I came to this site as the result of the last Texaco Metropolitan Opera broadcast. A listener had submitted a three-part question based on her study of Charles Osborne's Complete Operas of Verdi. She referred to it as a three volume work. I immediately became excited as the edition that I own is a single work. I therefore imagined that there was a new edition. It did occur to me however consider that as this listener is in England, she might just be in posession of a different version of the same book (which I now presume to be the case).

I have owned a copy of this work for over ten years. Having read the work from cover to cover several times, I cannot begin to guess how many times I have referred to individual chapters for reference. Mr. Osborne writes in a style which is easy to read for the Opera fanatic, as well as the scholar. The work contains chapters on each of Verdi's operas (including those which are relatively obscure in The United States). He gives background on the original sources as well as the contemporary historic events of the time.

I reccommend this book without reservation.

This book is for me, being a Verdi fan ever since, that important that I am translating it from the English into Dutch language, in the first place for myself, and also to be able to give some more information to my fellowmembers of our amateur operasinging company.

This small, inexpensive reference work, revised and updated by Professor Jack Kamerman, is enlivened by Osborne's wit and a wonderful trove of photographs. For the specialist and non-specialist, this is the first place to turn.

This play is the second I read in my life, but I am sure it is one of the best ever written!
It is witty and funny, a social satire everybody should read.
Wilde played with words and stereotypes in a wonderful manner.
Two thumbs up!

This book proves that there is no division between culture and biology, but that both are intertwined. As the authors state: Gene-culture coevolution is "a complicated interaction in which culture is generated and shaped by biological imperatives while biological traits are simultaneously altered by genetic evolution in response to cultural innovation." (p.20)

The authors illustrate this coevolution convincingly, mostly by the case of brother-sister incest.

In fact, this theory tells us how the mind is 'formed', but doesn't explain the origin (come into being) of the mind. The title is a little bit misleading.

It is an original work, because it broadens Darwinism with cultural aspects.
It is also an important work, because it counters the Standard Social Science Model which proposes a fundamental division between biology and culture.
Not to be missed.

Osborne's thoroughness in cataloging Dame Agatha's eighty-plus re-titled, repackaged, and republished books and 147 stories in their myriad and varied collections is admirable. That alone makes this book worth buying, but his literary criticism detracts from a complete enjoyment of what is otherwise a pretty good read.

Throughout, Osborne reveals a tri-fold misunderstanding of the essence of fiction. Despite his own comment, "It is fortunate that fictional chronology can be flexible," he tediously cites examples in which it is not. Also, he assumes that each story should be consistent with the others, and that full explanations should be given for what he considers to be improbable occurrences. Let us consider each of these problems in turn.

Real Time

Rarely is fiction intended to occur in real time. Plays, novels or short stories often cover periods from a few hours to a lifetime, or longer. Regardless of the time taken to write or publish a work, it must always stand up on its own. The particular time period that elapses between the appearance of two works does not of itself imply the actual amount of time that the author intended should pass. For example, that Albert should be fifteen years old in Partners in Crime (1929) does not imply that he was only nine in The Secret Adversary (1922) as Osborne suggests (pp. 68-69). That real time is not intended is exemplified further when Miss Marple says in Nemesis (1971) that she met Jason Rafiel (A Caribbean Mystery, 1964), "just over a year ago. In the West Indies." The only chronology upon which we can rely is that provided by the author. We must take each story as a group of events in the characters' lives and avoid forcing our own sense of time on them.

Consistency and continuity

That Dame Agatha has given us clues to the actual whereabouts of her stories should be seen as remarkable, if not extraordinary. Fiction, after all, is constructed from the imaginings of the author. Unless we have been given clear evidence to the contrary, we must always assume that the people and places are made up. Because some authors appear to be more consistent from one story to another does not mean that all novelists must be. Fiction is fiction. It only has to be believable; it does not have to be true. Science fiction depends on this premise.

Of the apparent inconsistencies, Randall Toye (1980), author of The Agatha Christie Who's Who, graciously concedes that these caprices are "one more mystery for the readers of Agatha Christie to solve, a mystery for which you will have to rely on your own 'little grey cells.'"

