you looks different somehow. If this is fiction as funhouse, it is very serious fun, and you enter at the risk of your own complacency.”
—Malcolm Jones, Newsweek
 
“If you haven’t previously read Murakami . . . this is a good introduction to his Lewis-Carroll-meets-Mister-Rogers style, a distinctive blend of the wild and the ordinary that can be as engaging as Wonderland itself. If you’ve read his previous book, you’ll find a lot to enjoy here . . . 1Q84 has a big, romantic heart and deserves to be celebrated on our shores.”
—Josh Emmons, People (3.5/4 stars)
 
“[1Q84] gets off to a vintage Murakami start: eerie wrinkles in an otherwise ordinary Tokyo day. A woman stuck in traffic decides to get out and walk. A struggling novelist is roped into a shady writing project. But with every page, the ready edges closer to an Orwellian rabbit hole. And when the plunge comes, it brings all the trippy delights of Murakami’s unsettling imagination: a vanishing, a parallel world with two moons, and ‘Little People’ who make Big Brother look like an oaf.”
—Devin Gordon, GQ
 
“Voracious visionary Haruki Murakami’s 1Q84 mixes down-the-rabbit-hole fantasy with out-there science fiction for a superhefty but accessible adventure.”
—Lisa Shea, Elle
 
“Powerful . . . In 1Q84, award-winning Japanese novelist Haruki Murakami skips between alternate worlds, offering readers a moving love story in what is perhaps his most ambitious novel yet . . . An unstoppably readable, deeply moving love story that cements Murakami’s reputation as a uniquely compassionate and imaginative novelist who’s among the leading voices of his global generation . . . Murakami likes to blur the boundaries of reality, and in this sense 1Q84 is his most intricate work . . . Aomame and Tengo work their way towards each other and out of the year 1Q84 like divers straining for the surface. Finishing the book I felt as if I, too, were coming to the surface; days later the world still does not feel the way it used to.”
—Kevin Hartnett, The Christian Science Monitor
 
“1Q84 is extraordinarily ambitious . . . Beguiling and ridiculously entertaining . . . Murakami has created the big, beautiful book so many people have been waiting for. Before it even arrived in this country, 1Q84 was one of the most chattered-about titles of the fall. We got our hopes up—and he didn’t let us down.”
—Kevin Canfield, The Kansas City Star
 
“Murakami has created his genuine masterpiece, one that reaches out to fans while also satisfying the critics who have called for a more deft use of symbolism and literary worldliness in his work . . .  In this book, Murakami simplifies his familiar artistic elements, leaving us with a readable pair of intertwined stories that wind up on the same, enjoyable track. For readers willing to enter Murakami’s literary marathon, the outcome will be one to remember.”
—Jeremy C. Owens, San Jose Mercury News
 
“Lose yourself in the nearly 1,000 pages of Murakami’s alternately mesmerizing and menacing world, living for large stretches of each day with its characters, and time actually shifts and becomes harder to measure—one of the many themes, as it happens, in this big and brilliant book . . . It’s the quest for such shared experience, between writer and reader in the dream world they inhabit together, that explains why we read fiction—that magical carpet whisking us from the lonely prison of the self into the hearts and minds of others . . . It may not be easy traveling to another world; it’s often hard enough getting around in our own. But what is true for this novel’s determined protagonists will go double for its faithful readers: Take the time to get carried away, and time itself—as well as the way you think about how you spend yours—will take on new dimensions. It’s a mind-blowing experience. Great novels always are.”
—Mike Fischer, Milwaukee Journal Sentinel
 
“[A] masterwork . . . [Murakami has] crafted what may well become a classic literary rendering of pre-2011 Japan . . . Orwell wrote his masterpiece to reflect a future dystopia through a Cold War lens . . . Similarly, Murakami’s 1Q84 captures attitudes and circumstances that characterize Japanese life before the March earthquake-tsunami-nuclear disaster. Reading 1Q84, once can’t help but sense already how things have changed.”
—Lee Makela, Cleveland Plain Dealer
 
“Always intriguing . . . 1Q84 is a huge novel in every sense . . . putting it down is not an option . . . The reader who steps into its time flow only reluctantly comes ashore.”
—Sherryl Connelly, New York Daily News
 
“1Q84 is a tremendous feat and a triumph . . . A must-read for anyone who wants to come to terms with contemporary Japanese culture.”
—Lindsay Howell, Baltimore Examiner
 
