No home library is complete without the classics! Les Miserables is a keepsake to be read and treasured.
Les Miserables is widely considered one of the greatest novels of the 19th century. First published in France in 1862, it is Victor Hugo’s greatest achievementthe ultimate tale of redemption. Former prisoner Jean Valjean struggles to live virtuously after an unexpected act of forgiveness by a kindly bishop changes his life. His righteous actions change people’s lives in surprising ways and culminate in romance between two young people. Now available as part of the Word Cloud Classics series, Les Miserables is a must-have addition to the libraries of all classic literature lovers.
About the Word Cloud Classics series:
Classic works of literature with a clean, modern aesthetic! Perfect for both old and new literature fans, the Word Cloud Classics series from Canterbury Classics provides a chic and inexpensive introduction to timeless tales. With a higher production value, including heat burnished covers and foil stamping, these eye-catching, easy-to-hold editions are the perfect gift for students and fans of literature everywhere.
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About the Author
Victor Hugo (1802-1885), novelist, poet, and dramatist, is one of the most important of French Romantic writers. Among his best-known works are The Hunchback of Notre Dame(1831) and Les Miserables(1862).
Date of Birth:February 26, 1802
Date of Death:May 22, 1885
Place of Birth:Besançon, France
Place of Death:Paris, France
Education:Pension Cordier, Paris, 1815-18
Read an Excerpt
From the Introduction by Peter Washington- Victor Hugo might be regarded as the Mr Toad of French literature: vain, arrogrant, pompous, selfish, cold and stingy; a windbag, a humbug and a fraud, absurdly puffed up with the immensity of his own greatness. But unlike Mr Toad, he was also an astute and energetic promoter of hisown image as a Great Man. The process began early. Writing in Hugo's lifetime, Virginie Ancelot recalls the reception the young poet received in literary drawing-rooms when he arrived to read his latest ode. "...There was a few moments' silence; then someone rose and approached him with visible emotion, took his hand and raised their eyes to heaven.The multitude listened. A single word was heard, to the great surprise of the uninitiated. And this word, which echoed in every corner of the salon, was:'Cathedral!'Then the orator returned to his place; another rose and cried out: 'Ogive!'A third looked round him and ventured:'Egyptian Pyramid!'The assembly applauded, and then it was lost in profound reflection." To the Anglo-Saxon mind - and, it should be said, to many Frenchmen - this is Parisian literary life at its worst: the posturing, the pretension, the self-regard, masquerading under the name of art. Yet Hugo is the man who wrote a handful of the most exquisite lyrics - 'Victor Hugo, helas!'said Gide when someone asked him to name the finest French poet - and at least one novel judged to be supreme. In his person, he sums up all that is most monsterous in writerly vanity; in his best work he transcended his failings. How did he do it? How did a monster come to write the masterpiece that is Les Miserables? * In an early essay on Scott, Hugo prophesies that"After the picturesque but prosaic novel of Walter Scott, there will still be another novel to create ... It is the novel which is at once drama and epic, picturesque and poetic, real and ieal, true and great, the novel which will enshrine Walter Scott in Homer."These words were written in 1823, just after the publication of his own first novel, Han d'Islande, and there is no doubt that Hugo had himself in mind as the man who could 'enshrine Walter Scott as Homer'. Anyone who can still get through this book may take a rather different view. Set in seventeeth-century Norway and dripping with gore on every page, Han d'Islande is nearer to the Gothic horror tradition than to Scott. For the man who really succeeded in reconciling the genres of epic and historic fiction we have to look further afield, to Hugo's own admirerer, Tolstoy. Yet it was Tolstoy who vindicated the French novelist's early ambition by judging Les Miserables one of the world's great novels, if not the greates, and acknowledged its effect on his own work. Les Miserables was completed in 1862, shortly before the Russian novelist began War and Peace. The two novels are set in the same period. It cannot be said that Hugo had much to teach his junior about structure