Name: Les Misérables
ISBN: 9781846140495

Victor Hugo

Norman Denny

Christine Donougher

Trying to forget his past and live an honest life, escaped convict Jean Valjean risks his freedom to take care of a motherless young girl during a period of political unrest in Paris.

Les Misérables

Sanne

—in other words, and with a still wider significance, so long as ignorance and poverty exist on earth, books of the nature of Les Misérables cannot fail to be of use.

A brilliant modern translation by Christine Donougher of Victor Hugo's thrilling masterpiece, with an introduction by Robert Tombs. This is the best translation of the novel available in English, as recommended by David Bellos in The Novel of the Century. Victor Hugo's tale of injustice, heroism and love follows the fortunes of Jean Valjean, an escaped convict determined to put his criminal past behind him. But his attempts to become a respected member of the community are constantly put under threat: by his own conscience, and by the relentless investigations of the dogged policeman Javert. It is not simply for himself that Valjean must stay free, however, for he has sworn to protect the baby daughter of Fantine, driven to prostitution by poverty. 'A magnificent achievement. It reads easily, sometimes racily, and Hugo's narrative power is never let down ... An almost flawless translation, which brings the full flavour of one of the greatest novels of the nineteenth century to new readers in the twenty-first' - William Doyle, Times Literary Supplement 'The year's most interesting publication from Penguin Classics was [...] a new translation by Christine Donougher of the novel we all know as Les Misérables. You may think that 1,300 pages is a huge investment of time when the story is so familiar, but no adaptation can convey the addictive pleasure afforded by Victor Hugo's narrative voice: by turns chatty, crotchety, buoyant and savagely ironical, it's made to seem so contemporary and fresh in Donougher's rendering that the book has all the resonance of the most topical state-of-the-nation novel' - Telegraph 'Christine Donougher's seamless and very modern translation of Les Misérables has an astonishing effect in that it reminds readers that Hugo was going further than any Dickensian lament about social conditions [...]The Wretched touches the soul' - Herald Scotland

Penguin Classics

This took me 4 years, which is almost as long as it’s taking me to write my own fucking book.

Margo Koss

This took me 4 years, which is almost as long as it’s taking me to write my own fucking book.

The musical is honestly a very effective and impressive abridgment of this story.

Unless you’re writing a musical, you probably don’t need the unabridged version.

At times, the most badass narration and baller prose; at others, needless soliloquizing and same thought said ten different ways. Not to mention entire “books” devoted to recap of Waterloo and explaining Paris’ sewer system.

Good luck trying to figure out how old Cosette is at any point

Hugo wrote the book so that it moves from darkness into light. This is basically why he’s a genius even if this story doesn’t hit for you.

This story fucking hits for me.

The first 70 pages are slow but the rest of the book isn't engaging. I do not hate Les Misérables, but I have no reason to recommend the book; given the title and a half-formed reputation in my mind (affirmed by the blurb) I presumed this would be a working class epic of misfortune and injustice, akin to 

—but it's none of that. It's more than that. Because Victor has included an entire blow-for-blow of the battle of Waterloo, the ecclesiastical history of a convent, tens—upon tens—of thousands of words on his very 1800s feelings on love, so much God talk, so much patriotic France talk, Paris talk, and many other historical digressions he chose to include whenever the plot is finally reaching a momentous peak. These digressions are not without value, they are a deeply appreciated release from Victor and Marius' unending monologues on mega-gendered love, and I know so much more about the sixteen different french revolutions now, but when, just as our hero Jean Valjean, who was essentially deserted for 300 pages in favour of snivelling Marius, has escaped the armed forces via a manhole, Victor decides to lecture us upon the history of how the Parisian sewers were mapped and sanitised for about 30 pages—that is when I truly knew that Victor Hugo was not sober when he wrote Les Misérables. 

Digression is too meagre a word. Diatribe is the word. But I can't leave my description at that, no matter how concise or accurate. It would be a disservice to imparting a true impression of Les Misérables. Very long endnotes are used in David Foster Wallace's 

 ironically they could occasionally be considered digressions and certainly diatribes. But Infinite Jest cultivates a miasma of disillusionment and tetherlessness that lengthy digressions not only revel in but thicken. Infinite Jest uses its digressions to gorge itself on wit and tragedy. To try and explain the book's reasoning beyond base full-frontal experience will have you unsuccessfully rifling through many pages and embroiling yourself in the Acadamese of other's that isn't so funnily written: a fool's errand. Why are endnotes longer than chapters not merely chapters? Why are chapters shorter than endnotes not merely endnotes? Why are endnotes not referenced in sequential order? Why is endnote 304 referenced multiple times when other times a new endnote is created that points to a different endnote instead? Finding the answer to why these were written this way is a hopeless endeavour; finding the answer to why it is the case is merely a question of reading them. 