“Perhaps one of the most important works of science fiction of the year . . . 1Q84 does not disappoint . . . [It] envelops the reader in a shifting world of strange cults and peculiar characters that is surreal and entrancing.”
—Matt Staggs, Suvudu.com
 
“There’s no denying that Haruki Murakami’s 1Q84 . . . is an impressive achievement, both for its already accomplished author and for the two separate translators who took on the not inconsequential task of translating the book from Murakami’s native Japanese into English. Equally impressive is the author’s facility at working in this long form—the story moves, it seems, effortlessly through hundreds of pages, and the reader, too, glides easily from page to page as if the book were a third of its length . . . What’s most remarkable about Murakami’s novel, however, is neither its prose style nor its accompanying emotional distance: it’s its scope. Most so-called doorstopper novels contain multitudes of characters, conflicts, decades, or even footnotes. 1Q84, at its heart, is primarily a story of two separated lovers. It takes place in a short time frame and in a single city, but it’s enriched by Murakami’s philosophical musings and his uniquely visionary form of fantasy.”
—Norah Piehl, BookReporter.com
 
“Murakami’s dystopian magnum opus . . . 1Q84 unfolds as a science-fiction thriller, and despite the pointed Orwellian reference, it is closer in spirit to the work of Philip K. Dick. Fantastic elements seamlessly integrate with the mundane to create a world much like, if not quite like, our own . . . The supporting cast . . . is lovingly lifted from classic pulp fiction archetypes, and roots the novel in the noir mystery genre as well. Pulp fiction, indeed, but on a grand scale—as ambitious, quirky and imaginative as only Murakami can be.”
—Robert Weibezahl, BookPage
 
“Murakami’s trademark plainspoken oddness is on full display in this story of lapsed childhood friends Aomame and Tengo, now lonely adults in 1984 Tokyo, whose destinies may be curiously intertwined . . . Murakami’s fans know that his focus has always been on the quiet strangeness of life, the hidden connections between perfect strangers, and the power of the non sequitur to reveal the associative strands that weave our modern world. 1Q84 goes further than any Murakami novel so far, and perhaps further than any novel before it, toward exposing the delicacy of the membranes that separate love from chance encounters, the kind from the wicked, and reality from what people living in the pent-up modern world dream about when they go to sleep under an alien moon.”
—Publishers Weekly (starred review)
 
“Unquestionably Murakami’s most vividly imagined parallel world . . . Gradually but inexorably, the tension builds, as we root passionately for Tengo and Aomame to find one another and hold hands again, so simple a human connection offering a kind of oasis in the midst of the unexplainable and the terrifying. When Murakami melds fantasy and realism, mystery and epic, it is no simple genre-bending exercise; rather, it is literary alchemy of the highest order.”
—Bill Ott, Booklist (starred review)
 
“Ambitious, sprawling and thoroughly stunning . . . Orwellian dystopia, sci-fi, the modern world (terrorism, drugs, apathy, pop novels)—all blend in this dreamlike, strange and wholly unforgettable epic.”
—Kirkus Reviews (starred review)
 
“At the core of this work is a spectacular love story about a girl and a boy who briefly held hands when they were both ten. That said, with the fiercely imaginative Murakami as author, the story’s exposition is gloriously labyrinthine . . . Originally published in Japan as three volumes, each of which were instant best sellers, this work—perhaps Murakami’s finest—will surely have the same success in its breathlessly anticipated all-in-one English translation. Murakami aficionados will delight in recognizing traces of earlier titles, especially A Wild Sheep Chase, Norwegian Wood, and even Underground.”
—Terry Hong, Library Journal (starred review)

About the Author
Haruki Murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than fifty languages, and the most recent of his many international honors is the Jerusalem Prize, whose previous recipients include J. M. Coetzee, Milan Kundera, and V. S. Naipaul.

Most helpful customer reviews

19 of 19 people found the following review helpful.
Dreams come to life...
By Regular Guy
The NYT review got it right: "while anyone can tell a story that resembles a dream, it's the rare artist, like this one, who can make us feel that we are dreaming it ourselves.” I have looked at the negative reviews that describe a flatness or childishness to the writing style. I suspect that there is something about falling into the author's dream and fable-like narrative -- and experiencing it echo your dreams -- that either clicks or does not click -- like seeing a 3D movie with or without the glasses. I do not mean this judgmentally -- for example, Lord of the Rings did not click for me and I sense that author created a world I just cannot open myself up to for some reason. But this book was like the most soul-stirring elements and characters of your elusive, fleeting dreams, come to life. If you have an abstract sensibility, the thirst for a sprawling story, and get a shiver when you consider the idea that you have a primal connection to someone you may have met in a dream, it is worth trying 1Q84 for the possibility that it will leave you amazed and satisfied.

