Rating: 
Summary: One of the most hilarious and sarcastic novels ever written
Review: I once read that "Vanity Fair" had been classified as one of the "most boring classics" by a group of English professors, who hopefully have all been fired, as they can NOT have had any appreciation for the incisive use of the English language, the witty skewering of Victorian society, the rollicking plot, or the unforgettable characters. Becky Sharpe isn't likeable -- but in the end, you have to admire her insatiability and efficiency. Amelia and Dobbin live out the stereotypical storybook romance -- but Thackeray dares to show how the story usually ends. This is one of the few books that had me consistently laughing aloud; virtually every page has a stinging comment or revealing moment that catches the attention. Although it's a "classic" (think leather-bound dusty volumes with edifying quotes from the latin), this is as vital, insightful, and "modern" a novel as you could hope to read. (And for the record, I think comparing Thackeray and Austen is like comparing Stephen King and Alice Walker -- they're writing at the same time, but the similarities end there!)
Rating:
Summary: A Masterpiece in Every Sense of the Word
Review: William Makepeace Thackeray subtitled "Vanity Fair", his masterful comic novel, "A Novel Without a Hero". But while this big, baggy eight-hundred page monstrosity of comic characters and situations may lack a hero, it has two of the most memorable characters in English literature: Amelia Sedley and Becky Sharp. The contrapuntal, shifting fortunes of these two women drive the narrative of this big book, painting, along the way, a brilliant satirical portrait of English and European society at the time of the Napoleonic wars. We first meet Amelia and Becky in the opening pages of the novel, leaving Miss Pinkerton's School for the wider world of fortune, love and marriage. Amelia Sedley, the naive, sheltered daughter of a rich London merchant whose fortunes will dramatically change over the course of her life, "was a dear little creature; and a great mercy it is, both in life and in novels, which (the latter especially) abound in villains of the most sombre sort, that we are to have for a constant companion so guileless and good-natured a person." In contrast, Becky Sharp, the impoverished orphan of an artist and a French opera singer of dubious repute, was a calculating, amoral social climber. "Miss Rebecca was not, then, in the least kind or placable . . . but she had the dismal precocity of poverty." From the opening pages, Thackeray captures the reader's interest in these two characters and carries the reader through marriages, births, deaths, poverty, misfortune, social climbing . . . even the Battle of Waterloo! While Amelia and Becky wind like a long, contrasting thread from the beginning to the end of this story, there are also plots and subplots, intrigues and authorial asides, and one character after another, all of this literary invention keeping the reader incessantly preoccupied and enthralled. Reading "Vanity Fair" is the furthest thing from "killing time" (as the dusty, misguided literary critic F. R. Leavis once said); it is, rather, the epitome of the nineteenth century English comic novel, a masterpiece in every sense of the word.
Rating:
Summary: One of the great 19th Century novels
Review: If you like the big, sprawling novels of the 19th Century, full of dozens of characters with a supporting cast numbering in the hundreds, novels like Dickens's Bleak House or David Copperfield, George Eliot's Middlemarch or either of the Tolstoy novels, then Vanity Fair may be for you. I won't duplicate what other reviewers have already described below. Instead I'll mention a couple of points that haven't received enough attention. First, what sets this novel apart from others of its kind is the active role of the narrator, presumably the author himself, or perhaps an unnamed character. Analogizing to sportscasts, this narrator is not content with doing the play-by-play; instead he(she?) constantly butts in with color commentary on the characters, exhortations to the reader, and rhetorical moralizing on such issues as men's treatment of women (bad), women's treatment of women (possibly worse), the harm that comes from living beyond one's means (which extends well beyond the spendthrift), and the question of what makes a gentleman and what makes a lady (honor and honesty). This is all done with such a sense of irony, satire or sarcasm that it's hard to tell when the narrator is being serious. It is this narrative distance from the characters that sets this novel apart from the sentimentality of Dickens, the earnestness of Eliot, the moral seriousness of Tolstoy. I don't think this is cynicism on Thackeray's part but rather an unwavering commitment to seeing the world as it really is, unblinkered by any ideology, philosophy or religion. The second point derives from the first. There are no heroes or heroines, and no villains. All of the characters, regardless of gender, age, class are possessed of both good and bad qualities. Those on the good end of the spectrum are capable of bad acts: Amelia exploits Dobbin's love, and Dobbin foolishly lets her. Those on the bad end of the spectrum do good things: Lord Steyne obtains a government post for Rawdon Crawley; Becky Sharp Crawley brings about the reconciliation of Dobbin and Amelia. Not only that, but after 800 pages and fifteen years the baddies end up about as well off as the goodies. So what is the moral of this tale? Well, it's the old saw that you should be careful of what you wish for, because you just might get it. That caution applies even to such lofty goals as love and fidelity, and it goes double for fame and fortune.
