On the Origin of Stories: Evolution, Cognition, and Fiction

Paperback (Print)
Rent
Rent from BN.com
$8.37
(Save 62%)
Est. Return Date: 09/20/2014
Used and New from Other Sellers
Used and New from Other Sellers
from $10.36
Usually ships in 1-2 business days
(Save 52%)
Other sellers (Paperback)
  • All (12) from $10.36   
  • New (6) from $16.09   
  • Used (6) from $10.36   

Overview

A century and a half after the publication of Origin of Species, evolutionary thinking has expanded beyond the field of biology to include virtually all human-related subjects—anthropology, archeology, psychology, economics, religion, morality, politics, culture, and art. Now a distinguished scholar offers the first comprehensive account of the evolutionary origins of art and storytelling. Brian Boyd explains why we tell stories, how our minds are shaped to understand them, and what difference an evolutionary understanding of human nature makes to stories we love.

Art is a specifically human adaptation, Boyd argues. It offers tangible advantages for human survival, and it derives from play, itself an adaptation widespread among more intelligent animals. More particularly, our fondness for storytelling has sharpened social cognition, encouraged cooperation, and fostered creativity.

After considering art as adaptation, Boyd examines Homer’s Odyssey and Dr. Seuss’s Horton Hears a Who! demonstrating how an evolutionary lens can offer new understanding and appreciation of specific works. What triggers our emotional engagement with these works? What patterns facilitate our responses? The need to hold an audience’s attention, Boyd underscores, is the fundamental problem facing all storytellers. Enduring artists arrive at solutions that appeal to cognitive universals: an insight out of step with contemporary criticism, which obscures both the individual and universal. Published for the bicentenary of Darwin’s birth and the 150th anniversary of the publication of Origin of Species, Boyd’s study embraces a Darwinian view of human nature and art, and offers a credo for a new humanism.

Read More Show Less

Editorial Reviews

Times Literary Supplement

On the Origin of Stories may have an impact far beyond academic circles...No one thinks on this scale anymore. Bent to the cultivation of shrinking plots of expertise, enlivened by the occasional boundary squabble, we are ill-accustomed to broad new theories even from Young Turks, let alone established critics. Ambition is in itself cause for celebration...Boyd's treatment is engrossing, as elegant in the writing as the reasoning. It offers a new insight into the question of why some works [of fiction] speak to audiences across cultures and generations...To look at a story as a naturalist looks at a leaf or a shell, not criticizing improvisations but marveling at its inventive beauty, is a refreshing experience...Whatever your opinion of Derrida, Boyd offers absolution to all lovers of fiction. Our childish taste for make-believe, it seems, is a little more serious than we thought.
— Laura Dietz

London Review of Books

Brian Boyd's On the Origin of Stories, which presents itself as a work of "evocriticism," might well be a straw in the wind blowing contemporary criticism back from Culture to Nature. Given the rampant culturalism of much current literary work, which can see the natural only as an ideologically insidious "naturalizing," it is agreeable to read a work which discusses Homer cheek by jowl with allusions to dung beetles, the neocortex and cases of sexual harassment among pigeons. In sober evolutionary spirit, Boyd has no doubt that whatever more glamorous things human beings can get up to, they are in the first place natural material objects. He also insists in the teeth of postmodern orthodoxy that there is indeed a universal human nature; that culture is not unique to the human animal; and that there is a universally identifiable activity known as art. Nobody who is aware of the excesses of contemporary culturalism could doubt the subversive force of these platitudes. The word "natural," like the words "fact" and "truth," hardly ever turns up in such writings without being ceremoniously draped in scare quotes—and this in an ecological age. The point to Boyd's superbly erudite study is to offer an evolutionary theory of art...Brian Boyd has produced a challenging piece of critical theory, which might well herald the return to Nature of which cultural criticism is in such sore need.
— Terry Eagleton

New Scientist

On the Origin of Stories is a fascinating book, even a necessary book. At its best, evocriticism can help to reorient the arts and humanities, renewing (or, in some benighted quarters, sparking) our appreciation for the creative works of human minds and hands, and leading humanists to take a fresh look at the rich evolutionary record.
— Michael Bérubé

The Nation

[Boyd's] highly intelligent, impressively learned and patiently elaborated theory of the origin of fiction and the other arts begins with the idea that art is cognitive play...Diffusion of Boyd's ideas might even, in our utilitarian and scientistic society, restore the prestige of the arts and humanities.
— William Deresiewicz

