The Phantom of the Opera

French is a beautiful and romantic language and English translations of the Phantom of the Opera haven't always come through quite as beautifully and often times they sound military. This translation flows very well. I was very surprised when I found it. I had read about three or four versions of the book in English from different translators when I stumbled onto this one by accident at the local library. I prefer books in hardcover and searched for this translation in that format but was not able to find it. Now, I have only one classic French book in paperback. This is really the best translation of this book. It flows easily although not as perfectly as the French does. Who knew Bantam could pull this off successfully?

I started reading The Phantom of the Opera last night and finished this afternoon. Having seen the recently-released film first, then having followed up by listening to a recording of Webber's famous musical adaptation, I was curious to read the text that had inspired the film and the music I enjoyed so much. The book was an absolute page-turner. Erik's character is among the most simultaneously compelling and horrifying ones I've read. I love the way Leroux does not treat him as a mere boogie-man, but gives the readers multiple insights to a complex personality. I found myself amused at the Phantom's practical jokes and ingenuity (such as the banknote affair and Carlotta's unfortunate croaking performance), horrified at his vengeance, impressed by his mastery over the secrets of the opera house, and softened by his slavish love for Christine. Should I be repulsed by his evil deeds and dark past or moved to pity? Erik's character is truly one larger than life. Raoul's character was really my only disappointment. I could not bring myself to like or empathize with him at all and liked Christine less for returning his love. He came across as a spoiled brat who had never been denied anything in his life and cannot comprehend why Christine doesn't throw herself at him whenever he snaps his fingers. He insults Christine cruelly in fits of jealousy and is scarcely less obsessive than the Phantom, but in a sniveling, childish manner. I also hated his refusal consider the Phantom's plight as described by Christine, never allowing pity to soften his desire to kill Erik out of pure jealousy (and he does, indeed, take a gunshot at him when given the chance). It is obvious that the Phantom could have killed Raoul in a heartbeat once within the opera house, but he displays amazing self-restraint when it comes to his rival, especially given his seemingly super-human capabilities. I would recommend this book to anyone, "Phans" and those with no prior exposure to the story. Perhaps it is not top-notch literature, but a very entertaining book nonetheless. It is an intriguing read with incredible characters, a book difficult to put down and a story difficult to forget!

Just what my sixteen year old, love sick heart needed! This story met all standards that I held for it! Not only did it give insight to Andrew Lloyd Weber's miraculous production of The Phantom of the Opera, but it made me love the characters and want to read more! Unfortunatley, all good things come to an end, as does this book, (and A very tear jerking one I might add) I shared this book with my relatives, friends, and family and they have all come to my same conclusion: This is an EXCELLENT BOOK!! Buy one, read it, and I guarantee you'll fall in love with it! It makes you want to jump up, hop on a plane, go to the Paris Opera House, and look for Erik! (I tried...don't get caught breaking rules!) Great story and have happy reading!

What I enjoyed most about this book was the simplicity of language and the direct truth of human needs. Erik was physically deformed and sickly. Mostly, he was unloved and cast out from society; he was bigger than just the Opera Ghost. He was society's shame -- a shame they felt that should be hidden and not acknowledged (either out of fear or because of it... you choose). That lack of positive acknowledgement is what makes this book so sad and frustrating. He had love to give, but it was not wanted; he was deemed a creature of horror. But it was really the general attitude of society that was the horror -- not him. The book really echoes the truth that it is what is on the inside that matters, for that is what lasts the longest, and that people should be more open-minded to the mental and physical flaws that either God or Nature or both created. Erik is a symbol not of darkness and the gothic motif, but of light and life and living. If anyone liked this book, they should read Susan Kay's Phantom; it is a good precursor to Leroux's The Phantom of the Opera.