The Missouri State Committee of Marital and Family Therapists issues licenses to the state's marriage and family therapists. There are three credentials, but only one is permanent. The Licensed Marital and Family Therapist (LMFT) license allows a therapist to practice independently. In order to obtain this credential, a candidate must hold a graduate degree, complete a supervised practice requirement, and pass a national board exam.
While completing practice requirements, the MFT is known as a Supervised Marital and Family Therapist (S-MFT) or a Provisionally Licensed Marital and Family Therapist. The PLMFT license is contingent on passing the required examination.
The candidate must do a master's in either MFT or a related mental health discipline through a school that holds appropriate institutional level accreditation. Correspondence coursework or coursework that is offered primarily via the internet is disallowed. Independent studies and seminars must be reviewed by the Board. A full discussion of what is and is not allowable is found in 20 CSR 2233-2 of the statutes.
The master's program is to include at least 45 semester hours of coursework. 60 quarter hours will be accepted as the equivalent.
The candidate will need to take courses in all mandated subjects (either as part of the master's program or post-master).
There must be six semester hours of human development and family studies. There must be three semester hours in each of the following four content areas: MFT theoretical foundations, MFT ethics and professional studies, research methodology, and diagnosis.
There must be fully 12 semester hours of MFT practice. This content area covers historical development and current conceptual directions as well as the actual assessment and treatment process. The practicum, meanwhile, is to be six semester hours.
With regard to individual courses, five quarter hours is considered the equivalent of three semester hours.
If the MFT program is accredited by COAMFTE, it is assumed to meet curricular requirements. Otherwise the candidate will fill out a course grid later to show which courses met which requirements. A candidate who has coursework deficiencies will need to meet them and submit documentation.
If a candidate did not do a course in research methodology as part of the qualifying degree, if the candidate is three semester hours short on human development/ family studies requirement, and/or three semester hours short on the practicum requirement, the candidate may still be allowed to register their supervision and begin work. The MFT candidate will need to correct the deficiencies later.
The MFT program graduate must pass the national exam developed by the AMFTRB. He or she may opt to take the MFT exam at any point after they have finished their education and applied to register supervised practice. It will cost $295 for the exam process. A candidate handbook can be found on the AMFTRB site (http://www.amftrb.org/exam.cfm). A list of upcoming examination windows is also available.
While fulfilling the practice requirement, the MFT must be under the guidance and oversight of an approved clinical supervisor. The supervisor is to be someone who has at least a master's degree in mental health and has at least five years of experience providing marriage and family therapy. The supervisor may be licensed as a marriage and family therapist, professional counselor, social worker, psychologist, or psychiatrist. If the supervisor graduated any time from January of 1990 on, the supervisor must have training in supervision – this includes supervision-in-supervision.
The supervising professional does not have to be someone who is employed at the same setting as the supervisee. However, a workplace representative will need to be in on the agreement and sign the contract.
A candidate with master's level education must accrue 3,000 total hours of experience. The candidate cannot meet requirements in a period of less than two years. The MFT has up to five years to meet them. If the candidate doesn't put in at least 15 hours during a given month, though, the candidate is not allowed to count that month's hours.
The S-MFT/ PLMFT will need at least 200 total hours of supervision; it is permissible to do up to half of these hours in a small group setting with three to six supervisees in attendance. At least once every two weeks, the SMFT should meet individually with his supervisor (or with no more than one other supervisee in attendance).
Volunteer work can be counted toward the experience requirement. If the supervised MFT adds a work setting or changes or adds a supervisor, the supervised MFT candidate must submit a change of status form. Within two months of the time the supervised MFT candidate completes the supervision requirements, the candidate must apply to the state committee for licensure.
Supervisors will verify the experience in an official document submitted to the state committee. The document includes evaluation questions.
A candidate who begins accruing supervision hours in another state and then moves to Missouri may count the hours they have already earned, provided that the conditions are determined to be sufficiently equivalent.
A candidate who has, at the time of registration, a doctoral or specialist degree in MFT or 30 semester hours of qualifying post-master coursework, will have a reduced requirement for post-degree supervised work experience and a reduced time frame in which to complete it.
Application forms are available on the site of the state committee (http://pr.mo.gov/marital-forms.asp). The application should be received 30 days prior to the next scheduled Board meeting or conference call so that it can be on the agenda.
The first application is called registration of supervision. There is a $125 fee due at this time. The candidate will provide some basic information about the supervisor and work setting. In addition to the candidate's own signature, the candidate will need the signatures of both the clinical supervisor and the candidate's employer.
There are several steps that must be completed. The candidate must demonstrate that they have the met educational requirements.