Endnote 304 describes the night of 11 November Year of the D.A.U. for James Albrecht Lockley Struck Jr. He is attempting to plagiarise an article written by Geoffrey Day from the journal 

for an assignment on the infamous wheelchair assassins of Quebec. He is having an awful time. Geoffrey Day is proving himself to be an idiosyncratic writer. He writes extensively on topics entirely unrelated to the article: he includes his own opinion beside supposed fact without pause: he makes references to things James Struck Jr. isn't even sure exist. And if they do, not even the most informed reader could be expected to know them. James Struck Jr. sweats and laments over Geoffrey Day's article. He describes the prose as "foam-flecked megalograndiosity he [Struck] associates with Quaaludes and red wine and then the odd Preludin to pull out of the grandiose nose dive of the Quaaludes and red wine." 

I am James Albrecht Lockley Struck Jr. Victor Hugo is Geoffrey Day. I refuse to believe otherwise. I refuse to believe that Victor Hugo was anything other than fucked out of his mind whilst writing Les Misérables. Victor describes things like I have nothing better to read. Victor can never decide which god-fearing metaphor he needs to use; it's like he's written out a few that've come to mind and never come back to cross out the extra ones. Like he is writing an assignment on something he knows nothing about and is reaching for the word minimum by repeatedly describing the same thing. Victor had the same thought so many times over and over again and he just didn't check to see if he'd already written it down. Victor is orating to six different students one after the other and trying to individualise his explanation of the same thing for each one. 

Geoffrey Day goes to a halfway house and Alcoholics Anonymous. To my understanding, Victor Hugo was an exile of France when he wrote Les Misérables. 

Geese Fish

The first 70 pages are slow but the rest of the book isn't engaging. I do not hate Les Misérables, but I have no reason to recommend the book; given the title and a half-formed reputation in my mind (affirmed by the blurb) I presumed this would be a working class epic of misfortune and injustice, akin to Germinal—but it's none of that. It's more than that. Because Victor has included an entire blow-for-blow of the battle of Waterloo, the ecclesiastical history of a convent, tens—upon tens—of thousands of words on his very 1800s feelings on love, so much God talk, so much patriotic France talk, Paris talk, and many other historical digressions he chose to include whenever the plot is finally reaching a momentous peak. These digressions are not without value, they are a deeply appreciated release from Victor and Marius' unending monologues on mega-gendered love, and I know so much more about the sixteen different french revolutions now, but when, just as our hero Jean Valjean, who was essentially deserted for 300 pages in favour of snivelling Marius, has escaped the armed forces via a manhole, Victor decides to lecture us upon the history of how the Parisian sewers were mapped and sanitised for about 30 pages—that is when I truly knew that Victor Hugo was not sober when he wrote Les Misérables. 

 

Digression is too meagre a word. Diatribe is the word. But I can't leave my description at that, no matter how concise or accurate. It would be a disservice to imparting a true impression of Les Misérables. Very long endnotes are used in David Foster Wallace's Infinite Jest; ironically they could occasionally be considered digressions and certainly diatribes. But Infinite Jest cultivates a miasma of disillusionment and tetherlessness that lengthy digressions not only revel in but thicken. Infinite Jest uses its digressions to gorge itself on wit and tragedy. To try and explain the book's reasoning beyond base full-frontal experience will have you unsuccessfully rifling through many pages and embroiling yourself in the Acadamese of other's that isn't so funnily written: a fool's errand. Why are endnotes longer than chapters not merely chapters? Why are chapters shorter than endnotes not merely endnotes? Why are endnotes not referenced in sequential order? Why is endnote 304 referenced multiple times when other times a new endnote is created that points to a different endnote instead? Finding the answer to why these were written this way is a hopeless endeavour; finding the answer to why it is the case is merely a question of reading them. 

