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Uncle Tom’s Cabin; or, Life Among the Lowly is a novel by American author Harriet Beecher Stowe. Slavery is it central theme. It is classed as one of the most “banned” books in the United States. It also became the second-best selling title of the 19th century; right behind the Bible.

Harriet Beecher Stowe was a Connecticut-born teacher at the Hartford Female Academy and an active abolitionist. The novel is believed to have had a profound effect on the North’s view of slavery. In fact, when President Lincoln met Stowe, he stated, “So you’re the little lady whose book started the Civil War.”

First published on March 20, 1852, the story focuses on the tale of Uncle Tom, a long-suffering black slave, the central character around whose life the other characters—both fellow slaves and slave owners—revolve. The novel depicts the harsh reality of slavery while also showing that Christian love and faith can overcome even something as evil as enslavement.

Plus there is a bonus section about the history of slavery down through the ages.

Highlights of this edition are:

•25 illustration and photos about Uncle Tom’s Cabin.
•41 illustrations and photos about the history of slavery.
•A free web link to an audio copy of the book.
•It is formatted for ease of use and enjoyment on your kindle reader.
•An active (easy to use) Table of Contents listing every chapter accessible from the kindle "go to" feature.
•Perfect formatting in rich text compatible with Kindle's Text-to-Speech features.
•Plus About the Author section.
•915 pages (in the kindle format) for a very low price.

This book is unabridged (unedited) and the story appears as it was first published in 1852.

• Sales Rank: #126747 in eBooks
• Published on: 2015-02-17
• Released on: 2015-02-17
• Format: Kindle eBook

From Publishers Weekly
Variously beloved, denounced and dismissed over its 150-plus year history, Stowe's classic 1852 novel has been nothing if not productive. As Gates and Robbins note, the novel was vastly important in shaping American ideas and attitudes about race, but it also influenced the ways people thought about relationships and sexuality, and it continues to spur debate about the meanings of slavery and domesticity. Those are just some of the reasons it's an oft-assigned text in colleges, a market this beautifully annotated, wide-format edition addresses nicely. Joining seven other titles in Norton's handsomely produced "Annotated" series, the book offers 32 pages of color illustrations (not seen by PW), 150 b&w period illustrations, and a two-column format that has Stowe's text at left, and the annotations at right.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* Celebrated when it was published in 1852 and later vilified, Uncle Tom's Cabin unquestionably changed American history and has had an enduring impact on American literature. In this annotated version of the novel, college professors Gates and Robbins explore changes in perspective on race, sex, and literature since the publication of the novel and its subsequent critique in the 1950s by James Baldwin. Throughout the book are illustrations of Uncle Tom across the years, including posters, postcards, woodcuts, and advertisements, all reflecting changing images of Uncle Tom and black Americans. Gates and Robbins explore images of heroism and subservience, contrasting the unctuous sentimentality of the novel with the implicit sexual tension between Uncle Tom and Little Eva, and explore the reason the novel remains so strong in the public imagination. Both new readers and those familiar with the work will appreciate the scholarly insight into the culture and social conventions that directed Stowe's writing. She sought to rouse abolitionist sentiments and, in the process, rendered Uncle Tom as no threat to white men. The editors ultimately applaud the novel as an enduring part of the American literary canon. Vanessa Bush
Copyright © American Library Association. All rights reserved

Review
This is one of those books that everybody has heard about but few people these days have actually read. It deserves to be read - not simply because it is the basis for symbols so deeply ingrained in American culture that we no longer realize their source, nor because it is one of the bestselling books of all time. This is a book that changed history. Harriet Beecher Stowe was appalled by slavery, and she took one of the few options open to nineteenth century women who wanted to affect public opinion: she wrote a novel, a huge, enthralling narrative that claimed the heart, soul, and politics of pre-Civil War Americans. It is unabashed propaganda and overtly moralistic, an attempt to make whites - North and South - see slaves as mothers, fathers, and people with (Christian) souls. In a time when women might see the majority of their children die, Harriet Beecher Stowe portrays beautiful Eliza fleeing slavery to protect her son. In a time when many whites claimed slavery had "good effects" on blacks, Uncle Tom's Cabin paints pictures of three plantations, each worse than the other, where even the best plantation leaves a slave at the mercy of fate or debt. By twentieth-century standards, her propaganda verges on melodrama, and it is clear that even while arguing for the abolition of slavery she did not rise above her own racism. Yet her questions remain penetrating even today: "Is man ever a creature to be trusted with wholly irresponsible power? --review by Erica Bauermeister