7 of 7 people found the following review helpful.
two moons in one
By Liverpoolron
I read it twice.... wanting to be sure that it was as amazing as I thought:

The initial reading (a few years ago) was breathtaking, I didn't know which way was up and enjoyed the disorientation immensely. The second reading sank in. Not so upside down as I expected - in fact, it became rather linear which was just as discombobulating as not knowing what was happening while I was upside down? The mystifying maze that is 1Q84 is as acrobatic as it gets. Murakami is a fun guy - I must admit, I hated coming back to 2Q14

6 of 6 people found the following review helpful.
entrancing and deep
By Peg Stone
The best read I have had in a long time. Murakami throws out a tangled story working on several levels: a parallel universe (perhaps); an ambiguous new force that may or may not be "evil," which may have an objective in mind driving its machinations (or not); a highly improbable love story that begins to seem like the most reasonable and straightforward part of the novel; and a metaphysical treatise on the nature of time and the perception of reality. The characters are unlike any I have encountered before, and both confusing and fascinating. And even in translation, I found myself stopping and savoring words and paragraphs for their language and refreshing analogies. I found myself wanting to read it again immediately. Finally, I found myself suddenly startled and caught unawares at several points in the book as events caught me by surprise. This is a novel about what happens in a novel, whether what is happening exists only while being written about, if time is elastic and if it only runs on a single track, the nature of 'right action' and free will. If you don't like being dragged into a world where there can be two moons, you won't like this book. If you don't like novels that make you want to start charting out connections and relationships about half way through, you won't like this book. Me, I liked it.

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Sabtu, 07 Agustus 2010

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Harry Potter and the Deathly Hallows, by J.K. Rowling


It all comes down to this - a final faceoff between good and evil. You plan to pull out all the stops, but every time you solve one mystery, three more evolve. Do you stay the course you started, despite your lack of progress? Do you detour and follow a new lead that may not help? Do you listen to your instincts, or your friends?

Lord Voldemort is preparing for battle and so must Harry. With Ron and Hermione at his side, he's trying to hunt down Voldemort's Horcruxes, escape danger at every turn, and find a way to defeat evil once and for all. How does it all end? Find out in Harry Potter and the Deathly Hallows.

  • Sales Rank: #25527 in Books
  • Brand: Listening Library (Audio)
  • Published on: 2007-07-21
  • Released on: 2007-07-21
  • Number of discs: 19
  • Formats: Audiobook, CD, Unabridged
  • Original language: English
  • Number of items: 17
  • Dimensions: 6.10" h x 2.40" w x 5.30" l, 1.46 pounds
  • Running time: 1300 minutes
  • Binding: Audio CD
  • 17 pages
Features
  • the last of the Harry Potter novels

Amazon.com Review
Readers beware. The brilliant, breathtaking conclusion to J.K. Rowling's spellbinding series is not for the faint of heart--such revelations, battles, and betrayals await in Harry Potter and the Deathly Hallows that no fan will make it to the end unscathed. Luckily, Rowling has prepped loyal readers for the end of her series by doling out increasingly dark and dangerous tales of magic and mystery, shot through with lessons about honor and contempt, love and loss, and right and wrong. Fear not, you will find no spoilers in our review--to tell the plot would ruin the journey, and Harry Potter and the Deathly Hallows is an odyssey the likes of which Rowling's fans have not yet seen, and are not likely to forget. But we would be remiss if we did not offer one small suggestion before you embark on your final adventure with Harry--bring plenty of tissues.

The heart of Book 7 is a hero's mission--not just in Harry's quest for the Horcruxes, but in his journey from boy to man--and Harry faces more danger than that found in all six books combined, from the direct threat of the Death Eaters and you-know-who, to the subtle perils of losing faith in himself. Attentive readers would do well to remember Dumbledore's warning about making the choice between "what is right and what is easy," and know that Rowling applies the same difficult principle to the conclusion of her series. While fans will find the answers to hotly speculated questions about Dumbledore, Snape, and you-know-who, it is a testament to Rowling's skill as a storyteller that even the most astute and careful reader will be taken by surprise.