 

Endnote 304 describes the night of 11 November Year of the D.A.U. for James Albrecht Lockley Struck Jr. He is attempting to plagiarise an article written by Geoffrey Day from the journal Wild Conceits for an assignment on the infamous wheelchair assassins of Quebec. He is having an awful time. Geoffrey Day is proving himself to be an idiosyncratic writer. He writes extensively on topics entirely unrelated to the article: he includes his own opinion beside supposed fact without pause: he makes references to things James Struck Jr. isn't even sure exist. And if they do, not even the most informed reader could be expected to know them. James Struck Jr. sweats and laments over Geoffrey Day's article. He describes the prose as "foam-flecked megalograndiosity he [Struck] associates with Quaaludes and red wine and then the odd Preludin to pull out of the grandiose nose dive of the Quaaludes and red wine." 

 

I am James Albrecht Lockley Struck Jr. Victor Hugo is Geoffrey Day. I refuse to believe otherwise. I refuse to believe that Victor Hugo was anything other than fucked out of his mind whilst writing Les Misérables. Victor describes things like I have nothing better to read. Victor can never decide which god-fearing metaphor he needs to use; it's like he's written out a few that've come to mind and never come back to cross out the extra ones. Like he is writing an assignment on something he knows nothing about and is reaching for the word minimum by repeatedly describing the same thing. Victor had the same thought so many times over and over again and he just didn't check to see if he'd already written it down. Victor is orating to six different students one after the other and trying to individualise his explanation of the same thing for each one. 

 

Geoffrey Day goes to a halfway house and Alcoholics Anonymous. To my understanding, Victor Hugo was an exile of France when he wrote Les Misérables. 

John Nettles

Laura Mauler

Let me start by saying I couldn't finish this book. There were definitely great parts, when the action was pumping and I couldn't turn the pages fast enough, but mostly it was BORING. I got about halfway through, but found myself dreading any free time because it meant that I should be reading it.

emma

The nineteenth-century Frenchman's epic work which depicts the life of Jean Valjean, a reformed convict who has dedicated his life to helping others

Wilde

Before reading this I had never cried at a book. I thought all of that was a bit silly, that some people just got overexcited. But this book takes your heart out, stomps on it then throws it back at you. Better than the stage and film versions (and they were superb), this book is one of the finest pieces of literature I've ever had the pleasure of reading.

Dimitris Papastergiou

Yeah yeah.. it's a classic.. and yeah it's great... yes I agree. Story is great. Whatever happens with Jean Valjean and everything around him is a real page-turner for sure.

And what a page-turner it is.. and for something that's been written in 1862, the story can really hold its own against the time. (besides some cringe-worthy shit which is understandable because of the 1800s).

And yes, I liked it.

 But it's not getting more stars, simply because of all the damn fillers in it. If I wanted to learn about the damn French revolution I would have opened a damn history book or wikipedia. If I wanted to learn about a character that has nothing to do with the plot I can learn about that said character in a damn paragraph and/or if you will, in a damn page and NOT for 10s of pages about someone that's not even a secondary character yo! In which has nothing to do with our chars or changes the plot in no way whatsoever.

Anyway, I've had my problems with it, though I doubt that I wouldn't have any problems since it's 1500 pages, but overall I'm glad I read it, (and I can watch the film too, finally) although I wish I could read some unabridged version of the book that goes around 600 pages or so, but stupid me never goes for unabridged the first time around a book.

Stacy King

In graphic novel format, tells the story of Jean Valjean, an ex-convict who, trying to forget his past and live an honest life, risks his freedom to take care of a motherless young girl during a period of political unrest in Paris.

Les Miserables Softcover

Manga Classics

Nessa Luna

Nikita 

Everyone, at least once in his lifetime, comes across a book that seems to embody every principle he lives by, every sentiment he cherishes, and every hope he holds dear to his heart; I guess I've found that book for me. I would even dare to say that Les Misérables is I, at times joyful, at others woeful, and infinitely idealistic and romantic. 

Hugo wrote a book on every facet of our lives. Whether it be private or public, poverty or affluence, youth or old age, nothing eludes the author's piercing gaze. For such a wide range of topics, he employs a variety of genres throughout the narrative. That is why it seems impossible to attribute Les Miserables to any particular genre. The book begins as regular classic fiction, then it mimics a historical treatise, after some time it turns into a social study, next comes a piece of genuine philosophy, and so on till the end.