Most helpful customer reviews

382 of 402 people found the following review helpful.
Read it and judge for yourself
By A Customer
Uncle Tom's cabin is frequently criticized by people who have never read the work, myself included. I decided I finally needed to read it and judge it for myself. And I have to say, that for all its shortcomings (and it does have them), it is really a remarkable book. The standout characteristics of this book are the narrative drive (it's a very exciting, hard to put down book), the vivid characters (I don't know what other reviewers were reading, but I found the characters extremely vivid and mostly believable - exceptions to follow), the sprawling cast, the several completely different worlds that were masterfully portrayed, and the strong female characters in the book. The portrayal of slavery and its effects on families and on individuals is gut-wrenching - when Uncle Tom has to leave his family, and when Eliza may lose little Harry, one feels utterly desolate.
As for flaws, yes, Mrs. Stowe does sermonize a fair bit, and her sentences and pronouncements can be smug. Yes, if you're not a Christian, you may find all her Christian references a bit much. (But the majority of her readers claimed to be Christian, and it was her appeal to the spirit of Christ that was her most powerful tug at the emotions of her readers). Yes, she still had some stereotypical views of African-Americans (frankly, I think most people have stereotypical views of races other than their own, they just don't state them as clearly today). But in her time, she went far beyond the efforts of most of her contemporaries to both see and portray her African-American brothers and sisters are equal to her. The best way she did this was in her multi-dimensional portrayal of her Negro characters -- they are, in fact, more believable and more diverse than her white characters. Yes, at times her portrayal of Little Eva and Uncle Tom is overdone at times -- they are a little cardboard in places -- but both, Uncle Tom especially, are overall believable, and very inspiring. The rest of the Negro characters - George Harris, Eliza, Topsy, Cassie, Emmeline, Chloe, Jane and Sara, Mammy, Alphonse, Prue, and others, span the whole spectrum of humanity -- they are vivid and real.
The comments of a previous reviewer that the book actually justifies slavery (because "it says it's no worse than capitalism") and that it shows that Christianity defends slavery are due to sloppy reading of the book. No one reading the book could possibly come to the conclusion that it does anything but condemn slavery in the strongest and most indubitable terms. This was the point of the book. The aside about capitalism was just that, an aside on the evils of capitalism. It did not and does not negate the attack on slavery. Secondly, another major point of the book is that TRUE Christianity does not and could not ever support slavery. Stowe points out the Biblical references used to claim that Christianity defended slavery merely to show how the Bible can be misused by those who wish to defend their own indefensible viewpoint. It's ridiculous to say that the book "shows that Christianity supported slavery". It shows that some misguided preachers abused certain Bible passages and ignored other ones to support their view of slavery.
There is an overlay of the tired "Victorian women's novel" to this piece - that must be granted. For literary perfection, it will never take its place beside Tolstoy, Dickens and Austen. But it is a piece entirely of its own category. Nothing before or after it has been anything like it, and it IS a great, if flawed, novel. I highly recommend it. I give it 5 stars despite its flaws because it's utterly unique, and its greatness is in some ways is related to its flaws.

179 of 189 people found the following review helpful.
Yet another surprised reader
By A Customer
I too was surprised by "Uncle Tom's Cabin." I'd expected a poorly written melodrama with (at best) a tepid commitment to abolition and a strong undercurrent of racism. I was wrong. As a novel, I consider it to be better than many of its rough contemporaries (including "A Tale of Two Cities," "Vanity Fair," and "Sartor Resartus"). As an attack on slavery, it is uncompromising, well informed, logically sophisticated, and morally unassailable. It's also exciting, educational, and often funny.
The book has flaws, of course. The quality of the writing is variable, as it is in the works of many greater talents than Stowe. Herman Melville is one of my favorite writers, but I'd be hard-pressed to defend some of his sentences--or even some of his books--on purely literary grounds! There are indeed sentimental passages in "UTC." So what? There are plenty in Hawthorne, Dickens, Ruskin, and the Brontes, too...and lord knows our age has its own garish pieties. There are also a couple (only a couple!) of unfortunate remarks on the "childlike" character of slaves, but nothing so offensive as to render suspect Stowe's passionate belief that blacks are equal to whites in the eyes of God and must not be enslaved. (She also says that differences between blacks and whites do not result from a difference in innate ability, and argues that a white person raised to be a slave would show all the characteristics of one). By contrast, Plato wrote reams in defense of slavery and racialism, and yet people who point this out are considered spoilsports, if not philistines.
The reviewer who claimed to have learned from Stowe that "slavery is no worse than capitalism" has totally misunderstood Stowe, who says that slavery is AS terrible as capitalism. To be precise, Stowe equates the horrors of wage slavery under Victorian Britain's capitalist system of production with those of chattel slavery in the American South. Her definition of capitalism agrees perfectly with that of Karl Marx, who was a pro-abolitionist correspondent for the New York Daily Tribune (and was familiar enough with Stowe to have written a piece on her). Marx said that true capitalism is defined by "the annihilation of self-earned private property; in other words, the expropriation of the labourer." Marx did not consider America a capitalist state, because American workers had at least theoretical upward mobility and could acquire property. This was not at all true of the British working class when "Uncle Tom's Cabin" was written, as Stowe well knew. And there was nothing idiosyncratic about her opinion; contemporaneous books such as "The White Slaves of England" made the same connection between American chattel slavery and British wage slavery. The cruelty of both systems is what led Stowe to claim in an essay that the Civil War was not merely a war against slavery, but "a war for the rights of the working class of society as against the usurpation of privileged aristocracies."
As for the claim that Stowe says Christianity justifies slavery, this is either willful misreading or wishful thinking...she says the opposite so many times, and at such length, that to remove every expression of it would probably shorten the book by half (to the delight, apparently, of most of our nation's English students).
Not sure who to believe? If you're interested enough in "Uncle Tom's Cabin" to have slogged through this meandering review, why not read it and see for yourself what Stowe does, and doesn't, say?