A spectacular finish to a phenomenal series, Harry Potter and the Deathly Hallows is a bittersweet read for fans. The journey is hard, filled with events both tragic and triumphant, the battlefield littered with the bodies of the dearest and despised, but the final chapter is as brilliant and blinding as a phoenix's flame, and fans and skeptics alike will emerge from the confines of the story with full but heavy hearts, giddy and grateful for the experience. --Daphne Durham

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Begin at the Beginning
Harry Potter and the Sorcerer's Stone

Hardcover
Paperback Harry Potter and the Chamber of Secrets

Hardcover
Paperback Harry Potter and the Prisoner of Azkaban

Hardcover
Paperback Harry Potter and the Goblet of Fire

Hardcover
Paperback Harry Potter and the Order of the Phoenix

Hardcover
Paperback Harry Potter and the Half-Blood Prince

Hardcover
Paperback
Why We Love Harry
Favorite Moments from the Series
There are plenty of reasons to love Rowling's wildly popular series--no doubt you have several dozen of your own. Our list features favorite moments, characters, and artifacts from the first five books. Keep in mind that this list is by no means exhaustive (what we love about Harry could fill ten books!) and does not include any of the spectacular revelatory moments that would spoil the books for those (few) who have not read them. Enjoy.

Harry Potter and the Sorcerer's Stone
* Harry's first trip to the zoo with the Dursleys, when a boa constrictor winks at him.
* When the Dursleys' house is suddenly besieged by letters for Harry from Hogwarts. Readers learn how much the Dursleys have been keeping from Harry. Rowling does a wonderful job in displaying the lengths to which Uncle Vernon will go to deny that magic exists.
* Harry's first visit to Diagon Alley with Hagrid. Full of curiosities and rich with magic and marvel, Harry's first trip includes a trip to Gringotts and Ollivanders, where Harry gets his wand (holly and phoenix feather) and discovers yet another connection to He-Who-Must-No-Be-Named. This moment is the reader's first full introduction to Rowling's world of witchcraft and wizards.
* Harry's experience with the Sorting Hat.

Harry Potter and the Chamber of Secrets
* The de-gnoming of the Weasleys' garden. Harry discovers that even wizards have chores--gnomes must be grabbed (ignoring angry protests "Gerroff me! Gerroff me!"), swung about (to make them too dizzy to come back), and tossed out of the garden--this delightful scene highlights Rowling's clever and witty genius.
* Harry's first experience with a Howler, sent to Ron by his mother.
* The Dueling Club battle between Harry and Malfoy. Gilderoy Lockhart starts the Dueling Club to help students practice spells on each other, but he is not prepared for the intensity of the animosity between Harry and Draco. Since they are still young, their minibattle is innocent enough, including tickling and dancing charms.

Harry Potter and the Prisoner of Azkaban
* Ron's attempt to use a telephone to call Harry at the Dursleys'.
* Harry's first encounter with a Dementor on the train (and just about any other encounter with Dementors). Harry's brush with the Dementors is terrifying and prepares Potter fans for a darker, scarier book.
* Harry, Ron, and Hermione's behavior in Professor Trelawney's Divination class. Some of the best moments in Rowling's books occur when she reminds us that the wizards-in-training at Hogwarts are, after all, just children. Clearly, even at a school of witchcraft and wizardry, classes can be boring and seem pointless to children.
* The Boggart lesson in Professor Lupin's classroom.
* Harry, Ron, and Hermione's knock-down confrontation with Snape.

Harry Potter and the Goblet of Fire
* Hermione's disgust at the reception for the veela (Bulgarian National Team Mascots) at the Quidditch World Cup. Rowling's fourth book addresses issues about growing up--the dynamic between the boys and girls at Hogwarts starts to change. Nowhere is this more plain than the hilarious scene in which magical cheerleaders nearly convince Harry and Ron to jump from the stands to impress them.
* Viktor Krum's crush on Hermione--and Ron's objection to it.
* Malfoy's "Potter Stinks" badge.
* Hermione's creation of S.P.E.W., the intolerant bigotry of the Death Eaters, and the danger of the Triwizard Tournament. Add in the changing dynamics between girls and boys at Hogwarts, and suddenly Rowling's fourth book has a weight and seriousness not as present in early books in the series. Candy and tickle spells are left behind as the students tackle darker, more serious issues and take on larger responsibilities, including the knowledge of illegal curses.