 Edification is the only word that can characterize Les Misérables. Victor Hugo gingerly wrapped the wisdom attained over the course of his life in a vibrant tale of love and poignant injustice to present it as a gift to posterity, to guide us through life's tribulations as tempestuous winds of fate throw us off our course. What is superior, the law or morality? What qualities must a person possess so as to be rightfully called a citizen? What is penury, and how to live through it? What is love, and what does it mean to love? All these questions and many more Hugo vastly covered in his chef-d'oeuvre.

 I find no words to describe the plethora of feelings and emotions I had when reading chapters about Marius and Cosette. At some moments, I even had goosebumps (no kidding). "A Heart beneath a Stone", where Marius declares his love through a letter, is simply a masterpiece. Nowhere else are the ravings of a soul tormented by unattainable love portrayed more genuinely than in this chapter. Indeed, "to die of love is to live by love." These chapters are so visceral for those who at least once felt "the universe reduced to a single being, a single being expanding to encompass God."

	Hugo is simply unsurpassed when it comes to wielding readers' interest and attention. Reading Les Misérables, I couldn't satiate my desire to read further and further. There are cliffhangers almost at the end of each chapter. But I assure you that they are not made of thin air. Quite the opposite, every section of the book is as complete as it could possibly be. What really produces that effect is the interplay of story elements. It might be astonishing, but such a voluminous book works according to the rule of Chekhov's rifle. You can literally find firearms to which I am referring in the text. Hugo wrote nothing just for the sake of it. Be attentive and thoughtful, and the book will award you in the end. Personally, never have I ever annotated any book as I annotated Les Miserables. 

 As I detest those without political views, I was particularly pleased with the extent to which Hugo was involved in politics—no surprise given that he was a member of the National Assembly. He leaves the impression that he was familiar with every political movement and every politician of his time, even the most obscure ones. In that sense, Victor Hugo reminds me of Dante Alighieri. In his political career, Hugo implemented the principles of life that he propagated in his writings, which even led to his exile. Even before the mighty of this world, he, with unwavering audacity, spoke against despotism, social injustice, censorship, disenfranchisement, and slavery. That being said, I aspire to be at least one iota like him someday. 

 I couldn't recommend reading this book enough. 

"Thank heavens, nations are great regardless of the grim fortunes of war. Neither England, nor Germany, nor France is defined by the scabbard. During a period when Waterloo is no more than a clatter of sabres, over and beyond Blücher Germany has Goethe; over and beyond Wellington England has Byron. ... Civilized peoples, especially in our own times, neither rise nor fall by the good or bad fortune of a leader. Their specific weight within the human race results from something more than a conflict. Their honour, thank God, their dignity, their understanding, their genius, are not numbers that those gamblers the heroes and conquerors can throw into the lottery of battle. Often a battle lost is progress gained. Less glory, more freedom. The drum falls silent, reason speaks."

PS: 
As I am trying to improve my writing in English, I would greatly appreciate it if you could send me feedback on this review.

this book is amazing, i absolutely love the story. i bawled like a baby at once specific part of the book (i won’t say which). if you like classic, historical based books, then i 100% recommend this one

Izzy 

Abridged

Nelson Zagalo

Lido em 2 volumes

https://virtual-illusion.blogspot.pt/...

Amelie

jess

I'm a pretty huge fan of Les Miserables, so I was pretty excited when I was approved for this on NetGalley! Now, I don't read manga often, so I don't know the conventions, but on a whole I really enjoyed this and thought it was a decent adaptation. Obviously, there's no way to really put a 500,000 word novel into a 300 page adaptation, even if a picture is worth a thousand words, but the themes and tone were kept well intact. 

It did look like that it was guided by the musical movie in a lot of places for the major beats in the story, though it was certainly elaborated on with many moments from the book - such as Chapmanthieu, and Valjean's second stint in prison and his subsequent escape, and other moments which I'd forgotten about: such as being smuggled out of the convent in a coffin. A lot of the Marius plotlines were condensed from the book but much closer than the musical adaptation. I also appreciate the scene where Cosette cries while Marius puts his head against a tree, and Enjolras and Grantaire's death also close to the Brick's (though for those who are not as familiar with the story, this might have been confusing due to Grantaire appearing once before this happens). Another thing I liked is that there were a couple digressions on history, which ... yeah, if you've read Les Mis, you'll know about Victor Hugo and his digressions. So I thought it was apt for retaining the spirit of the original novel as well as giving the readers some really good background information. 