or characterization; like all his attempts at epic, in prose and verse, Les Miserables rambles, there are huge digressions and absurdities of plot, the characters are often thin, the action melodramatic. But in spacious, vigorous story-telling, in the use of an historical framework, in the relating of human events to a larger philosophical and spiritual context, in the deployment of fiction as a social and political weapon, in the exalatation of 'the people' as a supreme authority, in the treatment of suffering as a dominant theme - in all these matters, Hugo exerted a profound influence on Tolstoy. Without his example, War and Peace might have been a very different novel. Perhaps the most extraordinary point of contact between them concerns Napoleon. One might expect the emperor to intrigue European writers in the early nineteenth century, as he intrigues Byron, Balzac and Stendhal, among others, but by the 1860s almost half a century had passed since Waterloo, yet Hugo and Tolstoy are still trying to unravel the mystery of one whose shadow falls across the entire century. For Tolstoy, Napoleon is pre-eminently a human being - an extraordinary man, certainly, the instrument of destiny, but still a man. For Hugo he is more like a superman, a mysterious brooding presence with almost divine powers. The point is made by an ironic comparison between Napoleon and Wellington. Hugo's argument seems to be that Napoleon ought to have won Waterloo by sheer force of genius - indeed, that he did win it, when judged according to the rules of natural justice - but that Wellington achieved a victory on points by taking more care to spy out the lay of the battlefield and to estimate the balance of forces. Calculation is everything to the mundane Englishman, imagination nothing. When lightning flashes round the emperor's head, the duke looks like a very ordinary man. While Napoleon surveys the heavens, Wellington consults his watch. Clearly, the image of general as genius was vital to Hugo's own project of himself as a literary Napoleon, but there is more to it than that. Commentators have often lamented the digression on Waterloo which is quite unnecessary to the plot and, coming early in the book, throws it decisively out of its narrative stride. But Hugo, though careless of structural refinement, does have a more serious purpose here - a purpose from which Tolstoy must have learnt much, and not only in his description of Borodino. For Hugo, who in turn learnt so much from Scott, grasped the fact that by imprinting the significance of a decisive historical moment on the minds of his readers he could hugely enlarge the scope of his novel. Precisely because Les Miserables is about little people, the history of a great man is one means of linking their petty lives with the Infinite. (The link is made touchingly explicit in the chapter called 'In Which Little Gavroche Takes Advantage of Napoleon the Great'.) Even events as great as Waterloo, we are told, can hinge on details: the location of a ditch, the arrival of a platoon. Conversely, the most trivial life may exemplify a great truth - and in that sense, all lives are equally significant, for every existence embodies these truths. At the same time, Hugo's treatment of Waterloo makes it clear that realities and appearances diverge as much in everyday life as they do in historical interpretation - and that the two divergences are linked. What a post-Waterloo Frenchman thinks of Napoleon helps to shape what he thinks of himself. Sometimes we try to envision history in our own image; sometimes we use it to understand ourselves; at all times we are formed by it without our knowledge. One function of fiction is to help us achieve that knowledge. Les Miserables is, among other things, an attempt to explain the people of the mid-nineteenth century to themselves. Jean Valjean finds himself in a certain situation because he is a poor Frenchman at a particular time. This is one version of Fate - the sociological and political explanation of things. But Valjean is like Waterloo: his life also has a deeper purpose, a hidden meaning. Hugo has a number of names for this meaning - Fate, Destiny, God, the Infinite. But whatever he calls it, we observe a complex dialogue throughout the book between the surface causes of Valjean's predicament - poverty and ignorance - and their deeper meaning, to which he penetrates through suffering.
Excerpted from "Les Miserables"
Copyright © 1982 Victor Hugo.
Excerpted by permission of Penguin Publishing Group.