The candidate must also have a fingerprint-based criminal background check. The state's official vendor is Cogent. The candidate will make an appointment by visiting the Missouri Automated Criminal History Site (www.machs.mo.gov) or calling 877-862-2425. The candidate will need a recent photo to be used as identification. The candidate will need to pay the correct fee (currently $44.80).
Once the candidate has gone through the examination process, the candidate will be issued a PLMFT license. This is a step up from S-MFT. The only fees due at this stage are those paid to the testing company.
The candidate will need to remit a $100 fee when the candidate applies for LMFT licensure. The supervisor will need to verify completion of requirements as well.
A candidate who has already been licensed in another U.S. state, jurisdiction, or territory must provide license verification. The candidate will apply by reciprocity if he or she is currently licensed and by score endorsement if he or she has taken the exam but is not currently licensed.
Missouri State Committee of Marital and Family Therapists: (http://pr.mo.gov/marital.asp).
Missouri's professional organization is the Missouri Association for Marriage and Family Therapy (http://www.moamft.org/) Pre-professionals can find resources on the site, including a list of educational programs and a list of potential supervisors.


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West London News
The heartbreaking true story of the bookshop that inspired the Notting Hill film
The Travel Bookshop was actually a real place
Thomas KingsleyCommunity News Reporter
The real life Travel Bookshop opened more than 30 years ago (Image: Nikos Roussos)
Movie enthusiasts across the world have travelled the streets of West London in search of the beloved travel bookshop that featured in the iconic film, Notting Hill.
The quaint book store known in the film as The Travel Book Company was owned by Will, Hugh Grant's character, and it was actually based on a real Notting Hill book store.
The real book store, called The Travel Bookshop was the inspiration for the 1999 classic but to the upset of Notting Hill fans, it sadly closed in 2011 after a hard fought campaign.
The family run shop on Blenheim Crescent, just off Portobello Road, opened in 1979 and was frequented by Notting Hill film director Richard Curtis which led to the inspiration for the film.
Although the movie wasn't actually filmed in the West London store, its interior design provided the arrangement for the on set replica. But after 32 long years in business, the store fell on hard times and found itself on the brink of closure in 2011.
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Several writers and actors launched a campaign to reverse the closure and the save the specialist book store.
Poet, Olivia Cole led the way in 2011 even offering to volunteer at the store saying in the Guardian: "It's an amazing specialist bookshop and it has the Notting Hill novelty but it is the same sad story that we're seeing in high streets all over the country.
"Loads of independent bookshop are having a bad time."
Actor, Alec Baldwin who played Julia Roberts' boyfriend in the film was also in support of the campaign calling for it to be saved. However, the iconic store, which helped Notting Hill gross more than £220 million, closed for good in 2011.
However, like a phoenix rising rising from the ashes, the store was bought back to life after being purchased by The Book Warehouse. It's in the same location on Blenheim Crescent as the original store but now goes by the name, The Notting Hill Bookshop, no longer operating as a specialist travel book shop.
The Travel Bookshop was bought in 2011 and now goes by The Notting Hill Bookshop (Image: Fodors Travel Guide)
The last owner of The Travel Bookshop said in The Bookseller: "'Book warehouses are just that; a place where remaindered books, cards, calendars, magazines etc are found.
"Worthy though such enterprises are, 'The Book Warehouse Notting Hill' has no association whatsoever - despite its occupying a part of the old location of The Travel Bookshop - with that 30+ year-old enterprise."
Many Notting Hill fans still visit the Notting Hill Bookshop, with some lovebirds even proposing in the romantic spot. So although The Travel Bookshop is no more, its legacy of romance and mystery still lives on in West London.
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Holly Willoughby fans in stitches as she launches new home fragrance that 'looks like garlic'
The new Wylde Moon wax melts are shaped like crescent moons
Full list of London's happiest and most miserable places to live as every borough is ranked
The happiest borough is home to a number of famous faces

redpajama_set_name: RedPajamaCommonCrawl


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Q&A: The Directors of Linsanity Talk About Their New Film, Taiwan, and February 4, 2012
Jim McIsaac/Getty Images
by Jared Dubin
Jeremy Lin is pushing the ball up the floor at a hellacious pace. Confronted with one defender near the free throw line, then another to his left, and later a third to his right, Lin picks up the ball, spins around and between all three bodies, and softly lofts a layup that touches off the glass and falls straight through the hoop. If that image conjures memories of the winding, spinning banker Lin dropped over Derek Fisher, Troy Murphy, and Matt Barnes in his 38-point, seven-assist masterpiece against the Los Angeles Lakers, you're not alone. But this footage wasn't taken from Lin's sensational February 2012 run of play in Madison Square Garden and other arenas around the NBA; it was from his preteen YMCA days in northern California.