I liked the art as well, and I think it generally fit with the book descriptions of the characters. I noticed that Marius actually has dark hair like he does in the original novel, and I loved how Enjolras was drawn. He's described as feminine and angelic-looking in the book, and this manga really hit the mark with Enjolras's depiction. The Thenardiers do not escape caricaturish drawings in this, which is pretty consistent through all animated depictions of them. And this is being nitpicky as a fan of the original novel, but Cosette is drawn as blonde, while in the novel she's a brunette - but honestly, she's portrayed as blonde in a lot of adaptations.

Les Miserables is such a complex book that it's difficult to adapt, but for anyone who's familiar with the musical, this is definitely a nice expansion and introduction to the book.

Tracie McMurray

Jean Valjean is the most complete character I have encountered. This book was an epic struggle at times, but Victor Hugo masterfully built the story and characters into a complete resolution. It was beautiful. I am glad I read the unabridged. These characters will be remembered. Amazing!!

After nineteen years in prison, Jean Valjean has difficulty adjusting to the outside world, which scorns and shuns him

Les Miserables

Celeste Richardson

Actual rating: 4.5 stars, rounded up. It might've been verbose, but it was worth the trudge.

Sometimes books that are considered classics are just old. How they earned their classical status is honestly a mystery. But sometimes you come across a novel that truly deserves its place in the classical canon. Italo Calvino once said that “a classic is a book that has never finished saying what it has to say,” and I think that is the best definition any book could hope to match. Hugo’s magnum opus, Les Misérables, is definitely such a book. It’s a book that still has so much to say, though readers have to work for it.
 “Those who do not weep, do not see.” 
TS and I started this book on January 1st, intending to read one of its 365 chapters every day of 2019. Instead, we ended up finishing the massive book more than two months early. While ten months is a really long time to spend with one book, this one proved itself to be well worth the time invested. I don’t know that either of us would have gotten so much out of it had we not read it together and discussed what we were reading often. But we did have each other, which made the book all the more rewarding. (You can read my wonderful book twin's great review of the book here.)
“To love another person is to see the face of God.” 
If you’ve never seen a physical copy of Les Misérables, it’s a beast. My copy is nearly 1,400 pages including end notes, and a whopping 1,197 without them. Coming in at an insane 530,000 words, it’s longer than Brandon Sanderson’s Oathbringer, which clocks in at a measly 454,440 in comparison. As far as I can tell, it’s the biggest book I’ve ever read. It was also first published in 1862, and was originally penned in French. So to review, this monster is more than 150 years old, a work in translation, and is absolutely enormous. Understandably, this was a journey we embarked upon with some trepidation.
“Not being heard is no reason for silence.” 
While I do believe that the story could’ve been edited down, even the entire sections about a particular bishop’s life and chapters upon chapters relating the history of Parisian sewers ended up feeling important by the end of the novel. Just when the story would begin to feel like a slog, Hugo would produce something so beautiful it made my heart ache. The pace was slow and plodding but also steady in a way I didn’t fully realize until the final pages. Steady in the same way that Jean Valjean was steady.
“You ask me what forces me to speak? a strange thing; my conscience.” 
The story of Jean Valjean is one the most powerful I’ve ever experienced. His growth from escaped convict to living saint is unparalleled. Getting to witness the path of his life, the obstacles he faced and overcame and the love that he didn’t realize he was capable of feeling, moved me countless times over the months I spent with him. This is more than a story of revolution; it’s a story of redemption and forgiveness. It’s about how God shows Himself in the darkest times through the unlikeliest of people. It’s about how the smallest act of kindness can ripple outward and change countless lives. It’s about the difference between what’s right and what’s lawful, what’s legal and what’s just. Above all, Les Misérables shouts from its pages that no one is past salvation, and that every single one of us is offered a second chance when we least deserve it. No one is so wretched that they can’t be forgiven.
“Even the darkest night will end and the sun will rise.” 
There are other perspective characters in this story, one of whom (Fantine) was even more wretched than Jean Valjean. The aforementioned bishop, Fantine, Javert, Cosette, Marius and his grandfather, and the scattered Thénardiers all made for a wonderfully varied cast. But in my opinion, they are all supporting characters. The true star of this novel is Valjean, though I’m sure he would much prefer we allowed him to fade into the background.
“It is nothing to die. It is frightful not to live.” 
So much has been written about Les Misérables in the 150 plus years of its publication, and I have nothing new or original to add. All I can say is that I grew while reading it, and that Hugo’s masterwork is one that will stick with me for the rest of my life. And it absolutely deserves a place on my classics bookshelf with other favorites like Jane Eyre and Frankenstein. It’s a book I can see myself rereading, despite its heft. More than anything, it’s a book that gives me hope.

