Во второй книге трилогии Теодор Драйзер начинает движение от Фрэнка Каупервуда-финансиста и махинатора к Фрэнку Каупервуду-интригану, изменнику и любителю женских прелестей.
Для тех, кто был восхищен тем, насколько подробно и ловко были описаны все действия Каупервуда на его финансовом поприще, наста

It kept my interest long enough to finish reading it. Since the main character is a bourgeois capitalist pig-dog, and he's opposed only by other such characters, it's hard to find any real empathy for anyone in the entire book (except for maybe one of the women he screws over).

Less a follow-up to than an extension of Dreiser's _The Financier_. Whereas in that novel Frank Cowperwood's romantic relationships are ancillary to his financial speculation and relationship-building, in _The Titan_ Cowperwood's philanderings and the development of his inner aesthete take precedenc

Che trio incredibile di capitalisti filibustieri ha sfornato la letteratura nell’arco di quarant’anni: da Aristide Saccard, protagonista de
Il denaro
di Zola del 1891, a Frank Algernon Cowperwood in Il Titano di Theodore Dreiser del 1914 per finire a Macheath detto Mackie Messer, in
Il romanz

I'm a big fan of this guy's work, and really dug this one. In it, he traces the rise and rise and rise of a budding robber baron against the expanding Chicago skyline. They kind of grow together. I don't wanna spoil how it ends, but I was surprised by what didn't happen- and the moral here seems to

Q:
How strange are realities as opposed to illusion! (c)
Q:
Rushing like a great comet to the zenith, his path a blazing trail, Cowperwood did for the hour illuminate the terrors and wonders of individuality. (c)
Q:
And this giant himself, rushing on to new struggles and new difficulties in an older land