Rating:
Summary: A Masterpiece in Every Sense of the Word
Review: William Makepeace Thackeray subtitled "Vanity Fair", his masterful comic novel, "A Novel Without a Hero". But while this big, baggy eight-hundred page monstrosity of comic characters and situations may lack a hero, it has two of the most memorable characters in English literature: Amelia Sedley and Becky Sharp. The contrapuntal, shifting fortunes of these two women drive the narrative of this big book, painting, along the way, a brilliant satirical portrait of English and European society at the time of the Napoleonic wars. We first meet Amelia and Becky in the opening pages of the novel, leaving Miss Pinkerton's School for the wider world of fortune, love and marriage. Amelia Sedley, the naive, sheltered daughter of a rich London merchant whose fortunes will dramatically change over the course of her life, "was a dear little creature; and a great mercy it is, both in life and in novels, which (the latter especially) abound in villains of the most sombre sort, that we are to have for a constant companion so guileless and good-natured a person." In contrast, Becky Sharp, the impoverished orphan of an artist and a French opera singer of dubious repute, was a calculating, amoral social climber. "Miss Rebecca was not, then, in the least kind or placable . . . but she had the dismal precocity of poverty." From the opening pages, Thackeray captures the reader's interest in these two characters and carries the reader through marriages, births, deaths, poverty, misfortune, social climbing . . . even the Battle of Waterloo! While Amelia and Becky wind like a long, contrasting thread from the beginning to the end of this story, there are also plots and subplots, intrigues and authorial asides, and one character after another, all of this literary invention keeping the reader incessantly preoccupied and enthralled. Reading "Vanity Fair" is the furthest thing from "killing time" (as the dusty, misguided literary critic F. R. Leavis once said); it is, rather, the epitome of the nineteenth century English comic novel, a masterpiece in every sense of the word.
Rating:
Summary: One of the most hilarious and sarcastic novels ever written
Review: I once read that "Vanity Fair" had been classified as one of the "most boring classics" by a group of English professors, who hopefully have all been fired, as they can NOT have had any appreciation for the incisive use of the English language, the witty skewering of Victorian society, the rollicking plot, or the unforgettable characters. Becky Sharpe isn't likeable -- but in the end, you have to admire her insatiability and efficiency. Amelia and Dobbin live out the stereotypical storybook romance -- but Thackeray dares to show how the story usually ends. This is one of the few books that had me consistently laughing aloud; virtually every page has a stinging comment or revealing moment that catches the attention. Although it's a "classic" (think leather-bound dusty volumes with edifying quotes from the latin), this is as vital, insightful, and "modern" a novel as you could hope to read. (And for the record, I think comparing Thackeray and Austen is like comparing Stephen King and Alice Walker -- they're writing at the same time, but the similarities end there!)
Rating:
Summary: One of the best novels in the English Language
Review: This novel is brilliant on so many levels. It works as an hilarious send up of societal pretensions, a keen psychological analysis into how we lie to ourselves, and a profound philosophical meditation on the futility of our pursuits large and small. The novel is funny, poignant, and a very enjoyable read - even at 800 pages.
Rating: 
Summary: Vanitas Vanitatum
Review: Many consider William Makepeace Thackeray (1811-1863) a minor novelist who wrote in a time when George Eliot, Charles Dickens, and Anthony Trollope ruled the roost of British literature. Out of all of his works, "Vanity Fair" is the most recognizable in literary circles, although Stanley Kubrick immortalized Thackeray's "Barry Lyndon" in a film of the same name. "Vanity Fair" appeared in serial form in 1847-48, a process of publishing used to great success by Charles Dickens. The introduction to this Everyman's Library edition, written by Catherine Peters, says that the title of the book came from John Bunyan's "The Pilgrim's Progress," an immensely popular work in circulation at the time. "Vanity Fair" centers on the exploits of two British women, Rebecca Sharp and Amelia Sedley, beginning roughly at the time of the Battle of Waterloo and ending at some time in the 1830's. The two women are polar opposites: Becky is a conniving, domineering, sometimes insensate woman who constantly attempts to secure a position in high society. Amelia is a rather plain, simple girl who trusts people too often and ends up getting her heart stomped on repeatedly. The two women are ostensibly friends, spending their youth together at a finishing school and occasionally running into each other throughout their lives. Thackeray often likes to place the two in opposition to one another: when Amelia falls into a crisis, Becky is moving in the highest circles of society. When Amelia comes into luck, Becky's fortunes plummet. This see-sawing action helps move the novel through a series of intricately detailed scenes showing off Thackeray's sense of humor, his caustic critiques of English society, and his insightful commentary into the human condition. Arrayed around these two figures is a veritable constellation of major and minor characters, all with their own foibles that Thackeray exposes in minute detail. There is Joseph Sedley, Amelia's obese and selfish brother who nearly marries Becky in the beginning of the book. George Osborne appears through part of the book as Amelia's fiancée and eventual