Boston Globe

Brian Boyd brilliantly makes the case for literature as necessary for the survival of humankind. Step by step, he builds his argument that we have evolved to engage in play and, in particular, in storytelling...Both Homer and Dr. Seuss must catch and hold our attention with their artistry, their universality, and their moral tone. Boyd forcefully and elegantly supports his view that art is not simply pleasurable for humans but crucial to our survival.
— Barbara Fisher

National Post

A searching, free-wheeling book that sets forth a Darwinian view of narrative's place in human history.
— Robert Fulford

The Evolutionary Review

Masterful...[An] entrancing book...[Boyd] clearly invites comparison with Darwin's masterpiece. Like its namesake, Boyd's book is carefully constructed and constitutes, in Ernst Mayr's words, "one long argument."...While a number of evolutionary analyses of literature, fiction, myths, folklore, and art have appeared in the last 15 years or so, this one stands out for its accessibility and genuinely integrative approach, combined with a detailed analysis of two specific fictional works...Boyd covers an astonishing range of evolutionary concepts, human evolution, cognitive and developmental psychology, human ethology, anthropology, game theory and related topics. Having done research in several of these areas, I can attest that he has selected judiciously and described the science remarkably accurately and clearly...Unlike much of the early writings by promoters of simplistic Pleistocene EEA scenarios and typological human universals, Boyd explores detailed empirical observations and experiments, realizes that human variation is the engine of evolutionary change, but—and I view this as an essential strength—eschews a single-minded, or even primary, concern with adaptation...Boyd gets so much right!
— Gordon Burghardt, University of Tennessee

arbuturian.com

Boyd's book will engage and excite readers for decades to come...Reading On the Origins of Stories, I was struck with the same excitement and enthusiasm I can only imagine the readers' of Darwin's text felt in 1859. Boyd's text is itself a seminal work synthesizing various literary theories upon an evolutionary framework strong enough to hold whatever stance from which the reader comes. Boyd illustrates this by applying evolutionary thinking to the works of Homer and Dr. Seuss alike...This amazing text allows us to see art from new vantage points that may, in fact, ensure its survival within our global culture...Brian Boyd elevates the writing of criticism to an art form by indeed considering the arousal and sustained engagement of his readers. On the Origin of Stories is itself a welcomed mutation in critical writing. Boyd carries his reader along an original odyssey into science, literature, human nature, the epic landscape of Ancient Greece and the tiny world of Whoville. Like Homer and Dr. Seuss, Boyd cares about his readers and wants us to find our way home to the text without sacrificing intellectual integrity and scholarly research.
— Christine Boyko-Head

Australian Book Review

[A] richly interesting and varied book.
— Lisa Gorton

Choice

Boyd has created a compelling, erudite, and thoroughly original work about the nature of humanistic expression in art and literature. Beautifully written and wide-ranging, the book delves into social science, evolutionary biology, art, and literature to create a comprehensive account of the evolutionary origins of art and storytelling. The author argues that art derives from play and is a humanistic adaptation, offering advantages for human survival. Storytelling, he contends, fosters cooperation, social cognition, and creativity...Apropos the 150th anniversary of On the Origin of Species, this book is a fitting tribute to Darwin.
— K. Wein

The British Society for Literature and Science

Boyd's understanding of human evolution thus leads him towards those features of literary texts that have always fascinated practical and humanist critics...Boyd alone provides us with a sophisticated literary analysis informed by an equally sophisticated understanding of human biology. Boyd demonstrates comprehensively that evolutionary literary theory is compatible with and can inform perceptive literary criticism.
— John Holmes