270 of 288 people found the following review helpful.
I finally read this excellent book!
By CCC
Since this was a free Kindle download, I was prompted to finally read this classic book. It is much better than I expected it would be! Easy to read, well-written, and eye-opening. I noticed another reviewer said the download version was hard to read, but I did not find that to be a problem at all. One nice thing about the Kindle is the ability to download so many classics for free. I doubt I would go to the library and check out Uncle Tom's Cabin, but I would and did read it as a free Kindle download. I am glad that I did!

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• Published on: 2015-02-28
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .43" w x 6.00" l, .48 pounds
• Binding: Paperback
• 188 pages

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• Sales Rank: #1979509 in eBooks
• Published on: 2015-02-04
• Released on: 2015-02-04
• Format: Kindle eBook

About the Author
Shirl Knobloch works as an artist and intuitive animal communicator. She and her house full of feathered and furry beings divide their time between a New Jersey suburb and her farmhouse in Gettysburg, Pennsylvania.

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By Helen
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By Tricia M Manns
February 14, 2015
Book Review
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The bestselling novel that inspired Mervyn LeRoy’s classic horror film about the little girl who can get away with anything—even murder.
 
There’s something special about eight-year-old Rhoda Penmark. With her carefully plaited hair and her sweet cotton dresses, she’s the very picture of old-fashioned innocence. But when their neighborhood suffers a series of terrible accidents, her mother begins to wonder: Why do bad things seem to happen when little Rhoda is around?
 
Originally published in 1954, William March’s final novel was an instant bestseller and National Book Award finalist before it was adapted for the stage and made into a 1956 film. The Bad Seed is an indelible portrait of an evil that wears an innocent face, one which still resonates in popular culture today. 

With a new foreword by Anna Holmes.

Vintage Movie Classics spotlights classic films that have stood the test of time, now rediscovered through the publication of the novels on which they were based.


From the Trade Paperback edition.

• Sales Rank: #69595 in eBooks
• Published on: 2015-02-03
• Released on: 2015-02-03
• Format: Kindle eBook

Review
“William March knows where human fears and secrets are buried. . . . Nowhere is this gift better displayed than in The Bad Seed.” —The New York Times
 
“An impeccable tale of pure evil.” —The Atlantic

About the Author

William March (1893-1954) was born in Mobile, Alabama, attended Valparaiso University in Indiana, and studied law at the University of Alabama. He served in the Marine Corps during World War I and was awarded the Distinguished Service Cross, the Navy Cross, and the Croix de Guerre with Palm. After the war, he took a job with the Waterman Steamship Corporation, and worked there for eighteen years before giving up his position to devote himself to writing. March published three volumes of stories and six novels, including The Bad Seed, his final book.

Excerpt. © Reprinted by permission. All rights reserved.

Foreword

by Anna Holmes 

I suppose if a novelist is going to imagine and give life to a character meant to be a memorable but also totally unexpected serial killer, it makes sense that he make her not only a young child but also a girl. Though readers may be more familiar with Macaulay Culkin’s apple-cheeked child psycho in 1993’s The Good Son, the grade-school sociopath to which all contemporary child killers can, and should, be compared is Rhoda Penmark, the focus of William March’s 1954 bestselling novel, The Bad Seed. Eight years old, with straight brown hair and a desire for tidiness that seems to border on the obsessive, Rhoda boasts an old-fashioned name and a stereotypically feminine, highly controlled style of dress and disposition that seem to be at extreme odds with her willingness to, for example, toss terrier puppies to their deaths from bedroom windows. And she’s driving her mother, the overly cautious housewife Christine Penmark, literally crazy. 

Of course, it’s not just animals who invoke the wrath of Rhoda P., Kid Creep: Children and adults alike are subject to her special form of homicidal dispensation, giving lie to the nineteenth century nursery rhyme that little girls are made of “sugar and spice and everything nice.” Indeed, it’s likely that part of what made The Bad Seed so terrifying and unsettling to midcentury American readers is author William March’s juxtaposition of the younger Penmark’s external performance of obedient, coquettish femininity—“Oh, my old-fashioned little darling!” exclaims one of Rhoda’s admirers, her neighbor Monica Breedlove, early on in the text—with what are commonly thought to be more masculine traits: the covetousness, ruthlessness, and lack of control that inspire most of her calculated crimes of convenience. This dissonance between how Rhoda appears on the outside and who she is on the inside is further underscored by her aforementioned appearance, all pressed dotted-Swiss dresses and trimmed bangs and perfectly twisted pigtails. 