Harry Potter and the Order of the Phoenix

* Harry's outburst to his friends at No. 12 Grimmauld Place. A combination of frustration over being kept in the dark and fear that he will be expelled fuels much of Harry's anger, and it all comes out at once, directly aimed at Ron and Hermione. Rowling perfectly portrays Harry's frustration at being too old to shirk responsibility, but too young to be accepted as part of the fight that he knows is coming.
* Harry's detention with Professor Umbridge. Rowling shows her darker side, leading readers to believe that Hogwarts is no longer a safe haven for young wizards. Dolores represents a bureaucratic tyrant capable of real evil, and Harry is forced to endure their private battle of wills alone.
* Harry and Cho's painfully awkward interactions. Rowling clearly remembers what it was like to be a teenager.
* Harry's Occlumency lessons with Snape.
* Dumbledore's confession to Harry.

Harry Potter and the Half-Blood Prince

* The introduction of the Horcrux.
* Molly Weasley asking Arthur Weasley about his "dearest ambition." Rowling has always been great at revealing little intriguing bits about her characters at a time, and Arthur’s answer "to find out how airplanes stay up" reminds us about his obsession with Muggles.
* Harry's private lessons with Dumbledore, and more time spent with the fascinating and dangerous pensieve, arguably one of Rowling’s most ingenious inventions.
* Fred and George Weasley’s Joke Shop, and the slogan: "Why Are You Worrying About You-Know-Who? You Should Be Worrying About U-NO-POO--the Constipation Sensation That's Gripping the Nation!"
* Luna's Quidditch commentary. Rowling created scores of Luna Lovegood fans with hilarious and bizarre commentary from the most unlikely Quidditch commentator.
* The effects of Felix Felicis.

Magic, Mystery, and Mayhem: A Conversation with J.K. Rowling

"I am an extraordinarily lucky person, doing what I love best in the world. I’m sure that I will always be a writer. It was wonderful enough just to be published. The greatest reward is the enthusiasm of the readers." --J.K. Rowling

Find out more about Harry's creator in our exclusive interview with J.K. Rowling.



Did You Know? The Little White Horse was J.K. Rowling's favorite book as a child. Jane Austen is Rowling's favorite author. Roddy Doyle is Rowling's favorite living writer.

A Few Words from Mary GrandPré

"When I illustrate a cover or a book, I draw upon what the author tells me; that's how I see my responsibility as an illustrator. J.K. Rowling is very descriptive in her writing--she gives an illustrator a lot to work with. Each story is packed full of rich visual descriptions of the atmosphere, the mood, the setting, and all the different creatures and people. She makes it easy for me. The images just develop as I sketch and retrace until it feels right and matches her vision." Check out more Harry Potter art from illustrator Mary GrandPré.

From Publishers Weekly
Starred Review. Potter fans, relax—this review packs no spoilers. Instead, we're taking advantage of our public platform to praise Rowling for the excellence of her plotting. We can't think of anyone else who has sustained such an intricate, endlessly inventive plot over seven thick volumes and so constantly surprised us with twists, well-laid traps and Purloined Letter-style tricks. Hallows continues the tradition, both with sly feats of legerdemain and with several altogether new, unexpected elements. Perhaps some of the surprises in Hallows don't have quite the punch as those of earlier books, but that may be because of the thoroughness and consistency with which Rowling has created her magical universe, and because we've so raptly absorbed its rules.

We're also seizing the occasion to wish out loud that her editors had done their jobs more actively. It's hard to escape the notion that the first three volumes were more carefully edited than the last four. Hallows doesn't contain the extraneous scenes found in, say, Goblet of Fire, but the momentum is uneven. Rowling is much better at comedy than at fight scenes, and no reader of the sixth book will be startled to hear that Hallows has little humor or that its characters engage in more than a few fights. Surely her editors could have helped her find other methods of building suspense besides the use of ellipses and dashes? And craft fight dialogue that sounds a bit less like it belongs in a comic book? Okay, we're quibbling. We know these minor nuisances won't dent readers' enjoyment, at least not this generation of readers; we couldn't put Hallows down ourselves. But we believe Rowling, and future readers, deserved even better. Ages 9-12. (July)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Grade 6 Up—In this concluding volume, Rowling brings together the themes and characters familiar to her readers, providing thrills both expected and unexpected. Harry, Ron, and Hermione set out on the mission left to Harry by Albus Dumbledore, to search for the remaining Horcruxes, the hidden pieces of Voldemort's soul that must be destroyed to ensure his final defeat. Harry and his friends find themselves fugitives, but help comes from unexpected quarters and old friends. Harry is also searching for the truth about Dumbledore's life, as he tries to reconcile rumors about the man's past with the heroic headmaster he thought he knew. The legend of the Deathly Hallows, three magical objects that have the power to overcome death, proves to be related to Dumbledore's past as well as the present conflict. While the plot wanders somewhat on its way there, the final battle with Voldemort, involving a full range of friends and foes, is Rowling at her finest. The headstrong plot involves clues and characters from all of the volumes, building on details and tying up loose ends. An underlying message about the power of truth and redemption is reflected in a range of characters, combining with mythic allusions to give depth to the series as a whole. Hallows continues the darker tone of Half-Blood Prince, and there's no Quidditch to be found here, though there are comic moments. Fans of the series will devour this lengthy tome and will be left hoping for more tales from this fully fleshed out fantastic world.—Beth L. Meister, Pleasant View Elementary School, Franklin, WI
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Most helpful customer reviews