Steven Pinker
This is an insightful, erudite, and thoroughly original work. Aside from illuminating the human love of fiction, it proves that consilience between the humanities and sciences can enrich both fields of knowledge.
David Bordwell
Integrating a vast array of findings in the social and biological sciences and in the history of the arts, Boyd makes a compelling case for art as an adaptive human behavior. I can think of no similar work in contemporary literary theory; I have to go back to Northrop Frye's Anatomy of Criticism for a work of comparable imaginative sweep and analytical precision. A monumental achievement.
Michael Wood
Rich, intelligent and incredibly wide-ranging--from Zeus to Seuss,
as one chapter title says--this book is indispensable reading for anyone who wants to think about the nature of fiction. Do we imagine that situating art within a theory of evolution must be reductive? Then we must consider, as Boyd suggests we do, the difference between solving a problem and picturing a chance of solving a problem--and imagine what it would be mean not to be able to do the second.
Times Literary Supplement - Laura Dietz
On the Origin of Stories may have an impact far beyond academic circles...No one thinks on this scale anymore. Bent to the cultivation of shrinking plots of expertise, enlivened by the occasional boundary squabble, we are ill-accustomed to broad new theories even from Young Turks, let alone established critics. Ambition is in itself cause for celebration...Boyd's treatment is engrossing, as elegant in the writing as the reasoning. It offers a new insight into the question of why some works [of fiction] speak to audiences across cultures and generations...To look at a story as a naturalist looks at a leaf or a shell, not criticizing improvisations but marveling at its inventive beauty, is a refreshing experience...Whatever your opinion of Derrida, Boyd offers absolution to all lovers of fiction. Our childish taste for make-believe, it seems, is a little more serious than we thought.
London Review of Books - Terry Eagleton
Brian Boyd's On the Origin of Stories, which presents itself as a work of "evocriticism," might well be a straw in the wind blowing contemporary criticism back from Culture to Nature. Given the rampant culturalism of much current literary work, which can see the natural only as an ideologically insidious "naturalizing," it is agreeable to read a work which discusses Homer cheek by jowl with allusions to dung beetles, the neocortex and cases of sexual harassment among pigeons. In sober evolutionary spirit, Boyd has no doubt that whatever more glamorous things human beings can get up to, they are in the first place natural material objects. He also insists in the teeth of postmodern orthodoxy that there is indeed a universal human nature; that culture is not unique to the human animal; and that there is a universally identifiable activity known as art. Nobody who is aware of the excesses of contemporary culturalism could doubt the subversive force of these platitudes. The word "natural," like the words "fact" and "truth," hardly ever turns up in such writings without being ceremoniously draped in scare quotes--and this in an ecological age. The point to Boyd's superbly erudite study is to offer an evolutionary theory of art...Brian Boyd has produced a challenging piece of critical theory, which might well herald the return to Nature of which cultural criticism is in such sore need.
New Scientist - Kate Douglas
Like all the best stories, this one has a pleasing symmetry. It is a book in two parts, each illuminating the other. On one side stands evolutionary theory and its attempts to explain human nature. On the other is story itself, represented by two great works of fiction: Homer's Odyssey and Dr. Seuss's Horton Hears a Who!...[Boyd] has some novel and thought-provoking ideas, and his book covers an impressively wide terrain...What really matters, Boyd makes clear, is whether a story is worthy of our attention. On the Origin of Stories surely is.
The Nation - William Deresiewicz
[Boyd's] highly intelligent, impressively learned and patiently elaborated theory of the origin of fiction and the other arts begins with the idea that art is cognitive play...Diffusion of Boyd's ideas might even, in our utilitarian and scientistic society, restore the prestige of the arts and humanities.
Boston Globe - George Scialabba
Fascinating...Elaborate hypotheses like this one are themselves a kind of story, and Boyd tells his on a grand scale. His central arguments are prefaced by a substantial reprise of basic evolutionary theory--very useful if you're unfamiliar with it--and followed by two case studies, of Homer's Odyssey and the tales of Dr. Seuss. It is expert, though highly idiosyncratic, literary criticism..."Bliss was it in that dawn to be alive," Wordsworth wrote of the first, intoxicating years of the French Revolution. Reading [a] path-breaking book like [this], one feels something similar.
Richard B. Schwartz
This is a very important book--important in its own right, but also important as a marker for significant change in the academic study of the humanities. Basically, Boyd sees art as an adaptation, one that brings advantages in our struggle for survival and procreative success. He studies the ways in which stories focus attention (as play does) and foster collaboration and unity. This heightened form of play yields a heightened form of sociality, creates 'creativity,' refines and extends our cognitive skills, helps us to understand one another's thoughts, intentions and motives, see our world from multiple perspectives, explore possibilities and not just actualities, command attention, enjoy status and foster reciprocal altruism (among other things).