About those pigtails. In the film version of the book, released in 1956, Mr. March’s Rhoda, she of the “straight, finespun, and…dark, dull brown” hair, is reimagined as a towheaded terror in the form of actress Patty McCormack, who received an Academy Award nomination for her performance. Director Mervyn LeRoy’s choice to take a page from Alfred Hitchcock’s playbook and make the celluloid Rhoda a blonde served to accentuate not just the character’s iciness but to communicate a certain innocence and fragility, making her appear more like a doll than a flesh-and-blood human being. Indeed, the film version feels prescient in the ways that it seems to presage and anticipate any number of scary killer dolls from cinematic history, including the braided moppets from the 1963 Twilight Zone episode “Living Doll” and 2013’s paranormal thriller The Conjuring. Descriptions of Rhoda’s appearance and countenance in the book reinforce this: She walks stiffly and somewhat carefully; her hair is arranged in the sort of perfectly ordered, taut plaits that only a factory assembly line could produce; and she seems to be capable of two, maybe three expressions—blank solemnity, irresistible cuteness, and flashing anger. 

Though not exactly a character study, it’s possible that William March’s criminalizing of a young female was supposed to be both provocative and maybe even political, that in making an adorable little girl an ice-cold killer somehow our ideas of femininity and decorum and preciousness were going to be upended, and violently. (It was the mid-1950s, after all, a time in which expectations for womanhood and the cultivation of comfortable, safe domestic arrangements were at an all-time high, expectations that came under fire in Betty Friedan’s seminal The Feminine Mystique, published less than a decade later.) It’s unlikely, however, that the film would have the same deleterious effect on the contemporary reading or theater-going public, as familiar with and desensitized as it is to the concept of the multiple murderess. (This might explain why, when Hostel director Eli Roth considered doing a remake of The Bad Seed, he made it clear that he wanted lots of blood and gore—there isn’t any in either the film or the book—explaining to interviewers that he thought Rhoda deserved the sort of horror icon status enjoyed by the character Chucky from Child’s Play, an actual killer doll. “We are going to bastardize and exploit it, ramping up the body counts and killings,” he toldVariety in 2004.) 

But reading The Bad Seed, one eventually gets the sense that Mr. March is not so much celebrating expressions of female power and agency as fearing them; his contempt for the other female characters he’s created is palpable. (The men in the book are, for the most part, emasculated, impotent, or completely invisible.) There is Hortense Daigle, the drunk, hysterical, and smothering mother of one of Rhoda’s young victims, Claude Daigle; Mrs. Breedlove, a busybody neighbor who prides herself on her understanding of human behavior yet remains blind to the psychological monstrosity standing in front of her; and, of course, the anxious, selfless Christine Penmark, the person considered responsible for her daughter’s misdeeds—Christine’s own  mother was a psycho killer, March explains, meaning that the evil is matrilineal—and seemingly unable to stop them.

This is where Mr. March’s book is most problematic. The esteemed feminist and literary critic Elaine Showalter, in an introduction to a 1997 HarperCollins edition of the book, explains that “as in much of March’s writing, women in The Bad Seed are more sinister than men,” and though she swats him for the book’s implicit message that at the root of much conflict and societal upheaval are “castrating wives and mothers,” Showalter does not go far enough in indicting him for these and other hoary tropes he traffics in, including but not limited to the clueless gossip; the prim, status-obsessed educator; and of course, Rhoda herself, a femme fatale who becomes the object of affection even to those who ought to fear her most. “In a sense, he was in love with the little girl,” writes Mr. March about Leroy Jessup, an apartment-building janitor whom Rhoda will eventually burn to death in a highly disturbing scene during the book’s denouement. “His persecution of her, his nagging concern with everything she did, was part of a perverse and frightened courtship.” As Showalter herself puts it, one could say the same about the relationship between the author of The Bad Seed himself and the grotesque version of femininity he imagined and then committed to paper. 

It probably says something about the evolution in attitudes about gender and girlhood—not to mention mental illness and sociopathy—that William March’s book would be unlikely to have the same chilling or shocking effect were it published for the first time today. For one thing, our ideas about good and evil have been complicated and expanded upon thanks to advances in the fields of psychology and criminology, not to mention child development. For another, broadened expectations for women and girls mean that, for better or worse, we are seen as more fully realized human beings, not cartoonish ciphers that either adhere to or reject conventional ideas about what females are capable of. If there’s anything in The Bad Seed that resonates strongly today, it’s the ways in which acts of violence are celebrated as legitimate responses to thwarted entitlement. But that’s part of the problem with America, not with its boys (or girls)
 


One
 
Later that summer, when Mrs. Penmark looked back and remembered, when she was caught up in despair so deep that she knew there was no way out, no solution whatever for the circumstances that encompassed her, it seemed to her that June seventh, the day of the Fern Grammar School picnic, was the day of her last happiness, for never since then had she known contentment or felt peace. 

The picnic was an annual, traditional affair held on the beach and among the oaks of Benedict, the old Fern summer place at Pelican Bay. It was here that the impeccable Fern sisters had been born and had lived through their languid, eventless summers. They had refused to sell the old place, and had kept it up faithfully as a gesture of love even when necessity made them turn their town house into a school for the children of their friends. The picnic was always held on the first Saturday of June since the eldest of the three sisters, Miss Octavia, was convinced, despite the occasions on which it had rained that particular day, and the picnic had to be held inside after all, that the first Saturday of June was an invariably fine one. 