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Table of Contents
I. A Just Man
II. The Fall
III. In the Year 1817
IV. To Confide is Sometimes to Deliver into a Person's Power
V. The Descent
VII. The Champmathieu Affair
VIII. A Counter-Blow
II. The Ship Orion
III. Accomplishment of the Promise Made to the Dead Woman
IV. The Gorbeau Hovel
V. For a Black Hunt, A Mute Pack
VI. Le Petit-Picpus
VIII. Cemeteries Take That Which is Committed Them
I. Paris Studies in its Atom
II. The Great Bourgeois
III. The Grandfather and the Grandson
IV. The Friends of the ABC
V. The Excellence of Misfortune
VI. The Conjunction of Two Stars
VII. Patron Minette
VIII. The Wicked Poor Man
I. A Few Pages of History
III. The House in the Rue Plumet
IV. Succor From Below May Turn Out to be Succor From on High
V. The End of Which Does Not Resemble the Beginning
VI. Little Gavroche
VIII. Enchantments and Desolations
IX. Whither are They Going?
X. The 5th of June, 1832
XI.The Atom Fraternizes with the Hurricane
XIII. Marius Enters the Shadow
XIV. The Grandeurs of Despair
XV. The Rue de l'Homme Arme
I. The War Between Four Walls
II. The Intestine of the Leviathan
III. Mud but the Soul
IV. Javert Derailed
V. Grandson and Grandfather
VI. The Sleepless Night
VII. The Last Draught from the Cup
VIII. Fading Away of the Twilight
IX. Supreme Shadow, Supreme Dawn
Reading Group Guide
The book which the reader now holds in his hands, from one end to the other...treats the advance from evil to good, from injustice to justice, from falsity to truth, from darkness to daylight, from blind appetite to conscience, from decay to life, from bestiality to duty, from Heaven to Hell, from Limbo to God. Matter itself is the starting point, and the point of arrival is the soul.
—Victor Hugo, Les Misérables
Twenty years in the conception and execution, Les Misérables was first published in France and Belgium in 1862, a year which found Victor Hugo in exile from his beloved France. Enemies and admirers throughout the world devoured his works—poetry, political tracts, and fiction—and the effect of these works upon the public was always sensational. On the morning of 15 May, a mob filled the streets around Pagnerre's book shop, eyeing the stacks of copies of Les Misérables that stretched between floor and ceiling. A few hours later, they had all—thousands of books—been sold. Hugo's critics were quick to condemn him for making money by dramatizing the misery of the poor, while the poor themselves bought, read, and discussed his book in unprecedented numbers. True to Hugo's political stance, he had written a book about the people that was for the people, a book that demanded a change in society's judgement of its citizens.
The story is set between 1815 and 1832, the years of Hugo's youth. The descriptions of Paris, the characterizations of Gavroche and other Parisian stock characters, and such statements as, "To err is human, to stroll is Parisian" all attest to Hugo's unswerving adoration of his home city. Exile no doubt encouraged the romantic meanderings of Hugo's prose. The protagonist of Les Misérables, Jean Valjean, is also in exile from the world of men because of the desperate crime he committed in his youth. Liberated from prison, Valjean hides his identity and becomes a successful man, as charitable as he is rich and powerful. His altruism leads him to promise Fantine, a dying prostitute, that he will seek out her exploited young daughter Cosette after her death. The ensuing love between "father" and "daughter" (Cosette) is miraculous, redeeming Valjean and bestowing happiness on his otherwise grim life. To some extent, Hugo also was seeking redemption, having, for much of his youth, ignored the populist concerns of Republican France. He sacrificed his lifestyle in Paris for justice, and Les Misérables, "the Magna Carta of the human race," is a testament of this humanitarian awakening.
The Revolution and Republic of France had failed to redress the unconscionable social conditions in which many French citizens languished. Les Misérables became an expression of and an inspiration for that attempt. Hugo initially entitled his work, Les Misre ("the poverty"), but changed it to Les Misérables, which, in Hugo's time, denoted everyone from the poor to the outcasts and insurrectionists. In Hugo's lifetime, the schism between "haves" and "have-nots" was vast; an unbalanced economy made jobs scarce for those who earned their living by work. This was an era without a welfare system, unemployment benefits, or worker's compensation. The closest thing to a homeless shelter was prison, a macabre dungeon where inmates slept on bare planks and ate rancid food. To this place the disabled, insane, hungry, or desperate citizens of France eventually found their way. The one hope of the poor for relief was charity from those who were, if not indifferent to their plight, outright hostile to it.
Les Misérables vindicates those members of society forced by unemployment and starvation to commit crimes—in Jean Valjean's case, the theft of a loaf of bread—who are thereafter outcast from society. It is fairly common parlance today to suggest that prison creates more hardened criminals than it reforms, but the idea was radical to Hugo's contemporaries. "Perrot de Chezelles, in an 'Examination of Les Misérables,' defended the excellence of a State which persecuted convicts even after their release, and derided the notion that poverty and ignorance had anything to do with crime. Criminals were evil." Jean Valjean morally surpasses characters working on behalf of this excellent State. The poor and the disenfranchised understood Hugo's message, accepted the affirmation he gave them, and worshipped him as their spokesman. Workers pooled their money to buy the book not one of them could afford on their own. The struggling people of France had found an articulate illustration of the unjust forces arrayed against them.