Most interesting, I believe, is the fact that Boyd's position validates thousands of years of humanistic thought, from Aristotle to Horace, Sidney, Johnson, the Kant of the Critique of Pure Reason (though not perhaps the Kant of the Critique of Judgment) and the successful practice of the storyteller's art by a host of writers whose work has been not only substantive but widely popular. In short, Boyd's study of human nature, human behavior, human development and human artistic expression squares with what many of us have long believed and it does so with the leverage of contemporary, evolutionary science.
Boston Globe - Barbara Fisher
Brian Boyd brilliantly makes the case for literature as necessary for the survival of humankind. Step by step, he builds his argument that we have evolved to engage in play and, in particular, in storytelling...Both Homer and Dr. Seuss must catch and hold our attention with their artistry, their universality, and their moral tone. Boyd forcefully and elegantly supports his view that art is not simply pleasurable for humans but crucial to our survival.
National Post - Robert Fulford
A searching, free-wheeling book that sets forth a Darwinian view of narrative's place in human history.
The Evolutionary Review - Gordon Burghardt
Masterful...[An] entrancing book...[Boyd] clearly invites comparison with Darwin's masterpiece. Like its namesake, Boyd's book is carefully constructed and constitutes, in Ernst Mayr's words, "one long argument."...While a number of evolutionary analyses of literature, fiction, myths, folklore, and art have appeared in the last 15 years or so, this one stands out for its accessibility and genuinely integrative approach, combined with a detailed analysis of two specific fictional works...Boyd covers an astonishing range of evolutionary concepts, human evolution, cognitive and developmental psychology, human ethology, anthropology, game theory and related topics. Having done research in several of these areas, I can attest that he has selected judiciously and described the science remarkably accurately and clearly...Unlike much of the early writings by promoters of simplistic Pleistocene EEA scenarios and typological human universals, Boyd explores detailed empirical observations and experiments, realizes that human variation is the engine of evolutionary change, but--and I view this as an essential strength--eschews a single-minded, or even primary, concern with adaptation...Boyd gets so much right!
New Scientist - Michael Bérubé
On the Origin of Stories is a fascinating book, even a necessary book. At its best, evocriticism can help to reorient the arts and humanities, renewing (or, in some benighted quarters, sparking) our appreciation for the creative works of human minds and hands, and leading humanists to take a fresh look at the rich evolutionary record.
arbuturian.com - Christine Boyko-Head
Boyd's book will engage and excite readers for decades to come...Reading On the Origins of Stories, I was struck with the same excitement and enthusiasm I can only imagine the readers' of Darwin's text felt in 1859. Boyd's text is itself a seminal work synthesizing various literary theories upon an evolutionary framework strong enough to hold whatever stance from which the reader comes. Boyd illustrates this by applying evolutionary thinking to the works of Homer and Dr. Seuss alike...This amazing text allows us to see art from new vantage points that may, in fact, ensure its survival within our global culture...Brian Boyd elevates the writing of criticism to an art form by indeed considering the arousal and sustained engagement of his readers. On the Origin of Stories is itself a welcomed mutation in critical writing. Boyd carries his reader along an original odyssey into science, literature, human nature, the epic landscape of Ancient Greece and the tiny world of Whoville. Like Homer and Dr. Seuss, Boyd cares about his readers and wants us to find our way home to the text without sacrificing intellectual integrity and scholarly research.
Australian Book Review - Lisa Gorton
[A] richly interesting and varied book.
Choice - K. Wein
Boyd has created a compelling, erudite, and thoroughly original work about the nature of humanistic expression in art and literature. Beautifully written and wide-ranging, the book delves into social science, evolutionary biology, art, and literature to create a comprehensive account of the evolutionary origins of art and storytelling. The author argues that art derives from play and is a humanistic adaptation, offering advantages for human survival. Storytelling, he contends, fosters cooperation, social cognition, and creativity...Apropos the 150th anniversary of On the Origin of Species, this book is a fitting tribute to Darwin.
The British Society for Literature and Science - John Holmes
Boyd's understanding of human evolution thus leads him towards those features of literary texts that have always fascinated practical and humanist critics...Boyd alone provides us with a sophisticated literary analysis informed by an equally sophisticated understanding of human biology. Boyd demonstrates comprehensively that evolutionary literary theory is compatible with and can inform perceptive literary criticism.
The Nation
[Boyd's] highly intelligent, impressively learned and patiently elaborated theory of the origin of fiction and the other arts begins with the idea that art is cognitive play...Diffusion of Boyd's ideas might even, in our utilitarian and scientistic society, restore the prestige of the arts and humanities.
— William Deresiewicz
London Review of Books