“When I was a little girl, as young as many of you are today,” she would say each season to her pupils, “we always planned a picnic at Benedict for the first Saturday of June. All our relatives and friends came—some of whom we’d not seen for months. It was sort of a reunion, really, with laughter and surprises and gentle, excited voices everywhere. Everyone had a happy, beautiful day. There was no dissension on those days; a quarrel was unknown in the society of the well-bred, a cross word never exchanged between ladies and gentlemen. My sisters and I remember those days with love and great longing.”

At this point Miss Burgess Fern, the middle sister, the practical one who handled the business affairs of the school, said, “It was so much easier in those days, with a houseful of servants and everybody helpful and anxious to please. Mother and some of the servants would drive down to Benedict a few days in advance of the picnic, sometimes as early as the first of June, when the season was officially open, although the established residents of the coast didn’t consider the season really in swing until the day of our picnic.” 

“Benedict is such a beautiful spot,” said Miss Claudia Fern. “Little Lost River bounds our property on the Gulf side, and flows into the bay there.” Miss Claudia taught art in the school, and automatically she added, “The landscape at that point reminds one so much of those charming river scenes by Bombois.” Then, feeling that some of her pupils might not know who Bombois was, she went on. “For the sake of some of the younger groups, Bombois is a modern French primitive. Oh, he is so cunning in his artlessness! So right in his composition, and in the handling of green! You’ll learn much about Bombois later on.”

It was from the Fern town house, the school itself, that the picnickers were to begin their long day of pleasure; and the parents of each pupil had been asked to have their particular child on the school lawn not later than eight o’clock, when the chartered busses were scheduled to leave. Thus it was that Mrs. Christine Penmark, who disliked being late or keeping others waiting, set her clock for six, which, she felt, would allow time for her ordinary tasks of the morning and for the remembrance of those last-minute, hurried things which are so easily overlooked. 

She had impressed the hour on her mind, saying to herself as she fell asleep, “You will awake precisely at six o’clock, even if something happens to the alarm”; but the alarm went off promptly, and, yawning a little, she sat up in bd. It was, she saw instantly, to be a beautiful day—the day Miss Octavia had promised. She pushed back her blond, almost flaxen, hair and went at once to the bathroom, staring at herself in the mirror for a long moment, her toothbrush held languidly in her hand, as though she were not quite decided what to do with it. Her eyes were gray, wide-set, and serene; her skin tanned and firm. She drew back her lips in that first tentative, trial smile of the day; and standing thus in front of her mirror, she listened absently to the sounds outside her window: an automobile starting in the distance, the twittering of sparrows in the live oaks that lined the quiet street, the sound of a child’s voice raised suddenly and then hushed. Then, coming awake quickly, in possession once more of her usual energy, she bathed and dressed and went to her kitchen to begin breakfast. 

Later she went to her daughter’s room to waken her. The room was empty, and it was so tidy that it gave the impression not having been used for a long time. The bed was nearly remade, the dressing-table immaculate, with each object in its accustomed place, turned at its usual angle. On a table near the window was one of the jigsaw puzzles that her daughter delighted in, a puzzle only half completed. Mrs. Penmark smiled to herself and went into the child’s bathroom. The bathroom was as orderly as the bedroom had been, with the bath towel spread out precisely to dry; and Christine, seeing these things laughed softly, thinking: I never deserved such a capable child. When I was eight years old, I doubt if I could do anything. She went into the wide, elaborate hall with its elegant, old-fashioned parquetry floors of contrasting woods, and called gaily, “Rhoda! Rhoda! . . . Where are you, darling? Are you up and dressed so soon?”

The child answered in her slow, cautions voice, as though the speaking of words were a perilous thing to be debated. “Here I am,” she said. “Here, in the living-room.”

When speaking of her daughter, the adjectives that others most often used were “quaint,” or “modest,” or “old-fashioned”; and Mrs. Penmark, standing in the doorway, smiled in agreement and wondered from what source the child had inherited her repose, her neatness, her cool self-sufficiency. She said, coming into the room, “Were you really able to comb and plait your hair without my helping you?”

The child half turned, so that her mother could inspect her hair, which was straight, finespun, and of a dark, dull brown: her hair was plaited precisely in two narrow braids which were looped back into two thin hangman-nooses, and were secured, in turn, with two small bows of ribbon. Mrs. Penmark examined the bows, but seeing they were compact and firmly tied, she brushed her lips over the child’s brown bangs, and said, “Breakfast will be ready in a moment. I think you’d better eat a good breakfast today as there’s nothing more uncertain about a picnic than the arrival of lunch.”

Rhoda sat down at the table, her face fixed in an expression of solemn innocence; then she smiled at some secret thought of her own, and at once there was a shallow dimple in her left cheek. She lowered her chin and raised it thoughtfully; she smiled again, but very softly, an odd, hesitant smile that parted her lips this time and showed the small, natural gap between her front teeth. 