Hugo's gift to the people simultaneously affirms that every citizen is important to the health of the nation and emphasizes how that fact gives each individual responsibility for the conditions we all share. Hugo sees the world as a convoluted pattern: "Nothing is truly small...within that inexhaustible compass, from the sun to the grub, there is no room for disdain; each thing needs every other thing." He illustrates a system full of injustice, but in that same sphere, a single gesture of kindness redeems the world; he shows us a civilization based on self-interest and profit, but in one generous act the possibilities of a better world become manifest; he portrays people who regard their neighbors with suspicion and contempt, but with one vow of love, humanity's faith is born anew. Les Misérables is one of history's greatest manifestos of hope for humankind.
The immense popularity of this story has not diminished over time. Since the original 1935 film version, there have been several other international films entitled Les Misérables including a Spring 1998 release starring Liam Neeson and Uma Thurman. The "most popular musical in the world" has toured the globe several times and has been running on Broadway since March 1987. Why does this story continue to charm and inspire audiences and readers? In our time, as there was in Hugo's, there is cause for despair: greed and violence undermine true progress; human life is rendered meaningless through materialism and nihilism; children the world over suffer neglect, poverty, and ignorance. Who does not identify with Jean Valjean's arduous journey through the sewers, and who does not long for an escape like his emergence into the pristine Parisian dusk? Hugo illustrates how the most profound revolution takes place in our individual consciences, how every moment we are faced with decisions to do right or wrong, and how to make in our hearts pitched battles against our own worst impulses. Les Misérables incites us to make the best fight of our lives the fight to become authentically good people and gives us hope that our efforts will not be in vain. Time cannot change the necessity or urgency of that message—only people can.
ABOUT VICTOR HUGO
Victor Hugo died in 1885 as one of the most famous Europeans in history. The number of people who attended Hugo's funeral ceremony was larger than the normal population of Paris. On the first of April, Hugo's pauper's coffin, which he had requested in his will, was carried from the Arc de Triomphe to his final resting place at the Panthéon. At eighty-three years old, Hugo had outlived two siblings, his wife, three out of four of his children, and thousands of admirers and critics who had watched his career transform and flourish. Prolific and protean as an artist, a politician, and a man, Hugo was capable of testing the limits of extremes, having learned the tension of polar opposites from his parents early in life. Victor-Marie Hugo was born on 26 February 1802 to Sophie Trébuchet and Joseph-Léopold-Sigisbert Hugo. His father was a decorated General in Napoléon's army, stationed in Italy and Spain during much of young Victor's youth. His mother was not only a Monarchist, but was involved in a plot to overthrow Napoléon. Under the care of his stoic mother, Hugo grew into a traditionalist, sworn to preserving the neo-Classical tradition of French literature and the rights of the French monarchy.
Hugo's literary talent was first publicized when he was seventeen years old. In 1819, he submitted two poems to the Académie Française, winning the Golden Amaranth for one poem and the Golden Lily, the Académie's highest honor, for another. (Hugo was elected to the Académie in 1841.) He published 112 articles and twenty-two poems in Le Conservateur Littéraire, the magazine founded by his brother Abel. These writings all supported traditional French literature and castigated early Romanticism, an ideology that soon thereafter lured Hugo to its camp with its irresistible ideals of freedom, honesty, and originality.
In 1830, Hugo's play Hernani put all Paris on its feet. The play opened at the Comédie Française and was attended by the new and the old aesthetic regimes. Ignoring the classical unities and their stale dignity of speech, Hernani was cheered by the Romantics and insulted, booed, and declaimed by the older, more conservative "kneeheads." Aesthetic disagreements escalated into riots, and duels were even fought over Hugo's play. Thus began a volatile and prolific career, each work fresh, surprising, and loaded with that Hugolian tendency to incite controversy. Hugo's literary output was staggering and the following is but a brief list of his major works: (poetry) Les Châtiments, Les Feuilles d'automne, La Légende des siécles, Les Orientales, Odes et Ballades, Les Rayons et les ombres, L'Art d'^etre grand-pére, (novels) Bug-Jargal, Notre Dame de Paris, Les Misérables, Les Travailleurs de la mer, L'Homme qui rit, Ruy Blas. Add to this his political and cultural commentary, his travelogues, letters, speeches, and plays, and you have a corpus of work that scholars are still compiling, publishing, and analyzing.
