What Should I read Next in March 2020
What should I read next? It’s harder to answer that question, right! With a seemingly endless number of books and a limited number of hours in a day. it can be daunting to choose your next read
But for right now, you don’t have to! We’re here to help you, and we will decide for you.
Here is a list of 9 best books for your next read in different categories (Science Fiction, Non-Fiction, Fantasy).
The Spirit of Laws was published in 1748, in Geneva and without the name of the author, to avoid censorship. This book presents the political reflections of Montesquieu. He describes the different forms of government (monarchy, aristocracy, republic, despotism) and the laws that suit them. There is his famous theory of the separation of the three powers.
It is in the Spirit of Laws to grasp the great principles that govern the history of political societies.
In our societies, events do not happen at random. There are general laws, which must be identified: I have laid down the principles, and I have seen the particular cases conform to them as of themselves, the histories of all the nations do not to be that the suites 1.
Montesquieu defines laws as the necessary relations derived from the nature of things. As a result, all things (animals, men, God, etc.) have their rules. This is the necessary condition for the world, once created, to subsist and not to collapse on itself. The existence of these laws is thus proved by the persistence of the world. These laws exist at all times, even human laws, because they live in power before being promulgated.
Man, as an intelligent and free being, nevertheless has the power to violate the laws that characterize him: the smart world is far from being governed as well as the physical world. The laws of nature which precede political acts are those which govern a man before the establishment of societies. What can they be? The amounts to describing the state of nature, a political theme popularized by Hobbes. Unlike the latter, Montesquieu does not describe it as a state of war, in which each man would be a wolf for the man.
Jean Giraudoux was born in 1882 in Bellac in Limousin. He studied in Châteauroux, then in Paris. He is interested in German literature.
He was mobilized during the First World War in 1914. He was wounded twice. This problematic experience inspired his first work, “Reading for a Shadow” of 1917.
In 1927, he met the actor and director, Louis Jouvet. It is from this moment that he will start writing plays. He wrote “Amphitrym” in 1929, as well as “The Trojan War did not take place” in 1935 and “Electre” in 1937. Jean Giraudoux died in January 1944. Giraudoux wrote, “The Trojan War will not take place” to denounce the war because it was difficult for him to live because he liked Germany. So to address this theme, he chose to treat it universally.
The Trojan War is about 1500 BC. It’s a mix of legends and history. For centuries, it was considered that this war had never occurred, but at the end of the 19th century, excavations were found. The Trojan War is due to the kidnapping of a Greek queen, Helen, by the son of King Troyen, Paris.
Ulysses did not return from the war that opposed him and the Greeks to the Trojans and was held in the nymph Calypso. In his abode, in Ithaca, pretenders are courting his wife Penelope, who continues, after several years, to hope for the return of her husband.
The son of Ulysses, Telemachus, exerts like his mother those pretenders who feast at his home and feed on his property. With the agreement of Zeus, the goddess Athena urges Telemaque to leave Ithaca to inquire about her father’s return.
Telemachus goes first to King Nestor, then to King Menelaus and his wife Helen, who, telling him the courage of his father, does not know where he is. In Ithaca, the pretenders learn of Telemaque’s departure against their will and decide to ambush him on his return.
Zeus, under the instigation of Athena, decides the return of Ulysses home and sends Hermes to announce Calypso. She reluctantly agrees and lets Ulysses go on a raft. After 17 days of sailing, he fails in Phaeacia, where he is not greeted by Nausicaa, the king’s daughter.
At a big party, Ulysses recounts, without naming himself, his detention at Calypso and his days of drifting from his island to that of the Phaeacians. The Phaeacians promise to bring him back to Ithaca and offer him presents. In the evening, Ulysses names himself then and demonstrates his talents of adieu by telling all his adventures to the Phaeacians.
Huis Clos is a play created on May 27, 1944, mixing existentialist reflection and social drama. This drama plays around three characters condemned to stay in hell for eternity. Through this play, Jean-Paul Sartre tries to show us that “Hell is the others.” For this, he uses a trio and sets of alliances between the characters (Ines, Estelle, and Garcin).
Etymologically, “trio” is an Italian word of the sixteenth century, derived from being “three” on the duet model. A definition is a group of three elements, often three people. As for the alliance, it means an agreement, an agreement, a union, a pact. It can be concluded between several persons, parties, powers, or states for their common interests.
In the play, the three characters arrive one after the other, in a closed place, forming a trio against their will and condemned to its support for eternity. Initially, being together reassures them because the number is a strength. They try at the beginning to create a link with each other (on page 29, Estelle: “Let’s know because we have to live together”). Being three makes them feel secure and soothes their fears of an unknown place.
“The music of Hugo’s verses adapts to the profound harmonies of nature, sculptor, he cuts, in its stanzas, the unforgettable form of things, painter, it illuminates their color.” And as if they came directly from nature, the three impressions simultaneously penetrate the brain of the reader, no artist is more universal than himself, more able to put himself in contact with the forces of universal life, more disposed to take without ceasing.