A beautiful classic set in the turbulent times of post napoleonic france. A book about a man struggling with his conscience and a man falling in love all while france brinks on revolution.

A must read for anyone seeking to understand themselves and life better.

Anubhav Singh

A beautiful classic set in the turbulent times of post napoleonic france. A book about a man struggling with his conscience and a man falling in love all while france brinks on revolution.

A must read for anyone seeking to understand themselves and life better.

Cams Campbell

So I finally finished Les Miserables. It took me five months to listen to the whole thing, a 60-hour audio book. There were several points where I nearly gave up, and one where I actually announced on Facebook that I had given up. But I went back to it and I'm ever so glad that I did. 

Let me start by saying that this is a fantastic book. There were times when I was slogging through some of the digressions that I wondered just how this could possibly have been considered a classic. But now I know. 

At first, I sensed a similarity with Crime & Punishment, which just happens to have been published in the same decade as Les Miserables, as indeed was War & Peace, which I have also read. The part where Jean Valjean, as Monsieur Madeleine, is fighting with his conscience about going to rescue the man who has been arrested as Jean Valjean and then his journey there, fraught with difficulty. 

It's been interesting to read some of the reviews on Goodreads after finishing the book. They are almost all five stars and there are a few instances where readers have read the abridged version and then gone back to read the unabridged and enjoyed it ever so much more. As I was listening to it, there were many occasions when I wished I had downloaded the abridged version instead. I mean come on, pages and pages of description about the Paris sewers? The whole Waterloo bit? I honestly struggled through these parts. I wonder if it would have been easier to read than to listen to. 

Anyway, I listened to the last 8 hours or so in a couple of days, at first because I just wanted it finished and out of the way, but then because it was just so good that I didn't want to stop. I had guessed how the novel would end, but that didn't spoil the ending at all. It was so well written that I was left with a feeling of elation that has lasted through to the following day as I write this. 

Suffice it to say that I am very glad that I persevered with this and got to the end. I actually would quite like to read it again right now as I'm sure I would enjoy it a lot more second time around.

Five stars.

Alice Belle

I simply love les miserables. I have seen the movie, the series and the live musical. Now I finally got the chance to read this amazing book. 👏 yay!

Somya Verma

Imprisoned for stealing a loaf of bread, Jean Valjean is finally released and struggles to build a new life, but the relentless police Inspector Javert is determined to put him back in jail, forcing Jean to go into hiding.

Cosette's fate

Melanie Richards

A beautiful story, but much of its power is robbed by Hugo's tendency to ramble (apparently, his generation of writers was paid by the word). For once, I'd recommend reading the abridged version. I mean, Hugo spent a few pages reflecting on POOP.

What would push this up to a 5 (besides major editing of inessential passages) is less of Marius. I was interested to see greater development of this character, as he's sort of just there in the musical version. The original Marius is still a wet noodle, and Hugo spends an inordinate amount of time fixating on the ever-so-chaste puppy love between Marius and Cosette. However much time the author spent on romance, though, the story really is about Valjean, and this romance is essential to his redemption.

Vivian

Les Misérables is not short of rambling sentences that sprawled into meaningless paragraphs, but all of this can be forgiven for the undeniably compelling storyline and the solemn redemption reaped at the end. Oh, Jean Valjean!

andie

q mala mi etapa d theatre kid (aun no la he dejado)

Kelsi Proulx

I am so proud of myself for finishing this one! I was tempted to give it a lower rating because I got a bit bogged down with the constant rambling historical lectures about Paris. However, I really enjoyed the main story. The characters were amazing, I felt like I knew their ins and outs and the reasons behind all of their decisions, even the ones I didn't like. Hugo does a fantastic job of writing their lives and wrapping up all of the loose ends neatly. 

This was one of my lifetime challenge books, one of those books I felt I had to read so it feels great to cross it off my list. I feel that I will have a much easier time with other classics from this point forward because this was a bit of a beast all told!