Most helpful customer reviews

95 of 99 people found the following review helpful.
A Gem of a Horror Story
By JLind555
It's a shame this book has become all but unknown behind the enormously successful movie with its God-awful copout ending (although Patty McCormick's deliciously chilling perfomance of its anti-heroine is a gem in itself), because the book is infinitely better than the movie (I can't speak for the Broadway production because I never saw it). In fact, most people who saw or heard of 'The Bad Seed' as a play or a movie never knew it was derived from William March's terrific book.

March tells the story of Rhoda Penmark, eight years old, a devil lurking inside an angel's facade. To her adult neighbors, she's every parent's dream: obedient, unassuming, compliant, always neat and well-groomed, quiet, polite to her elders. She does her homework without being prodded and she gets all the answers correct on her Sunday school quiz. Those who know her more intimately suspect there's something ugly underneath all the surface charm; her peers can't stand her, her teachers see a disturbing lack of feeling or sensitivity in her, and her parents, who dote on her, wonder if she is capable of love, affection, remorse, or any of the characteristics that make us human. For Rhoda goes after what she wants with a single-minded purposefulness and anybody who gets in her way better watch out.

Rhoda's father is absent throughout all but the last few pages of the book (he's away on a business trip that is important to his career advancement), so Christine, her mother, is left to deal with Rhoda on her own. Christine is a fascinating character, one of the most tragic in contemporary fiction, a decent, compliant, earnest woman, whose identity is totally bound up in being a good wife and a devoted mother; what she learns about her own history shatters her world, especially when she realizes that her daughter is the 'bad seed' she unwittingly transmitted from her own diabolical mother. And as Christine cannot accept that she is blameless in this transmission, that she did not cause her daughter's criminal behavior any more than she caused her own mother's, so she feels she must not drag anyone else, even her husband, into her private hell; she created it, so she must deal with it alone, and it undoes her.

How else could Christine have acted, is left to the reader to speculate. I'm not going to tell how the book ended, except to say that it's a much more satisfying (because more realistic) ending than in the movie. But it's a spooky little gem of a horror story that deserves a much wider readership. It's well written, well plotted, and a great read. I loved it!

Judy Lind

49 of 52 people found the following review helpful.
Social Soirees and Sociopathic children
By Schtinky
Although first written in 1954, March's The Bad Seed has lost none of its vibrancy through the passage of time, and holds itself in the lead of creeping, stealthy horror that will curl your toes and straighten your hair.

Christine Penmark is a beautiful young wife, recently moved with her husband Kenneth and daughter Rhoda to a languid town, finding appropriate lodging, and enrolling their precocious little girl into the Fern Grammar School. With her husband away all summer on business, Christine's social life centers around Rhoda, her effervescent neighbor Mrs. Monica Breedlove, Monica's brother Emory, and the shifty groundskeeper Leroy Jessup.

Christine is a gentle and well-bred lady, and often looks upon her daughter's fastidious dress and immaculate room and wonders how she deserved such a beautiful, normal child. On the morning of the Fern Grammar School annual picnic, Rhoda is already up and dressed, her hair neatly braided, and eager to go. Christine and Mrs. Breedlove drop Rhoda off with the three aging Fern sisters, Miss Octavia, Miss Burgess, and Miss Claudia, who take the children to their old home at Pelican Bay.

When a little boy mysteriously drowns at the picnic, the same little boy who won the penmanship medal that Rhoda had wanted so badly, Christine's world begins to fall apart with doubts. Memories flood back to her of Rhoda's strange friendship with an old woman back in Baltimore who had promised Rhoda her opal necklace when she died, the same necklace that hangs in Rhoda's room. Memories of the school Rhoda was expelled from for telling lies and being "a cold, self-sufficient child who plays by her own rules".

Christine turns to Emory's friend Reginald Tasker, who is writing a novel about females who have committed atrocious murders, and in his research she finds something terribly familiar. In the meantime, the Fern Sisters have informed Christine that Rhoda will not be welcomed back next year to the Fern Grammar School, stating that "they can do nothing for her in their environment."

Christine begins to wonder, when she looks upon her daughter, whether she is gazing at the angel or the beast. As the summer unfolds, Christine digs deeper into Reginald's research, fearful of what she will find and terrified not to learn more of her and Rhoda's past, until Rhoda takes a bold step and openly shows her mother where the real truth lies.

The well-bred gentility of the characters, their languid and imperturbable lifestyles, is what gives The Bad Seed such creepiness. Looking for a black spot in a picture filled with pretty flowers is harder than looking for one in a dreary landscape, but when you find it, it seems to grow until it mars the entire painting.

That is the feeling I got reading The Bad Seed, the creeping sensation of low terror that shudders like a soft vibration down your spine, leaving you uneasy and often short of breath. The Bad Seed is a must-read for any horror fan, simply because the soft touch of death will kill as certainly as the bludgeon. Enjoy!

23 of 24 people found the following review helpful.
Chilling tale of an eight-year-old murderer.
By E. Bukowsky
The term "bad seed" has become a much used phrase to describe a person who is thoroughly evil from birth. William March wrote "The Bad Seed" in the 1950's and it was later adapted for the stage and screen. After reading this compelling story, I can well understand its popularity.