Hugo made no attempt to separate his life as a writer from his life as a citizen. In 1845, Hugo was made a pair de France (life peer and member of the Upper House), a position which should have endeared him to powerful circles and alienated him from the people. Yet a comfortable existence acquiescing to unjust powers was not to be Hugo's destiny, as he often proclaimed, "Not to believe in the people is to be a political atheist." During the revolutions, riots, and massacres of 1848 and 1849, Hugo abandoned the regime of Louis-Napoléon, nephew of Napoléon Bonaparte, because of its increasing authoritarianism; and when Louis-Napoléon was confirmed the leader of the Republic, Hugo and thousands of other thinkers, dissenters, and literati went into exile. For the next twenty years, Hugo disseminated his works from Belgium and the small islands in the English Channel, smuggling political satires and polemical verse in sardine tins, walking sticks, and baggy trousers. It was at this period Hugo produced his magnificent excoriation of Louis-Napoléon, Napoléon-le-Petit, as well as Les Châtiments (The Punishments), an explosion of poetic wrath directed at the emperor. Throughout his life, Hugo worked to further Republican virtues, affirming education and a democratic distribution of property, denouncing the unbalance of power and capital punishment.
Hugo's home, however, did not quite match the utilitarian simplicity of his ascetic ideal Jean Valjean. He had proven that one could get rich writing books; it was partially Hugo's love of humanity that had made him a millionaire. The two women he loved—his wife Adèle and his mistress Juliette— shared in a large part of the work—answering letters, copying manuscripts, etc.—and a small part of the glory. Hugo had married his childhood sweetheart against his parents' wishes in 1822, and they had four children. This family avoided the actress and ex-prostitute who resided down the street from them, Juliette. Her affair with Hugo lasted for fifty years, perhaps the longest extra-marital affair in history. Neither a model of virtue or simplicity, Hugo nonetheless inspired the people of many nations and many generations to act with greater regard for others.
Today it is hard to imagine a playwright whose works young men die defending, a poet whose followers cry for revolution, a thinker whose thoughts change world history. Hugo was all of these and his legacy survives through his tremendous literary bequest. He lived in a time when children were shot in the streets of Paris and governments were violently overthrown every twenty years. His presence was a beacon and a pillar, a palpable force to struggle against or with, a mad blend of courage, genius, and kindness. It is not his godliness which assures Hugo's place in eternity, but his humanity.
Notre-Dame of Paris
Translated with an Introduction by John Sturrock
This powerful evocation of Paris in 1482 and the tragic tale of Quasimodo has become the classic example of French romanticism.
Most Helpful Customer Reviews
The unabridged version is what you should read. That's what the author Victor Hugo wanted us to read. He did not write 1463 pages for people to butcher it up to an abridged version. And with the abridged version you don't fully get the affect of the book. I know people don't have a very good attention span these days but it's so worth it to read the unabridged version. The abridged version takes alot of important parts out. If you are in a hurry and need a quick read for school or something like that get the spark notes or cliff notes. Please show the author respect by reading the unbutchered version. I'm dissappointed in BN for publishing the abridged version. Les Miserables is one of the most greatest books on the world. Don't let the size of the book discourage you. When you look at it like this some of us read 1000 some pages a month when we add up all the books we've read.
I've read both the unabridged version and this abridged version. This version summarizes parts of the book where Hugo gets a bit long winded and spends several pages just to make one point that could easily be made by one paragraph. I prefer this version.
Hugo's Jean Valjean will have you sharing his feelings as society both praises and condemns him. Society praises his accomplishments yet can condemn him for past mistakes and for which overrule anything he did or could have done to better himself and those around him. While reading this novel I often wonder how close to the truth this treatment was. I suspect, very close.
I loved this book. It is skillfully written and truly a classic. I would recommend reading the full version, not the abridged because there is a lot that you miss. A wonderful book full of action and love. It is now my favorite book ever!