Brian Boyd's On the Origin of Stories, which presents itself as a work of "evocriticism," might well be a straw in the wind blowing contemporary criticism back from Culture to Nature. Given the rampant culturalism of much current literary work, which can see the natural only as an ideologically insidious "naturalizing," it is agreeable to read a work which discusses Homer cheek by jowl with allusions to dung beetles, the neocortex and cases of sexual harassment among pigeons. In sober evolutionary spirit, Boyd has no doubt that whatever more glamorous things human beings can get up to, they are in the first place natural material objects. He also insists in the teeth of postmodern orthodoxy that there is indeed a universal human nature; that culture is not unique to the human animal; and that there is a universally identifiable activity known as art. Nobody who is aware of the excesses of contemporary culturalism could doubt the subversive force of these platitudes. The word "natural," like the words "fact" and "truth," hardly ever turns up in such writings without being ceremoniously draped in scare quotes--and this in an ecological age. The point to Boyd's superbly erudite study is to offer an evolutionary theory of art...Brian Boyd has produced a challenging piece of critical theory, which might well herald the return to Nature of which cultural criticism is in such sore need.
— Terry Eagleton
Boston Globe
Brian Boyd brilliantly makes the case for literature as necessary for the survival of humankind. Step by step, he builds his argument that we have evolved to engage in play and, in particular, in storytelling...Both Homer and Dr. Seuss must catch and hold our attention with their artistry, their universality, and their moral tone. Boyd forcefully and elegantly supports his view that art is not simply pleasurable for humans but crucial to our survival.
— Barbara Fisher
New Scientist
On the Origin of Stories is a fascinating book, even a necessary book. At its best, evocriticism can help to reorient the arts and humanities, renewing (or, in some benighted quarters, sparking) our appreciation for the creative works of human minds and hands, and leading humanists to take a fresh look at the rich evolutionary record.
— Michael Bérubé
Times Literary Supplement
On the Origin of Stories may have an impact far beyond academic circles...No one thinks on this scale anymore. Bent to the cultivation of shrinking plots of expertise, enlivened by the occasional boundary squabble, we are ill-accustomed to broad new theories even from Young Turks, let alone established critics. Ambition is in itself cause for celebration...Boyd's treatment is engrossing, as elegant in the writing as the reasoning. It offers a new insight into the question of why some works [of fiction] speak to audiences across cultures and generations...To look at a story as a naturalist looks at a leaf or a shell, not criticizing improvisations but marveling at its inventive beauty, is a refreshing experience...Whatever your opinion of Derrida, Boyd offers absolution to all lovers of fiction. Our childish taste for make-believe, it seems, is a little more serious than we thought.
— Laura Dietz
Australian Book Review
[A] richly interesting and varied book.
— Lisa Gorton
National Post
A searching, free-wheeling book that sets forth a Darwinian view of narrative's place in human history.
— Robert Fulford
The Evolutionary Review
Masterful...[An] entrancing book...[Boyd] clearly invites comparison with Darwin's masterpiece. Like its namesake, Boyd's book is carefully constructed and constitutes, in Ernst Mayr's words, "one long argument."...While a number of evolutionary analyses of literature, fiction, myths, folklore, and art have appeared in the last 15 years or so, this one stands out for its accessibility and genuinely integrative approach, combined with a detailed analysis of two specific fictional works...Boyd covers an astonishing range of evolutionary concepts, human evolution, cognitive and developmental psychology, human ethology, anthropology, game theory and related topics. Having done research in several of these areas, I can attest that he has selected judiciously and described the science remarkably accurately and clearly...Unlike much of the early writings by promoters of simplistic Pleistocene EEA scenarios and typological human universals, Boyd explores detailed empirical observations and experiments, realizes that human variation is the engine of evolutionary change, but--and I view this as an essential strength--eschews a single-minded, or even primary, concern with adaptation...Boyd gets so much right!
— Gordon Burghardt, University of Tennessee
arbuturian.com
Boyd's book will engage and excite readers for decades to come...Reading On the Origins of Stories, I was struck with the same excitement and enthusiasm I can only imagine the readers' of Darwin's text felt in 1859. Boyd's text is itself a seminal work synthesizing various literary theories upon an evolutionary framework strong enough to hold whatever stance from which the reader comes. Boyd illustrates this by applying evolutionary thinking to the works of Homer and Dr. Seuss alike...This amazing text allows us to see art from new vantage points that may, in fact, ensure its survival within our global culture...Brian Boyd elevates the writing of criticism to an art form by indeed considering the arousal and sustained engagement of his readers. On the Origin of Stories is itself a welcomed mutation in critical writing. Boyd carries his reader along an original odyssey into science, literature, human nature, the epic landscape of Ancient Greece and the tiny world of Whoville. Like Homer and Dr. Seuss, Boyd cares about his readers and wants us to find our way home to the text without sacrificing intellectual integrity and scholarly research.
— Christine Boyko-Head
The British Society for Literature and Science
Boyd's understanding of human evolution thus leads him towards those features of literary texts that have always fascinated practical and humanist critics...Boyd alone provides us with a sophisticated literary analysis informed by an equally sophisticated understanding of human biology. Boyd demonstrates comprehensively that evolutionary literary theory is compatible with and can inform perceptive literary criticism.
— John Holmes
Library Journal