Linsanity, the Evan Jackson Leong–directed documentary about Lin's life and career, was originally conceived as an idea for a six-episode web series but eventually morphed into so much more. The 88-minute feature film charts Lin's rise from under-recruited high school stud to worldwide phenomenon, making sure to cover his stints as an Ivy League superstar, NBA benchwarmer, frustrated D-Leaguer, and everything else in between.
Interspersed with footage from his youth, high school, college, D-League, and NBA games are revealing interviews with Lin's mother and father; his two brothers; various coaches and front-office personnel from high school, college, and the NBA; media members who covered Lin at Harvard or in his NBA career; and Lin himself. While the film studiously chronicles Lin's rise as a basketball player, it also takes time to let viewers glimpse a bit of his personality.
Lin's proud Christianity is an indelible part of his image and obviously permeates the film's themes of faith and perseverance, but his love of The Lion King (as recently as his rookie season, Lin still had a blanket from his childhood with images of Simba, Nala, Timon, and Pumba on it), aversion to doing laundry ("If I don't do laundry now, I definitely won't do it when I'm married"), hilariously bad singing voice (the footage of Lin and his mother butchering karaoke on a family trip to Taiwan is far and away the film's funniest moment), and talent for the piano are some of his lesser-known qualities that the film brings to light.
Grantland had the opportunity to discuss the film, the process, and the parallel rises of subject and project in one-on-one sit-downs with producer Brian Yang and director Evan Jackson Leong a few weeks ago. What follows is an edited transcript of our chats.
How did this project come about?
Yang: I read about Jeremy when he was in Palo Alto High School. I grew up eight miles down the road from him. I'm a lot older, but same neighborhood. I was home at my parents' house one year. I pick up the San Jose Mercury News and I see "Jeremy Lin, Boys' Basketball Player of the Year" and I'm like "Holy crap!"
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You know, Asian kid, Nor-Cal player of the year! I played high school basketball in the same area, played his school when I was in school. And I was instantly just like, "Wow. This is someone that I have got to keep tracking because you don't see this too often."
So I got acquainted with his story, tracked him to Harvard. I actually did an interview with him when he was a freshman at Harvard for a basketball website that I used to write for.
And then again, I just started following his career. When he'd come down to Columbia, I'd go to the game with like three or four people. Little by little, every year you'd see that crowd grow. Even in college he developed a little of a cult following, especially in the Asian American community.
He started having some big games — as a junior against Boston College, I think Georgetown. Then, by the time of the start of his senior year, there were NBA rumors. You know, "Maybe he's got an outside shot."
My producing partner Chris Chen and I, we are long-time friends. He had just produced The Year of the Yao, the documentary on Yao Ming. We were riffing one day and were like, "Hey, what do you think about this kid Jeremy Lin?" And we were both into it, both hoop-heads, so we decided to pursue what was then a web-series idea.
We were going to shoot stuff and cut it up into six episodes, put it online. We figured our audience would just be those cult followers — ardent Jeremy Lin fans; people from the Ivy League, from Harvard, from back home, Asian Americans. Maybe 1,000 people at the end of the day. And he actually turned us down a bunch of times initially.
How did you finally break him down?
Yang: It's kind of like a classic "Boy chases girl, and she's not into it for a while." For a long while. He actually didn't even say yes while he was an undergrad because we ran up against some roadblocks. Harvard is a very tough institution to have cameras around. With NCAA regulations, amateur athletes being wooed by a "professional" film crew looks bad.
When he made the NBA as a Warrior, that's when things started to fall in place. So obviously you saw the movie and we had Harvard footage. We went back in time and went to Harvard with him after he graduated.
A little bit of movie magic there. How did you transition from the idea of a web series to this full-blown documentary?
Yang: It was no decision, really, because all the way up until February 4, 2012, we didn't have an ending. Our ending would have been he made the NBA. "Asian American makes the NBA." Great story. That's why we [originally] pursued it, but we knew that it wasn't going to be something that was necessarily worthy of the big screen.
So when February 4 came along — and I don't need to tell you this — he gave us an ending. Just against the Nets. If he didn't play another game, we're like, "That's pretty cool."
And then began the stretch of game after game, and suddenly we're getting phone calls from people that didn't know we were alive a week ago. So that's when we decided to shift gears.
What was a typical day of filming like?
Leong: It definitely varied over the time and the process of this film. In the beginning, I didn't know Jeremy. And I think for me, as a filmmaker, you need to get to know your subject and build a level of trust. When you build that level of trust, it's a lot easier to just turn the camera on. There's no massaging the situation.