Les Miserables is my new all-time favorite books. I love the richness of the story, the grandness and generosity of the sentiments, and the deep human insight. I find this old translation to be just lovely. I can open it to many a page and just read, like lovely poetry, for the beauty of the language. But it is most worthwhile for the depth of humanity that Hugo shows thru his precious character. Such Jean Valjean who stole my heart. As I mentioned in my headline the book is a must read. It would be a crime to miss this wonderful - you are among the miserable of the earth in a very different sense if you don't take the time to read it. Another wonderful element is the sense of history that you get from it. The Napoleonic wars still inspired passion. It's great to see the battle of Waterloo recounted from the French side. There a forty or fifty page chapter that is worth reading for the history alone - all triggered as an aside to explain why Valjean was convicted a second time despite his good works, because, in court, he referred in passing to Napoleon as "the Emperor." It brings history alive in a way that history books alone do not at times. And I usally look for those since I am a huge history buff. For anyone else who luvs to jog back into history pick up this book. It's definately worth the read.
This is my favorite book of all time. It is filled with great characters that one would sincerily care about, and has an unforgettable, yet sometimes misunderstood hero. I VERY highly recommend this book to all!!
"Not like the play." You're joking, right? You do realize the play was based off the novel (which was written approximately a hundred and fifty years ago) and not the other way around? Les Miserables is quite possibly the most brilliant work of all classic literature. Personally, I prefer the unabridged version, but I can understand why people would want the abridged, as Hugo does tend to get a bit long-winded... I was told once that authors back then were paid by the page or the word.
I bought this after enjoying the movie, unaware of its size. It took me a month to complete. Excepting this fact, and a few confusing tidbits here and there, this book is astounding. Hugo's writing is amazing, and I grew attached to every single one of the characters. It is most definently worth the time and money. And its not too terribly hard to understand- I was 12 when I read it and understood it fine. You have no excuse to not buy it.
It's in French, so non-French speakers beware
I keep missing parts of the book. This is no good for someone who already loves great literature and is trying to re-read.
Barnes & Noble really should not sell a classics edition of an abridged novel. If they want their classics books to be authoritative, they need to be unabridged. Nobody should read an abridged book, and nobody should be accepting of having other people make the decision for them of what is important and not.
Victor Hugo is to France what Abraham Lincoln is to the United States, What Mohandas Ghandi is to India. Les Miserables is not a work of Fiction in the simple sense - It is a vision from the mind of the great French Visionary, a tale from the mind of a man made a hero by his own humanity. It may sound cliche, I know - but this book has the ability to change your life...that is, assuming your willing to let that happen.
Read it a few years ago and fell in love w the characters. The situations and the tragities moved me.
I cannot read French.
No other story summarises so many human aspects as this one: forgiveness, sacrifice, passion, love, greed and deception. A masterpiece of literature.
The books are always better than the movie and they're are no scenes you've seen coming and you have to think this book deserves a five
For what you pay, it's great
What are you talking about? It is NOT in French!! Sure, the original nineteenth century novel is, but there are many versions translated to English. And why are you on here anyway if you're not reviewing the book? I already wrote my review a while back on this AND the Hapgood translation. (Here that? TRANSLATION. Such as, English translation.) Okay, sorry that I'm being rude 'cause that's really not my nature, but I'm a bit defensive because I LOVE this book and musical, and I think Victor Hugo was a genius, and I hope to read Les Miz in French one day.
I saw the movie adored it and im a bookworm should i read it? Rating for movie
I love this great novel!!! I couldn't put it down! Victor Hugo depicts a world that makes you feel the power of emotions from love to hatrid. One of the best books I've ever read !
If you're really up to it and like a good long book, the unabridged is about 4500 pages, but it's divided into 5 volumes and then the books in each, it's enough to keep you busy for a while :) I do like Hugo's writing style, it's descriptive in a way that it pulls you in, wanting to know more about what's going on, it s interesting the further you get into it. I don't feel bogged down as much anyway because I already got to the third chapter and pretty much get what's going on. Don't want to give spoilers away but I think anyone who appreciates classics and is familiar to this story even after watching the movie will be in for a treat. I read Hugo's Hunchback of Notre Dame and just like his style of writing. He's interesting :)
Why are people saying this is in French? Barnes & Noble (who publishes this edition) does not publish in French. I'll throw in a 5 star because it's a great book. I would recommend the unabridged but if 1463 pages is a bit daunting to you, at least pick up this version.
Just what I wanted to read after I saw the play, needed to find out more so decided to read the book. Glad I purchased it.
An amazingly poignant, moving and enthralling read. Definitely one of my top five favorite books.
French version. Wish it would say that in description!