Rhoda Penmark is an eight-year-old girl who is so self-contained, aloof and uncaring that her peers shun her. Rhoda's gentle parents, Kenneth and Christine, know that Rhoda is not exactly like other little girls. When she plays, she never gets dirty. She has trouble expressing genuine affection. On two occasions, a mysterious death has occurred (one involving an elderly lady and the other a pet dog), and Rhoda was the only witness. It turns out that Rhoda had a motive for wanting both the old lady and the dog dead. Is it possible that this innocent looking girl could be a murderess?

Things come to a head when the Penmark family moves to Alabama to start fresh. Kenneth is away on business while Christine tries to cope alone. Rhoda is a student at the Fern grammar school. She covets a gold medal that is given for penmanship at school, but the prize goes to a mamma's boy named Claude Daigle. Rhoda is incredulous and she refuses to accept her defeat. She hounds the boy to give her the medal that she feels is rightfully hers, until at an outing one day, Claude mysteriously drowns. You guessed it. Rhoda is the last person to have seen the boy alive.

The book focuses not so much on Rhoda as it does on her mother, Christine. March lets us observe through Christine's eyes her growing horror, as she realizes that her daughter may very well be a monster. When Christine finds the penmanship medal hidden among Rhoda's things, she is sure that Rhoda must have killed Claude Daigle to get the medal for herself.

March masterfully builds Christine's psychological horror as the book progresses. She learns that there is a secret in her own past that may explain her daughter's warped personality and she cannot bear the burden of guilt which this secret imposes on her.

In the skilled way of good suspense writers, March does not just pile on the horror. "The Bad Seed" has a great deal of humor, much of it centered on the character of Monica Breedlove. She is an insufferable and interfering busybody who talks incessantly and who thinks that she is an expert on psychological analysis. Another memorable character is Leroy, a caretaker who himself is evil and who is obsessed with Rhoda. Leroy recognizes too late that he is no match for the little girl, and that teasing Rhoda can be dangerous to his health.

A few passages, in which some characters discuss the age of violence and anxiety in which we live, are a bit heavy-handed. March seems to be conveying a message about the potential for evil that lurks within all of us. These remarks are superfluous, since Rhoda's story is so filled with horror, dark irony, and psychological suspense that it speaks for itself.

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Read James Joyce's first novel in this coming of age story of the young Stephen Dedalus. Increasingly alienated from the institutions around him, Stephen goes on a journey of self-discovery. This avant-garde work was listed as #3 on Modern Library's 100 best novels of the 20th century.
This Xist Classics edition has been professionally formatted for e-readers with a linked table of contents. This ebook also contains a bonus book club leadership guide and discussion questions. We hope you’ll share this book with your friends, neighbors and colleagues and can’t wait to hear what you have to say about it.
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• Sales Rank: #349921 in eBooks
• Published on: 2015-02-01
• Released on: 2015-02-01
• Format: Kindle eBook

Review
"Joyce's work is not about the thing, it is the thing itself."

From the Publisher
Perhaps Joyce's most personal work, A Portrait Of The Artist As A Young Man depicts the intellectual awakening of one of literature's most memorable young heroes, Stephen Dedalus. Through a series of brilliant epiphanies that parallel the development of his own aesthetic consciousness, Joyce evokes Stephen's youth, from his impressionable years as the youngest student at the Clongowed Wood school to the deep religious conflict he experiences at a day school in Dublin, and finally to his college studies where he challenges the conventions of his upbringing and his understanding of faith and intellectual freedom. James Joyce's highly autobiographical novel was first published in the United States in 1916 to immediate acclaim. Ezra Pound accurately predicted that Joyce's book would "remain a permanent part of English literature," while H.G. Wells dubbed it "by far the most important living and convincing picture that exists of an Irish Catholic upbringing." A remarkably rich study of a developing young mind, A Portrait Of The Artist As A Young Man made an indelible mark on literature and confirmed Joyce's reputation as one of the world's greatest and lasting writers.

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Perhaps Joyce's most personal work, "A Portrait Of The Artist As A Young Man depicts the intellectual awakening of one of literature's most memorable young heroes, Stephen Dedalus. Through a series of brilliant epiphanies that parallel the development of his own aesthetic consciousness, Joyce evokes Stephen's youth, from his impressionable years as the youngest student at the Clongowed Wood school to the deep religious conflict he experiences at a day school in Dublin, and finally to his college studies where he challenges the conventions of his upbringing and his understanding of faith and intellectual freedom. James Joyce's highly autobiographical novel was first published in the United States in 1916 to immediate acclaim. Ezra Pound accurately predicted that Joyce's book would "remain a permanent part of English literature," while H.G. Wells dubbed it "by far the most important living and convincing picture that exists of an Irish Catholic upbringing." A remarkably rich study of a developing young mind, "A Portrait Of The Artist As A Young Man made an indelible mark on literature and confirmed Joyce's reputation as one of the world's greatest and lasting writers.