In the beginning, it was like you schedule a time with Jeremy, you have this many hours. Where are we going to go? How are we going to get there or transport all the different things we need? But as the process develops, it's just "Hey, I'm going to show up at 10 and we'll get going." "OK, cool."
With a documentary, you're kind of just exploring to find out what you want to get out of it. You have an idea of where you want to go with the story, but you're going to listen to the material, to the subject, and find an angle.
How involved was Jeremy in that process? Was it something where you would just schedule times to film and that was it, or did it grow as you went along?
Yang: Jeremy was a part of the process. He was a great partner throughout. But he's a busy guy. He wasn't in the editing room with us or all, "Send me the dailies!"
Leong: It definitely grew. Initially it was "What are you doing?" and then as time went on it was more "Whatever you want to do." And that was from the level of trust that we built. He said, basically, "Hey, I'm going to give you things that I wouldn't give everybody else, because I'm comfortable around you and I know you'll use them in a way that's a conduit for my story, versus an agenda."
Were any of his teams more or less accommodating than others?
Leong: Everyone in the NBA has been very helpful from the start. In the D-League, we have audio. He's playing with our mic on. Who even films D-League players?
But in the NBA, they put the mic on him themselves because they knew it was a good story. The NBA, the Knicks, everybody has been super accommodating to us.
After he blew up in February 2012, did things change at all for you with either your process or the access you had?
Yang: There were a lot more licensing needs. Before Linsanity, we were doing a small documentary and we would have needed to license footage from here and there, but Jeremy wasn't on David Letterman before Linsanity and then suddenly he was. Kenny Smith wasn't talking about him before Linsanity and suddenly he was.
Leong: He definitely didn't have as much time to just hang out like he did before. He was getting pulled in 50 different directions and he was playing a lot more. We still got probably more access than anyone, but at the same time I had to be respectful of [his] space.
When he's being pulled in all these different directions — commercials, more appearances, other responsibilities — are you going with him?
Leong: We went to a couple of them, but ultimately at the end of the day I didn't need to film [as much] anymore because everything is being filmed. We did a couple of behind-the-scenes things, but I had more media than I'll ever need at that point. So it was more trying to aggregate all this stuff.
How was it filming in Taiwan?
Leong: It was great. We filmed in Taiwan before he really blew up. He didn't even really play that whole year, and he is still the idol of all these kids out there.
OK, the ending. You ended it right after the Mavericks game. How was the decision made to not cover his injury and the departure from New York?
Leong: There's a lot of story. Anything he does is magnified. For me, personally, I wanted to make a legacy film. I wanted to end it with that Linsanity moment. The story is really that he's arrived. I want to be able to pop in this DVD 20 years from now and show my kids how it happened. This is what it took to get to that level. That's why he's so famous.
Everything after is another documentary to me. Or two. It's just a different story.
Have you guys read any of the reviews? They're almost universally glowing.
Yang: Yeah. We're human. We've been very lucky, and definitely the reviews have been by and large very positive. And I'm very thankful for that because obviously people are reading these things and that's what helps build the word of mouth.
Leong: It's scary, too, because they can write anything they want. They don't know me. They might not even care about Jeremy. That's whole other documentary because of how polarizing he is.
The last thing I want to ask: Daniel Dae Kim did the narration. That was [Brian's] hookup, I'm assuming?
Yang: Yes. And I see you've done your homework. DDK has become a good friend of mine through Hawaii Five-0.
I recognized that voice right away as a huge Lost nerd. I was like: It's Jin!
Yang: Daniel did it as a favor. Through my work on Five-0, I've gotten to know him pretty well. I was just making small talk one day and I told him I was doing a doc on this kid Jeremy Lin. And Daniel goes, "Yeah, you know what? I've read about him."
He keeps up with his pop culture and he was reading a blog one day and he asked how Jeremy was doing out at Harvard. I said he's doing all right, and we're following him, and we've got this documentary idea. And he's just like, "Great. Great."
And then when Linsanity blew up, he was like, "Hey, Brian, are you still doing that doc? Whatever you want, I will do it for you."
So he volunteered for this?
Yang: Yeah. And I told him, "I have a great idea. You have this awesome voice. I think you should narrate." And he was awesome.