” The Perched Baron ”, one of the most astonishing inventions in the history of literature, is primarily an adventure novel. Respecting the intangible initial choice, ensuring the likelihood of the company, maintaining a mocking humor, which drives the enthusiasm of the reader, the latter waiting for the turning of each page wondering how he will support such a Calvino develops his fiction rationally, in an implacably realistic and implacably logical way, to expose the consequences of this paradoxical situation.
It makes believe in a possible model of life, accumulating all kinds of events (which, arbitrariness and chance, however, do a little titty, history losing its density), to say the least original, inscribed in space, an exact time. He thus created a kind of Ligurian Robinson, a man in a fight with nature in the manner shown by Defoe.
The character is presented by a witness, his brother, the person who is closest to him, his admiration flush throughout the story without transforming the elder into super-man, fading when he is overtaken by relentless laxity.
Calvino said that from a founding image, he developed “a story that cared to make the original find out to be justifiable and probable,” starting from “a landscape and nature, undoubtedly imaginary, but described with precision and nostalgia. ” He concluded: “In short, I ended up taking a liking to the novel, in the most traditional sense of the word.”
The action was located in the region of Ombreuse, near Genoa, which then passed for one of the most densely wooded in Europe, an atavism of that distant time when “a monkey left Rome could arrive in Spain without touching the earth, just by jumping from tree to tree. ” One wonders right from the first lines if the baron can continually lead a high life in a world of groves if he does not come down one day from the trees. The author retains the dramatic suspense until the last pages.
The fantasy is always gushing: the conversion of the brigand by the reading of ” Clarisse Harlowe ”, the caprices of the marchioness, the removal of the Mahometan hydraulician by barbarians, so many pages where the rotisserie allies with the freshness. But even if the idea of living all your life in a tree is almost magic, it’s not a fantastic story.
The young Candide, whose name translates both naivety and credulity, lives in the “best of all possible worlds” with his uncle, the baron of Thunder-ten-Tronckh.
A natural child, Candide, leads a happy life in this idyllic world: The baron and baroness of Thunder-ten-Tronckh indeed have “the most beautiful castles.” Candide is dazzled by the power of his uncle, and by the soothing sophisms of Dr. Pangloss, the preceptor. He also admires Cunegonde, the baron’s daughter. Everything changes on the day of the first frolics of Candide and Cunégonde. The reaction of the baron is brutal; Candide is banished and expelled from this Eden. He finds himself in “the vast world.”
Candide is caught in a snowstorm and knows the hunger and the cold. He is conscripted as a soldier of the Bulgarian army. I fled. Captured, he is condemned to receive four thousand slashes. He narrowly escapes death. He then attends the war and its massacres: it is “a heroic butchery.” Candide deserted and fled to Holland. He discovered intolerance, including the sectarian hypocrisy of a Huguenot preacher. He finds Pangloss eaten away by the pox. His former preceptor looks like a beggar. He tells him that Baron Thunder-ten-Tronckh’s beautiful castle was destroyed and that Cunégonde was raped and disemboweled by Bulgarian soldiers.
Because he has read too many novels of chivalry, Don Quixote has lost his reason: he is convinced that the world is peopled with wandering knights and evil enchanters. As in his favorite books, he wants to do justice and fight for the honor of his lady. Accompanied by Sancho Panza, his faithful squire, he goes on the roads of Spain. And here is our hero who faces windmills, who take hostels for castles.
The novel features two main characters: Santiago, an old and poor Cuban fisherman, and Manolin, a young boy, who despite recent events, still believes in the old man.
Santiago has not caught any big fish for 84 days. Manolin’s parents, who find that Santiago is unlucky, forbid their son to embark with the old man and force him to go fishing on another boat. Indeed it brings three big catches in a week!
Leaving his young friend Manolin, the only one who still believes in him, the old man decides to go to sea, in search of the catch that will earn him the esteem of his peers again.
Far from the coast, his line finally stretches. Luck seems to turn. With his experience, Santiago realizes very quickly that this is a catch out of the ordinary. What is this fish he has not seen yet? All night, he lets himself be carried away in the hope of exhausting him.
The next morning, the fish finally comes to the surface. It is a gigantic swordfish, as it has never seen. The latter, as if to provoke him, springs before him in all his splendor. Then he plunges back as if he had only come to challenge him.
The swordfish is so healthy that it drives the old man’s longboat off the coast, and the fisherman can only wait and hope.
The battle will belong. Santiago will come out victorious in this exhausting struggle but will find, alas on his return to earth that the sharks have left him only the carcass of his magnificent catch
A lesson of humility in front of the fact that the man who won can also lose everything.
This short story has a symbolic value. It describes the courage and dignity of an old man and his fierce struggle against fate, against his age, against his body, against death. He tells the respect of the old fisherman for his opponent.
“You want my death, fish,” thought the old man. It’s your right. Comrade, I have never seen anything more significant, nor nobler, nor calmer, nor more be.