husband, a vain man with an eye for the ladies and a spendthrift attitude. George's friend William Dobbin also figures prominently in the story. Dobbin is an admirable man, marred by his inability to come to terms with the feelings he has for Amelia. Other characters appear and disappear rapidly, too many to outline here. It is sufficient to say that Thackeray does not worry about overburdening the reader with too many cast members, and with nearly 900 pages in the book, he definitely has the time to adequately describe numerous scenes and people. I do not know much about literary tags, but I will say that Thackeray must certainly fall into the category of a realist writer. His goal with "Vanity Fair" was to write a story that went against the romantic hero/heroine novels of his day. The subtitle to this book, "A Novel Without a Hero," clearly outlines the author's intentions to oppose unrealistic, feel good literature that failed to properly reflect genuine life. In this respect, Thackeray succeeds admirably by creating characters that exhibit both good and bad traits during their lives. For example, Becky steals and schemes her way through life but performs an amazingly beautiful service for Amelia at the end of the book. Does this make Becky a heroine? Hardly, as Becky does not change her ways after this event. Thackeray constantly sets us up to see a heroic act, only to dash our hopes a few pages later. One of the most enjoyable aspects of the novel is Thackeray's acidulous wit. Everyone comes in for a drubbing here, from the aristocracy to the common man. Names often reflect the author's scorn: nobles carry such embarrassing monikers as Lord Binkie, Lady Bareacres, and Lord Steyne. Sharp is an effective name for Becky, exposing her character and incisive wit. "Vanity Fair" is full of backstabbing, lying, adultery, stealing, pride and general rowdiness, and no one is above these base behaviors. A slight problem with the story concerns the numerous narrative digressions that wax philosophic about relationships, women and their roles in society, and bad behavior. These insertions do become taxing at times even though they often help move the story along. Thackeray wants to make sure you know what he is trying to accomplish; he wants you to see yourself and your friends and family in these character sketches. A bigger problem for me concerned this particular edition of the story. There were no footnotes or endnotes in the Everyman's Library version to help explain the jargon or place names of Thackeray's England. While the author's use of language never approaches the level of Walter Scott's Scottish vernacular, to cite an extreme example, it is still a problem at times. I recommend picking up the Penguin Classics version of "Vanity Fair," since Penguin editions usually employ explanatory notes. "Vanity Fair" is a long yet worthwhile read. The book is hardly unreadable, an unfair label often attached to this agreeable story. If you enjoy reading 18th century English literature, you must read "Vanity Fair."
Rating:
Summary: a very classic book.
Review: i think this is one of my top favorites of all the classical works I've read. William Makepeace Thackeray, shows his masterpiece here. It's long, but well worth the read, and you learn a lot from it, and it really is a good and interesting story, with characters yoou really get to know.
Rating:
Summary: Michener named Vanity Fair his most influential book
Review: The late James A. Michener, a Pulitizer Prize winner and best-selling author, wrote in his essay "The Book That Made A Difference" that "It was in following the intricacies of this novel [Vanity Fair] that I first saw, in my own terms, how a work of fiction could be constructed." Michener later acknowledges in his essay that "today it's fashionable to denigrate Thackery . . . but when I read him at the right moment he was explosive and I revere his memory." William Makepeace Thackery, a lawyer who didn't like law and turned to journalism and art, wrote "Vanity Fair" with a plan. He crafted an outline and stuck to it. To learn how to develop a character, read and think about how Thackery outlined and wrote Becky Sharp in "Vanity Fair." Michener writes: "'Vanity Fair'was the first book I ever read as a novel, as a conscious construction for the purpose of enchanting the reader. I'd read most of Dickens and fine works like "Madame Bovary," but not as prototypes of what the artist can do when he sets out consciously to engage the reader." "Vanity Fair" can be inspiring and instructive as well as enjoyable if the reader becomes as absorbed and as interested as Michener.
Rating:
Summary: Dodgy novel, but a great reading
Review: This Naxos abridgement of the 800+ page Thackeray novel stretches across five CDs, and one of my frequent thoughts while listening to Jane Lapotaire's excellent reading was "Thank goodness they didn't transcribe the full novel". To the modern ear, used to today's "Show -- don't tell" scriptwriter dictum, there is far, far too much exposition and far too few scenes in Thackeray's classic. Thackeray can certainly do scenes of real drama -- witness the moment in which Rawdon catches Becky with her lover and the ensuing combat. But for most of the reading we seem to be in catch-up mode, forever being told things that have happened off-camera. Much credit to Jane Lapotaire for a fine reading of this work. Her French accent is, as one might anticipate from someone with her surname, very good. Although Becky is her tour-de-force, Lapotaire does well to bring the male characters alive, often with a certain hoarseness! I have seen at least two TV serialisations of this novel, both by the BBC, and neither seemed quite as comprehensive an account of this long, winding tale at this Naxos abridgement.
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