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256 of 271 people found the following review helpful.
A tough read, but more than worth it
By Wheelchair Assassin
I'm always up for a good challenge, whether it be in books, music or movies, and from what I've heard Joyce is about as challenging as they come in the literary world. However, since it seemed like "Ulysses" or "Finnegan's Wake" would be a bit much to start with, I found myself reading "A Portrait of the Artist as a Young Man" as an introduction to his work. And although I found this book about as easy to get into as Princeton, it was about as rewarding as well. "Portrait" is certainly anything but a light read. Joyce's meandering narrative and serpentine prose can be confusing to say the least, and on more than one occasion I had to read a sentence about five times in order to figure out what I had just read. For all its verbosity, though, "Portrait" is an essential read because the story of Stephen Dedalus carries so much resonance. I'm about the same age as Stephen was in this story, and I can relate pretty easily to his search for answers. Growing up in Ireland around the turn of the twentieth century, Stephen faces existential questions that should ring true for a young person coming from any culture at any time. He tries to find satisfaction by giving in to his lust, and when that doesn't work he goes all the way to the other end of the spectrum in seeking fulfillment through religious devotion. In the end, however, neither of these extremes provides Stephen with the answers he's looking for. Stephen's story demonstrates one unfortunate fact of life: when you're seeking meaning, there are no easy answers. Ultimately, as Stephen tells his friend Cranly, he decides that his solution is to "express myself in some mode of life or art as freely as I can and as wholly as I can," even if it means making mistakes or being spurned by society. In "A Portrait of the Artist as a Young Man," Joyce outlines some important ideas that have since become prominent in literature, notably noncomformity, self-expression, coming of age, and the nature of religious belief. This book may not have been perfectly written, but since Joyce was aiming so high it's easy to overlook any imperfections in his style. "Portrait" was written with plenty of intelligence and soul, so it's easy to see why it's still read after all these years.

176 of 185 people found the following review helpful.
the edition to get
By Caraculiambro
If you're gonna buy a copy of "A Portrait of the Artist as a Young Man," you can't go wrong with the Wordsworth Classic edition. Its advantages are several:

1. It's extremely cheap.

2. It features a very long and immensely insightful (32-page) introduction by Jaqueline Belanger, which includes a biography, publishing background, sections on language structure, irony, etc. There are also many suggestions for further syntopic or critical reading.

3. The thing is complete and unabridged.

4. There are extensive footnotes at the end, which are keyed throughout in the text, explaining all the Latin and the extinct realia of Joyce's world.

In short, get it.

As for the work itself, it's a very good prepper for "Ulysses:" I started that novel without having done this one. Later I came back to this: much was made clearer. Don't make my mistake.

65 of 68 people found the following review helpful.
Less a Review, more a guide to what Edition to buy
By Brad Hoevel
If you're going to buy 'A Portrait of the Artist as a Young Man' as a paperback, I strongly advise you to buy this--the Norton Critical Edition. It's depressing to see that the Penguin Classics edition is the number one selling version of this wonderful book.

This book is TWO DOLLARS more than the Penguin version. For that $2 you get better quality paper, ink, and binding. More importantly you get Editorial notes that explain Joyce's obscure terms, ultimately making the book more readable. You also get over a dozen other writings dealing with Joyces text. These extras (200 pages worth) provide background information on Joyce's three major themes--Irish politics, Roman Catholicism, and "Aesthetic". Also, there are critical essays which range from general interpretations of the book to specified studies (ie feminist perspective). Being a difficult book, the supplemental material greatly enhanced my appreciation for 'Portrait'.

For ONE DOLLAR -LESS, you could go with this: A Portrait of the Artist as a Young Man and Dubliners (Barnes & Noble Classics). Here, not only do you get Portrait of the Artist_, but also you get the collection of short stories, Dubliners. Not to mention better editing. You still get footnotes. And there's some (not a lot) of suplimental material.

For FIVE DOLLARS more than you would spend on the Penguin book, you could get A Portrait of the Artist as a Young Man (Everyman's Library (Cloth)). If you're going to buy a book, why not get one that will last the rest of your life? Well then, that would be the Everyman's Clothbound you seek.

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• Sales Rank: #910730 in eBooks
• Published on: 2015-02-13
• Released on: 2015-02-13
• Format: Kindle eBook

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Four Stars
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Cute little story.

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^ Ebook Myths and Legends of the Celtic Race, by T. W. Rolleston

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• Sales Rank: #1620128 in eBooks
• Published on: 2015-02-19
• Released on: 2015-02-19
• Format: Kindle eBook

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5 of 5 people found the following review helpful.
Excellent resource for the true Celticphile
By Br. James Aidan Ketler, FOCD
This was a great resource, in fact I added it to my resource library, for anyone who has a strong interest in Celtic History, Legend and Spirituality. Clearly much of the legends have ben overcast with a degree of Christian glamour, but it has not affected the core truths of these legends and stories. I highly recommend the Myths and Legends of the Celtic Race.

0 of 0 people found the following review helpful.
Five Stars
By Jo Anne Cornwall
Very interesting - very convenient.

0 of 0 people found the following review helpful.
Excellently written, wonderful pictures but no index.
By Waldorff
An excellent book in many ways - the pictures in it are outstanding. But it has no index, which in a book of this kind I consider a serious shortcoming.

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