Improbables

Osborne levies a number of criticisms at the plots themselves. In his entry for Sparkling Cyanide (p. 211), for example, he scoffs at the idea that a group of guests could leave a table, forget where they sat, and then re-seat themselves on the basis of the location of a purse. Perhaps in his own sterile study, this scenario seems implausible. However, it would be easy to become confused when everyone had left a large round table simultaneously and then tried, without such a landmark, to return to his or her own chair. Although it might feel a little awkward, in a low-lit room, after some drinks and dancing, a purse could be the only thing to indicate where people had sat earlier. Doubtless, Dame Agatha actually observed this confusion on some occasion.

In Dead Man's Folly, Osborne (p. 281) doubts that someone could change his appearance so as to become unrecognizable just by growing a beard, but, the narrative is quite clear - most of those who would have recognized him had moved away. Not only that, but war changes people - sometimes quite dramatically - literally aging their appearance by more years than the duration of the conflict. Noncombatants will never understand how war can change someone. More than that, we often see what we expect to see. If having been told that someone was killed during the war, why shouldn't we believe it? Indeed, a full beard would cover the most recognizable features of a man's face.

Improbables do not demand explanations. Just because a situation seems improbable to us, doesn't mean that it is. The available facts may not be all of the facts. Even when Dame Agatha does give us clues, most of us can't identify the murderer; and her alleged peccadilloes have done nothing to dissuade readers from buying hundreds of millions of her books.

Osborne's writing style

This review would be incomplete if it failed to mention Osborne's own struggle with words: split infinitives, the odd incomplete sentence, and excessively long constructions. Here is one example of the latter: "After some months, Agatha decided to join her husband in London where, after living briefly in service flats, first in Half Moon Street and then in Park Place, 'with noisy sessions of bombs going off all around,' they were about to move into their house in Sheffield Terrace, the people to whom they had rented it having asked if they could be allowed to relinquish the lease, as they wished to leave London" (p. 180).

Conclusion

A more complete table of contents would have been helpful so that entries about specific works could have been found easily. As it is, one has to look up the publication date at the back, and then search for it in the relevant section. Overall, the reader should use this book for reference only and ignore the rest of it.

THE LIFE AND CRIMES OF AGATHA CHRISTIE is a delightful look at the great author through her vast novels, plays, and short stories. The well-written reference book is structured around major events in Ms. Christie's life, but seen through the works that are published at that time. Charles Osborne keeps the tome fresh with intriguing explanations on various topics such as titles. For instance the "final" title of THEN THERE WERE NONE reflects social trends and political correctness over the decades in England and America, and to a lesser degree France. Fans of Ms. Christie will find this work quite fascinating, but so will most mystery buffs as well as historiographers.

Harriet Klausner

I've had this book for a few months now and am continuously referring back to it. This is a perfect book to have on hand while reading her collection of books. Charles Osbourne presents an overview of Agatha Christie's life and works his way chronologically through each book she wrote with new insights into the storylines and other happening in her life at the time of her writing the book. Mr. Osbourne does not reveal too much, so it is safe to read his accounts before reading her books.

This is a perfect companion book to her works.

This book doesn't really seem to deal with Early the general as much as it does Early the leader of the Lee cult after the war. Skip ahead to the last few chapters.

For those well familiar with the Civil war, this is a great biography of Early in that it concentrates on Early the person and the General while assuming that you have the basic facts down on the Civil War. The author does not spend too much time on minute detail on troop movements that has been covered many times before but provides in-depth insight to "Old Jube" and his actions. A tough and controversial fighter, until reading this book I didn't know that the former Commonwealth Attorney and life long bachelor from Franklin County sired four children refusing to marry his companion because she was beneath his station. Great historical highlights such as Early's controversial role on Lee's left at Gettysburg, his great assignment defending Fredericksburg against great odds while Lee takes the rest of the army to Chancellorsville, his zealous and dictatorial grip on the Lost cause syndrome, and his public branding of the ill equipped Longstreet (not a lawyer and politically naive) as the cause of Lee's defeat at Gettysburg. Wonderful that it highlights the second battle of Fredericksburg and how the Federals found out the heights were lightly defended. In addition, the author makes an excellent case that when defending the valley after Jackson, Ewell did as well as Jackson until Grant sent Sheridan and a 40,000 man army to defeat him. The author notes that aside from poor use of his calvary and his negative tongue-lashing, Lee's "bad, old man" was a tough fighter and a major player in the Army of Northern Virginia.

