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The reader gets the impression that Gallagher fully enjoyed writing on The Battle of Brooklyn and conveys this sense of historical importance very well.
In addition to the great narrative, there are many facts revealed about both the Revolutionary War and different parts of Brooklyn that both professional historians and casual history readers may not have known.
A highly recommended, quick and insightful read.
Who knew that such an important encounter took place in Brooklyn. The largest expeditionary force the world had ever witnessed in 1776, the largest battle of the war in terms of participants and casualties, an incredible encounter in Park Slope between a group of Maryland Militiamen and the British Army (they charged the British numerous times, in the face of overwhelming odds, in order to permit what was left of the American troops to retreat to Brooklyn Heights) and an evacuation/ retreat, "Dunkirk" style across the East River from Brooklyn to Manhattan by General Washington which saved the army and was widely admired by the British as an incredible feat done right under the British noses.
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I especially like her cross-references and cross-indexes that make it easy to compare the double elephant folio prints with the Biens and the Octavos. She even included a biographical section that describes all the people who helped Audubon along the way. Writing my own book - Audubon Art Prints - would not have been possible without using Susanne's book as a reference.
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The only part of this work I had any trouble with was the cessionaist approach MacArthur takes towards the gifts of the Spirit (12-14). Then, again, it is good to read the thoughts of sound thinking evangelicals-- even when they disagree with you on peripheral issues.
Perhaps the best aspect of this work is that... anytime MacArthur writes, you know he has thought and prayed through his position. And, he will not write something unless he can defend it from the Scriptures. This is helpful when you are unsure about some issue (divorce and remarriage, for instance, and presented in 1 Corinthians 7 f.), and it is honest even when you disagree.
I've read a few in the series of commentaries he offers. I would not buy the entire set (of any set of commentaries, really, because some are outstanding and others fall a bit short). This is one I would definitely grab hold of, if you can fork out the [money] for it.
Many commentaries sidestep difficult passages, intimidating one from asking the hard questions as though one were foolish to do so; MacArthur does nothing of the kind, but tackles the Scriptures head on, asks the difficult questions, and presents what he considers the best solution. In essence, his "no nonsense, ingorance is not bliss" personality is reflected in his writings. He is neither mindless nor beyond comprehension.
The work is thorough, and probably my favorite all-around commentary on Hebrews. It is both practical and scholarly, yet readable and understandable by the serious layman. It is written by a pastor who is also a thinker governed by good hermeneutics. His perspective is conservative, evangelical, dispensational, and non-charismatic. You may not agree with every one of his interpretations, but you will respect the logical approach that went behind them. Top notch.
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[from the text, pp.4-7]: "Suppose we charged ourselves with the task of providing in chronological order a detailed account of everything that occurred to us NOT last night...but in the first half-hour of last night's sleep. The 'hole affair' [535.20], (and a 'hole', unlike a 'whole', has no content), will likely summon up a sustained 'blank memory' [515.33]: 'You wouldn't should as youd remesner, I hypnot' [360.23-24]. What would become equally obscure, even questionable, is the stability of identity...No one remembers the experience of sleep at all as a sequence of events linked chronologically in time by cause and effect."
Joyce remarked to his friend William Bird:
"'About my new work - do you know, Bird, I confess I can't understand some of my critics, like Pound or Miss Weaver, for instance. They say it's OBSCURE. They compare it, of course, with ULYSSES. But the action of ULYSSES was chiefly in the daytime, and the action of my new work takes place chiefly at night. It's natural things should not be so clear at night, isn't it now?'"
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The book Jurgen is from the same mold. Jurgen the pawnbroker moves from one of Cabell's stereotypical women to another. The book became well-known because of the godawful sex sequences, in which Cabell archly refers to Jurgen's sword, staff, or stick -- the resulting call for censorship made the book famous, but that doesn't mean it was Cabell's best. I thought The Silver Stallion and, in some respects, even The Cream of the Jest or The High Place to be better examples of Cabell's writing.
I would recommend that anyone who likes fantasy read at least one of Cabell's books, because he writes like no one else. This book had the usual Cabell wittiness and sardonic feel, so if it's the only one you can find, certainly try it.
Moments like this, simultaneously jaded and genuine, sentimental and cynical, are the most delightful parts of 'Jurgen: A Comedy of Justice.' Nominally the story of a medieval pawnbroker's quest to find his lost wife, 'Jurgen' becomes a bildungsroman in reverse as, on the way, its hero regains his youth and visits the lands of European myth, from Camelot to Cocaigne (the land of pleasure) -- each land shows Jurgen a way of life, and he rejects each in favor of his own sardonic stoicism, for he is, after all, a "monstrously clever fellow."
That phrase describes Cabell as much as it does Jurgen: the author is remarkably erudite, and, like a doting parent hiding easter eggs, drops in-jokes through the book on subjects as far-ranging as troubadour poetry and tantric sex. Cabell corresponded with Aleister Crowley in his day, and, in ours, is an influence on Neil Gaiman ('The Sandman,' 'Neverwhere,' etc.). The book itself caused quite a splash when it became the centerpiece of one of the biggest censorship trials of the early 20th century: something to do with Jurgen's very large *ahem* sword.
Social satire and an idiosyncratic cynicism in the guise of a scholarly romance-fantasy, 'Jurgen' is what would have happened if J.R.R. Tolkien and Dorothy Parker had gotten together to write a book.
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The book begins by telling of the commanding rule of SMERSH. The leader of this organization is General Grubozaboyschikov. Also working is Colonel Rosa Klebb and director of planning Kronsteen, who treats real people as if they were chess pieces. The muscle of the group is a homicidal madman, who follows orders, and is in practically perfect physical shape, Donovan "Red" Grant. These evil minds have planned the perfect way to destroy the life and reputation of James Bond. Their plan is to lure 007 with the beatiful Tatiana Romanova and a Spektor cipher decoding machine as bait. Then Grant will meet up with them eventually and kill them both. However, SMERSH will take it a step further to lie to the public that Bond and Tatiana were in an affair, and that Bond commits suicide. It's a perfect plan.
Bond indeed does travel to Istanbul, believing that this girl wants to defect, and will give him the Spektor machine only if he personally helps her. 007 meets Darko Kerim, and a wonderful gypsy fight adds to the fun of the story. Bond and Tatiana travel on a train back to Europe, where he meets Red Grant and is told of the plan to kill him. An extremely bvrutal gun and fist fight breakes out between the men with 007 shooting Grant. 007 goes to Paris with Tatiana to catch Rosa Klebb in a meeting. However, Klebb releases a poison knife from her shoe and kicks 007 in the leg, before being taken away by the police. The story ends with 007 lying on the floor of the hotel room...
Perhaps the finest story of Ian Fleming, filled with the excitement and adventure to give this book it's reputation as on of the best 007 novels ever!