Filed Under: Movies, Jeremy Lin, Linsanity, NBA, New York Knicks, Grantland Q&A
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The Three Musketeers (Papercutz Classics Illustrated Series #6)
4.2 303 5 1
by Alexandre Dumas, Jean-David Morvan (Adapted by), Michel Dufranne (Adapted by), Ruben (Illustrator)Alexandre Dumas
"All for one, one for all"! Presenting the action-packed adventure from Alexandre Dumas in a special longer-format CLASSICS ILLUSTRATED DELUXE. Alexandre Dumas's novel is one of the most celebrated literary works of the last 200 years, making it a great fit for CLASSICS ILLUSTRATED DELUXE. Veteran writer and editor Jean David Morvan worked closely with breakout artist Rubén to capture the excitement and action of the story of D'Argatan and the Musketeers, Athos, Porthos and Aramis, which took three years to complete. The longer length and depth of this CLASSICS ILLUSTRATED DELUXE volume matches the epic proportions of Dumas's historic novel.
Papercutz
Classics Illustrated Deluxe Graphic Novels Series , #6
As a child, Rubén loved two things: drawing and fighting with wooden swords. Fortunately, he chose to work on paper. He took his first drawing lessons in the small village where he lived with his parents before joining the School of Design at Joso Barcelona. During this period he illustrated short stories for various Spanish magazines, one of which was noticed by Jean David Morvan. Morvan contacted Rubén which led to their collaboration on "Jolly Ringworm" and "The Three Musketeers."
Jean David Morvan's work was seen previously in CLASSICS ILLUSTRATED DELUXE #4 "The Adventures of Tom Sawyer." A writer and editor for Editions Delcourt, Morvan is known for his faithful adaptations of classic novels and attention to literary detail.
The Three Musketeers 4.2 out of 5 based on 0 ratings. 303 reviews.
Countless movies have been made over the years on Alexandre Dumas¿ The Three Musketeers. Regardless of how many times you have seen these movies or which ones you have seen, nothing can compare to the book. This book is a timeless classic with an extremely action-packed plot that will glue itself to your fingers until you have read the last two words of the book: ¿THE END.¿ I have enjoyed this book tremendously and would recommend it. For guys, this book is the perfect book with the most interesting things in life engraved in it. D¿Artagnan, a zealous young man from a somewhat poor family, has come to Paris in search of his life long dream, becoming a musketeer. In doing so he plays his cards wrong and although securing it well with the leader of the musketeers, secures himself three duals at the same time: He had one with Athos, one with Porthos, and one with Aramis. Although humorous, this then builds their friendship and they accept D¿Artagnan as one of them. The next thing they know they are defending the Queen against the hatred of the Cardinal, hunting down a beautiful spy, taking on armies by themselves, and a whole lot more. One of the more interesting parts of this book is the culture that is so very evident in it. For instance, the four of them drink more wine than the country of Italy has to offer. For every meal, snack, or tea time they bring out the bottles. This is one of the many humorous things that happen on a regular basis with the musketeers. So, what will happen to the inseparable quartet of musketeers? The only way of finding out is by taking the time and effort and reading it. You will not be disappointed.
This is the translation you want. Most others are obtusely Victorian bowdlerizations. This manages to keep the formality of French but make the characters and story fresh and rollicking ... like the serial it is.
I love epics, and this series is one of my favorites. Though few people may know it, this book is the first in a series of 5 books, the LAST installment being The Man in the Iron Mask. We have been completely duped by Hollywood in accepting that this story is as shallow as a king, his throne and an ambitious cardinal. It is a classic representative of love and honor in times gone by, with more action than verbage-which is a major accomplishment considering the 5 books are literally over 3,000 pages when combined. If you love d'Artangan, follow him through Twenty Years After, The Vicomte de Bragelonne, Lousie de la Valliere and The Man in the Iron Mask. He will never dissappoint!
This is a converted scan of a physical book, with many uncorrected OCR errors. Too much distraction, there are better quality electronic editions freely available
In Alexander Dumas' classic novel, The Three Musketeers, the protagonist is a young Gascon man, D'Artagnan, who leaves his home in search of a career with the Musketeers. He is portrayed as a handsome young man, hotheaded, prideful, intelligent, who cannot stand being insulted. While attempting to enter the Musketeers, he meets three musketeers: Athos, Porthos, and Aramis. As these four have many adventures together, they become best friends. Athos, the eldest of the four, is portrayed as a handsome, father-like figure to the three. He is also very secretive, never talks of past loves and hides his past behind his drink. The friends all believe he had his heart severely broken and it will never be mended. Porthos is described as an intimidating giant, honest, and enjoying the pleasures of life: wine, women, and music. Aramis is portrayed as a man who loves women and enjoys flirting with them. He dreams one day of retiring from the Musketeers and joining a monastery to spend the rest of his life as a religious man. The main antagonist is Cardinal Richelieu, a corrupt member of the Catholic Church who uses many spies and guards. This is his attempt to defeat the Protestants and anyone else who gets in his attempt to show his dominance over Christianity. Another antagonist is Milady de Winter, who is later revealed to be Athos' ex-wife. She was supposed to be executed but somehow miraculously evaded death. She uses her beauty to seduce men and use them as her wishes. The main conflict is the attempt to conceal the love affair between the Queen of France and the Duke of Buckingham. In the process of hiding the secret, they must find the location of Constance and evade the wrath of Milady de Winter. Action that leads to the climax includes the journey to receive the diamond studs from the Duke of Buckingham. Another example in the climax is the disappearance and quest to locate D'Artagnan's missing lover, Constance. This book was very interesting to read because it has descriptive words to describe the plot with many excellent twists and turns on every page that surprise the reader. I enjoyed reading about D'Artagnan's hotheaded and rash personality, especially when thinks someone has insulted him. For example, when he passes by the town of Meung and sees a man laughing, D'Artagnan assumes that he is amused by his horse and challenges the man to a duel to the death. I also enjoyed the personality of D'Artagnan as he leaves his friends to reach the Duke of Buckingham to save the Queen, and then returns to help each of his friends recover. Another interesting point was when the four decided to have breakfast in the camp of the enemy and talked casually as if nothing was happening as hundreds of soldiers charge the four.