4 of 4 people found the following review helpful.
So much better than the movie
By Liviah
Oh how I love the Harry Potter world.

Back when the movies were out I read books 1 & 7. I loved book 7 and was "meh" about book 1. But picking them up again to finish reading the whole series I am enjoying them so much more than I did initially.
Rowling makes such lovable characters! There are so many books I wanted to read this month and instead I find myself spending all my reading time on Harry Potter books.

A great addicting read. Better than the first two books I'd say. I loved Lupin and Crookshanks the most. And I especially loved the last chapter of this book.
There is much in the book that is not in the movie, so it's worth a read even if you've seen all the films.

4 of 4 people found the following review helpful.
Highly recommend
By Heather J
I could go on and on about how talented Rowling is; she does an amazing job in developing her characters, plot, and setting. She has moments of humor, warmth and depth. And I LOVE how she developed Snape's character and answered all the questions about this enigmatic character in this final volume. A superb ending to an excellent series!

2 of 2 people found the following review helpful.
My favorite of the series so far. Great writing, great story, love this book!
By Guedo Fanony
This is by far my favorite Harry Potter book so far. The writing has gotten so much better over the past 2 books, (which I did also love)... The character development has been amazing. The story is interesting as usual. The continuation of past events would be very easy for a newcomer to follow. I find it strange that anyone would start reading in the middle of the series, but I honestly think it wouldn't be that difficult with the way that Rowling integrates everything.

I've been reading these books with my 5 year old daughter and she absolutely loves them. She has no problem following along. And the subject matter is understandable and appropriate. I've heard that the next book may be a bit darker, but so far, we are having a great time reading them together.

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Jumat, 06 Agustus 2010

[G460.Ebook] Download Don't give up!: Jesus will give you that miracle you need, by Oral Roberts

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Don't give up!: Jesus will give you that miracle you need, by Oral Roberts

  • Sales Rank: #1484525 in Books
  • Published on: 1980
  • Binding: Paperback
  • 126 pages

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1 of 1 people found the following review helpful.
Don't give up!: Jesus will give you that miracle you need
By Linda Luke
Gee, haven't even had chance to read it yet...just remember watching Mr. Roberts on TV years ago...liked some of his ideas then. Going through tough time with husband's head injury following hit-n-run motorcycle accident, looking for guidance & miracles. With sincerest apologies, I have given seller 4 stars for kindness & speed of shipping. Lacking 1 star due to condition of book...VERY yellow, 'old age' to the point of crackling pages, some pages wrinkled/sticking like it may have gotten wet/moist somewhere along the way. This was not disclosed. Will browse through, then probably donate to charity. THANKS!

0 of 0 people found the following review helpful.
Supernatural Read! POWERFUL!!!
By Renee Tatum
Best little book, ever....too bad it is out of print!

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Kamis, 05 Agustus 2010

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Hedgehog in the Fog Volume 1, by Sergey Kozlov

Hedgehog in the Fog first appeared as a cartoon adaptation and won numerous international prizes. It is considered one of the best animated films of all time.

This audiobook is narrated in Russian and contains the first 31 hedgehog tales. Each tale is accompanied by its own specially composed music.

A little hedgehog heads out into the woods and encounters a beautiful white horse surrounded by thick fog. He is curious and wants to explore the fog. As he goes down an incline into the fog, it is soon so thick that the hedgehog can't even see his own paw. The fog alternately thickens and thins; when it thins the hedgehog briefly catches vague sight of objects and creatures which disappear again as the fog thickens.

Hedgehog finds himself in a surreal and frightening world inhabited by shapes which are not always identifiable and various creatures ranging from predators to friendly animals, in a world of silence and rustles, darkness, tall grass and enchanting stars.

  • Sales Rank: #144981 in Audible
  • Published on: 2015-07-02
  • Format: Unabridged
  • Original language: Russian
  • Running time: 134 minutes

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