This is a great Christie story and the final Poirot tale (despite the fact that it obviously takes place before "Curtain" it was published afterward). Despite the fact that it was originally a play and is therefore limited in location (most of it takes place in one room), it still comes across as good. The major complaint I have is that the murderer is revealed in the first cassette by telling what they do. On the stage as this was originally intended to be presented, the action would have been subtle amongst the other things happening on stage at the time and most folks probably would have missed it, but presented as this audiobook the action is trumpeted loudly and the rest of the time you're just waiting for the ending to come. The cat and mouse game Poirot plays with the killer is good and I can just imagine the theatre-goers holding their breath at that final exchange, but the rest of the book just doesn't cut it. Still, if you keep in mind that it was originally intended for the stage (and I think Ms. Christie would have omitted that telling detail if SHE had written it as a book) you can see where it would have been a smash hit.

As my title says, this is indeed a nice collection of Stoker's lesser known works. It also includes "Dracula's Guest" which was cut from the original masterpiece of Victorian terror. This short story being perhaps the best in the volume. The stories range from the excellent to the hum-drum. I took away one star for that reason.

Either way, I'd recommend this book....if you can find a copy.

An outstanding book, very enjoyable. Discusses ants, wasps, bees, termites, etc. A little bit dated now, but it still has one of the best overviews of social insects and their evolution of which I am aware. It is also very readable, with numerous illustrations.

I am of the opinion that this book and Black Coffee were written to capitalize on the Christie name. Of course, a lot of things have been written that capitalize on the Christie name, but to capitalize on the Christie name and to not do it well is hard to tolerate.

The Unexpected Guest and Black Coffee were both plays before they were novels, and they read like plays. Christie herself often altered novels to plays and plays to novels, but she had an instinctive understanding of both genres and was able to make the necessary alterations, cuts or expansions. So much so that the book Ten Little Indians and the play Ten Little Indians have different endings. This is also true of Witness for the Prosecution and a host of other novellas, stories, novels and their plays.

The novels The Unexpected Guest and Black Coffee, however, are simply plays with the tags "he said" and "she said" thrown in. The descriptions sound like prop instructions. The flavor of Christie's prose--the nuances, tangents, discussions of character, the humor, the "twinkle" (for lack of a better word)--is missing.

Charles Osborne meant well, I think, but the transformation of Christie's plays to novel form should either have been given to a writer of Christie's temperament and ability (as Sayers' Throne and Dominations was expertly finished by Jill Paton Walsh) or not attempted at all. The result is definitely sup-par.

Recommendation: For fans, anything Christie appeals, but keep your expectations low.

Agatha Christie once more proves that things aren't always what they seem. When I was about halfway through the book, I was convinced that I knew the outcome and had, finally, after reading so many of Christie's mysteries, conquered her ingeniousness. But in the end, I realized that I was once again mistaken. Although I greatly appreciate the beautiful writing techniques that Christie uses, I sometimes prefer the writing of Charles Osborne. I find that he uses words that I am more familiar with and less outdated, and he does not prolong the beginning of the book. He seems to get more to the point, and this keeps me intrigued throughout the book. After reading Black Coffee, I knew that I must read The Unexpected Guest. The only fault that I found in this book was of my own opinion--I did not like the ending. I am a fan of Hercule Poirot's triumphant cases, but I disliked the very end (although I liked the twist to it). Moreover, this inadequacy proved too imparticular for me to rate this book less than five stars.

Even though I am 13 years of age, I have read about three-quarters of the books Agatha Christie has written. Most of the books I have read by her I found to be flawless and exciting. I am a devoted fan of her books and refuse to read other murder-mysteries. When I found out there was a "new" Agatha Christie book out I went straight to the shops to buy it. I found the book to be very enjoyable and even though it only took me 24 hours to read it (I couldn't put it down and stayed up 'till the early hours of the morning to read it until I got caught and had to go to sleep) I thought it was excellent. I usually find that the beginning of Agatha Christie books are a bit confusing but this was one of the least. The murder in the book is a masked mystery until the sureness is proved wrong. I found the book didn't have much suspense but I don't think it mattered. Charles Osborne writes very much like Agatha Christie and he even added things that Agatha Christie didn't usually add like a map of the room the murder occured in. For all people who read and liked The Murder of Roger Ackroyd this book is an absolute must.