pagese More than 1 year ago
I've only seen the Disney version (the one with Kiefer Sutherland) of this book, so thought I might enjoy it for my classics challenge. Boy, was I surprised. It was not an easy read. It's large and cumbersome. I didn't have to force my way though it, just had to take my time. I was most shocked by the differences. I was under the impression that D'Artagnan was a follower and more of the type to get into trouble. He's actually more of the leader in this book. The musketeers aren't as valiant and courageous as I thought. More along the lines of men who like their women and their wine, and prefer to haggle their way to getting them for free. There wasn't as much suspense, intrigue, coercion, and backstabbing as I anticipated. I was glad when I finished it, but happy I read it
Anonymous 27 days ago
Fits the Era perfectly. Romance, adventure, intrigue.
eleanor_eader on LibraryThing More than 1 year ago
Young D¿artagnan and his three Musketeer companions are embroiled in a succession of plots instigated by Cardinal Richeleiu and carried out by the infamous `my lady¿ or `her ladyship¿, one of the fiercest and most deceitful female adversaries in literature. I¿m glad I finally got around to reading this... overall, the tale makes for an enjoyable, adventuresome romp¿ not my favourite Dumas, but eminently readable. I found I struggled at first to care about the French politics, but since everything was both necessary to, and interwoven with, the plot, it soon consolidated itself with the rest of the story to become well-paced and dramatic.
Idiom on LibraryThing More than 1 year ago
Well swash my buckle and buckle my swash!Loved the books and the Oliver Reed/Raquel Welsh films. But more than anything loved the way that Dumas took time to concentrate on the Baroness and created the first, real modern villaness.One of those books which completely surprises you.En guard!
heidijane on LibraryThing More than 1 year ago
Having only been exposed to the Disney and Dogtanian version of this story, I thought I would undertake to read the real thing. And wow, I wasn't disappointed! According to the introduction, Dumas wrote this book serialised daily, which is quite some feat! It also means that each chapter ends on a cliff-hanger or something else that draws you in to keep reading. Its an exciting, thrilling tale of daring and adventure. Last night I had to stay up late to finish it, despite the fact that I was really tired, as the book progressed towards its inevitably tragic and dramatic climax.Admittedly, the main characters are hardly sympathetic. The musketeers and D'artagnan are all hard-drinking and loose with their money, sponging off their friends and treating their servants with contempt. Their relationships with women are quite cavalier too. The most sympathetic one is Athos, whose past comes back to haunt him and who increasingly occupies a greater role in the story towards the end as he seeks his revenge.Of the baddies, I was a bit disappointed with the cardinal, as he seemed to me to be rather an insipid character, torn between his admiration for the daring feats of the musketeers and his dislike for the fact that they keep undermining his dastardly plots. The best character is definitely Milady, a cold and calculated actress who can twist people round her little finger to do what she wants. Yet even she seems scared of losing the cardinal's favour.This is a brilliantly multi-layered book which, due to the plot full of political machinations, intrigues and secrets, is, at its heart, a damn good read.
tuffsme on LibraryThing More than 1 year ago
This is a classic tale of honor, duty and loyalty. The heroes aren't otherworldly characters, but instead are written to be normal individuals with common problems with only their integrity to set them apart. Even if you know the story, this book is very captivating to the end.