Having just celebrated the 200th anniversary of Charles Darwin's birth, it seems appropriate to reconsider the many ways his theories influence evolutionary thinking in all subjects, particularly writing. Boyd (University Distinguished Professor, English, Univ. of Auckland, New Zealand) reminds readers of the ways in which language is changing and adapting, the ways in which literature helps humans better understand our willingness and need to adapt, and why we tell stories. Using examples as diverse at Homer's Odyssey and the Dr. Seuss favorite Horton Hears a Who, Boyd offers a lively discussion of why human emotions are "triggered" by particular works, why those works hold our attention, and how storytellers derive solutions to fundamental human problems. The resulting book is a fascinating blend of the humanities and the sciences. Recommended for all academic libraries and for public libraries as interest warrants.
—Pam Kingsbury

Read More Show Less

Product Details

  • ISBN-13: 9780674057111
  • Publisher: Harvard University Press
  • Publication date: 11/15/2010
  • Pages: 560
  • Sales rank: 589,294
  • Product dimensions: 6.10 (w) x 9.20 (h) x 1.60 (d)

Meet the Author

Brian Boyd, University Distinguished Professor in the Department of English, University of Auckland, is the world’s foremost authority on the works of Nabokov.
Read More Show Less

Table of Contents

  • Illustrations
  • Acknowledgments
  • Introduction: Animal, Human, Art, Story

  • Book I: Evolution, Art, and Fiction
    Part 1
    Evolution and Nature

  1. Evolution and Human Nature?
  2. Evolution, Adaptation, and Adapted Minds
  3. The Evolution of Intelligence
  4. The Evolution of Cooperation


Part 2
Evolution and Art

  1. Art as Adaptation?
  2. Art as Cognitive Play
  3. Art and Attention
  4. From Tradition to Innovation


Part 3
Evolution and Fiction

  1. Art, Narrative, Fiction
  2. Understanding and Recalling Events
  3. Narrative: Representing Events
  4. Fiction: Inventing Events
  5. Fiction as Adaptation


Book II: From Zeus to Seuss: Origins of Stories
Part 4
Phylogeny: The Odyssey

  1. Earning Attention (1): Natural Patterns: Character and Plot
  2. Earning Attention (2): Open-Ended Patterns: Ironies of Structure
  3. The Evolution of Intelligence (1): In the Here and Now
  4. The Evolution of Intelligence (2): Beyond the Here and Now
  5. The Evolution of Cooperation (1): Expanding the Circle
  6. The Evolution of Cooperation (2): Punishment


Part 5
Ontogeny: Horton Hears a Who!

  1. Problems and Solutions: Working at Play
  2. Levels of Explanation: Universal, Local, and Individual
  3. Levels of Explanation: Individuality Again
  4. Levels of Explanation: Particular
  5. Meanings

  • Conclusion
  • Retrospect and Prospects: Evolution, Literature, Criticism
  • Afterword
  • Evolution, Art, Story, Purpose
  • Notes
  • Bibliography
  • Index

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously
Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 10, 2011

    No text was provided for this review.

Sort by: Showing 1 Customer Reviews

If you find inappropriate content, please report it to Barnes & Noble
Why is this product inappropriate?
Comments (optional)