lyzadanger on LibraryThing More than 1 year ago
Here's a book that has infiltrated popular culture to a certain extent for over 150 years. I've seen derivative movies, ridden themed amusement rides, shouted 'All for one...!' during heated moments. But I'd never read the book itself.Sure, I can check it off of my 'well read' list now. But the experience, though entertaining for the most part, left me wondering exactly what the big deal is about this novel.I'm going to warrant a guess that it was genre-shaping, and its outright irreverence was probably a kick in the pants to its 19th century audience. Dumas' treatment of illicit affairs is not subtle, and there is raunchy humor sprinkled liberally throughout.This is a boy's novel, thoroughly. Though the main antagonist is a crafty female, the real depth of character is saved for the four heroes (d'Artagnan, Porthos, Athos, Aramis). And it would be an overstatement to call this swashbuckling adventure a character study, anyway.The action is pretty constant, although occasionally formulaic (and thus predictable). Dumas uses patterns that sound poetic or mythic sometimes: a certain adventure befalls each of the four protagonists in rhythmic succession, for example. Something I learned, as an aside: Dumas wrote in tandem with a history teacher, Auguste Maquet, who served as his researcher and did a good amount of the outlining and a bit of the writing.
bluehat1955 on LibraryThing More than 1 year ago
The Three Musketeers' objective is to entertain; this novel is solid adventure, from first to final page. I expected a more riveting plot, however, and I also hoped for the demonstration of themes worthy of a master author such as Dumas. But it is a book that presents problems that are invariably solved by swordplay. The theme of camaraderie is, of course, ubiquitous, as is the theme of youthful love that continuously vascillates. Quick to read and somewhat amusing. But you won't be exposed to any enduring questions to ponder.
I found a really wonderful translation of Dumas's work hiding in a bookstore in Helsinki, and two days later I was finished. It was so brisk and lively, full of wit and bravado and the kind of coarseness that really illustrates the France of those times. D'Artagnan's adventure is as movingly romantic now as it ever was again, and closing the book afterwards felt like saying goodbye to friends far too soon.
Stbalbach on LibraryThing More than 1 year ago
An endless adventure breathlessly moving from one scene to the next: sword-fighting duels, court espionage, sex scandals, poisonings, assassinations, undying love. "Les Trois Mousquetaires" was translated into three English versions by 1846. One of these, by William Barrow, is still in print and fairly faithful to the original, available in the Oxford World's Classics 1999 edition. However all of the explicit and many of the implicit references to sexuality had been removed to conform to 19th century English standards, thus making the scenes between d'Aragnan and Milady, for example, confusing and strange. The most recent and new standard English translation is by award-winning translator Richard Pevear (2006). Pevear says in his translation notes that most of the modern translations available today are "textbook examples of bad translation practices" which "give their readers an extremely distorted notion of Dumas's writing."
derekgries on LibraryThing More than 1 year ago
I was surprized at how complex and detailed the writting is. Absolutly every thought and movement is stated by the author. And the vocabulary was huge. I was thinking about how many more words people knew one hundred years ago.
AwXomeMan on LibraryThing More than 1 year ago
This book is the adventures of d'Artagnan and is friends Porthos, Athos, and Aramis. Together the live by the motto "all for one, and one for all" and protect the rulers of France from the evil Cardinal Richelieu.This story has a little bit of everything, action, adventure, romance, comedy, it just a fun read all around.I would use this book in a unit on French literature or in conjunction with a unit on medieval romances as it shares many of the same themes as they have.
ariebonn on LibraryThing More than 1 year ago
This is one of the longest books I have read lately. At first it was a little intimidating but when I finally got the courage to start reading it I discovered that it's fast paced and couldn't stop reading. This book is full of action, the events are cleverly interwoven to make a complex plot of friendship, loyalty, romance, adventure and suspense. I found the characters to be all so fascinating, it starts with the great D'Artagnan whose hot hotheadedness accounts for most of the adventures and which leads him to meet with the famous three musketeers, Athos, Porthos and Aramis. Once they are sworn as friends the four men become inseparable and live by their motto "all for one, one for all", they demonstrate loyalty for each other until the end. I recently learned that Alexandre Dumas wrote two more books to follow this one, Twenty Years After and The Vicomte De Bragelonne, the three books are also known as the D'Artagnan Romances. This made me curious to get hold of the next books and find out what happened after The Three Musketeers. With every classic that I read I realize that these books truly deserve to be called classics and why I should really read more of them.
cyderry on LibraryThing More than 1 year ago
This is a well-known story so I won't bore you with rehashing the tale. I have been trying in the last few years to read Classics that I have on my shelf and never cracked open. This was one that I chose for this year and several other readers joined me in a group read. I have to admit that I thought I knew the story because I had seen the movies (both versions) and I thought they probably didn't range too far from the book but I was wrong. I found as I was reading this over two months that it took me to places that I hadn't seen in either movie and character depths that were unexplored came to life. I'm not someone that normally enjoys the Classics, but this was an exception.
akreese on LibraryThing More than 1 year ago
I'm sure most people are familiar with the story line of The Three Musketeers from hollywood movies, but what you don't get in the movies is Dumas' wonderful dry wit. This book is an excellent read, and if you are willing to push through some of the dry parts you will be amply rewarded with an exciting tale.
jimmaclachlan on LibraryThing More than 1 year ago
A must-read, at least once. I'm not terribly fond of Dumas' style of writing, but it is a lot more readable than some of his era. The story is a classic & has been rehashed so many times that it is really worth seeing what everyone has begged, borrowed & stolen over the years. I've read it twice & may read it again before I die, but probably only once more.
Terpsichoreus on LibraryThing More than 1 year ago
Built on the ridiculous, the humorous, the exciting, and deeply in the characters, this work creates a world of romance (in that oh-so-classic sense) and adventure which conscripts the reader and delivers him to the front lines. I am alway amazed by this book's ability to invoke lust, pity, wonder, respect, scorn, and hatred, all while driving along a plot filled with new events and characters.Should there be any future for Fantasy, it lies not in the hands of Tolkien-copying machines, nor even in Moorecock's 'un-fantasy', but in whatever writer can capture Beowulf, The Aeneid, The Three Musketeers, or The White Company and make a world which is exciting not because everything is magical and strange, but because everything is entirely recognizable, but much stranger. Of course, one may want to avoid going Mervyn Peake's route with this, and take a lesson from the driving plot and carefree frivolity that Dumas Pere and his innumerable ghostwriters adhered to.It is amusing here to note that Dumas has accredited to his name far more books than he is likely to have ever written. As he was paid for each book with his name on it, he made a sort of 'writing shop' where he would dictate plots, characters, or sometimes just titles to a series of hired writers and let them fill in the details.So, praises be to Dumas or whichever of his unrecognized hirees wrote such a work.
victrola on LibraryThing More than 1 year ago
Great adventure story! Though I didn't like it as much as The Count of Monte Cristo.
DanaJean on LibraryThing More than 1 year ago
This was one of those classics I elected to listen to on audio and I'm so happy I did. I loved sitting back and being told this story about the one-for-all-and-all-for-one guys. Funny, smart -- one of the better classics I've experienced. Political intrigue, romance, humor, history -- I really enjoyed reading the story. I also rented the movie with Michael York, Richard Chamberlain, Raquel Welch, Oliver Reed, Charleton Heston and Faye Dunaway having vague but fond memories of it. It didn't match up to my memories, but it was still fun to see it again after having read the book.If a classic is on your need-to-read list, pick this one.
groovykinda on LibraryThing More than 1 year ago
It's not every day I stop while reading a book to say to myself: "Wow. I'm really having a lot of fun." This book and the sequels are a great time.
renaissance historical fiction books
book by james fenimore cooper
book by alexandre dumas
romola by george eliot paperback
Confessions of an Ugly Stepsister
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"[An] engrossing story...endearing and memorable."—Boston Herald"[An] arresting hybrid of mystery, fairy tale, and historical novel."—Detroit Free Press"A tale so movingly told that you will say at the end of the first reading, 'It's been a long time since ...
The Heidenmauer
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Austen's "most wicked tale," Lady Susan is a short epistolary novel by Jane Austen, possibly ...
Austen's "most wicked tale," Lady Susan is a short epistolary novel by Jane Austen, possibly written in 1794 but not published until 1871. Lady Susan is a selfish, attractive woman, who tries to trap the best possible husband while maintaining ...
Le Comte De Monte-cristo
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Leonardo's Swans
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Isabelle d'Este, daughter of the Duke of Ferrara, born into privilege and the political and artistic turbulence of Renaissance Italy, is a stunning black-eyed blond and an art lover and collector. Worldly and ambitious, she has never envied her less ...
Louise de la Valliere
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The Vicomte of Bragelonne: Ten Years Later (Le Vicomte de Bragelonne ou Dix ans plus tard) is a novel by Alexandre Dumas, père. It is the third and last of the d'Artagnan Romances following The Three Musketeers and Twenty Years ...
Mirror Mirror: A Novel
"A brilliant achievement." —Boston ... novel for adults that unearths our buried fascination with the ...
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Romola
George Eliot's Romola, writes Robert Kiely in his Introduction, embodies the author's "wrestling with her ...
George Eliot's Romola, writes Robert Kiely in his Introduction, embodies the author's "wrestling with her own best theories of history and human nature as a creative experiment of the highest order." Set in Florence in 1492, a time of great ...