List price: $22.95 (that's 30% off!)
If you want to know things like how the lives of a dikdik & a duiker differ (but you could tell them apart), this is the book for you!
List price: $19.95 (that's 30% off!)
Would be a great volume if updated.
Needless to say, this is a special-purpose book for extreme WW II buffs and historians, but if someone who fits one of those descriptions is on your gift list, they will be very appreciative.
If you want to read a good book, try Janeway!
If a more general book is needed, try Abbas' "Cellular and Molecular Immunology". Janeway's "Immunobiology" is geared more for medical students than immunologists.
Illustrations are good and keep you entertained.
Richard Usborne selects the best of Wodehouse's surreal and witty words. Sometimes he lifts a fragment of a sentence, sometimes a whole paragraph -- but he always keeps it in the right place. The quotes from Wodehouse's many books are neatly divided into categories: Golf, Literature and Art, Family Affairs, Stage and Screen, and many others. There's even a chapter devoted to witty insults, in case you need something to yell in a traffic accident. ("He had just about enough intelligence to open his mouth when he wanted to eat, but certainly no more.")
For those who want an introduction to Wodehouse, this is a good sampler. And for those who want to refresh themselves in his funny prose, this is a must-have. Where else can you find a marriage proposal that consists of "I asked her if she would like to see my name on her tombstone"?
Not all the commentary is reliable; the chapter on "Parsifal" buys into some of the nonsense first talked by Robert Gutman about this opera (the Grail knights as homosexual SS order, and so on), which has been comprehensively and devastatingly demolished by Lucy Becket in her book "Parsifal".
I find Osborne's "even-handedness" a little irritating at times. "Tristan und Isolde", he says, is a masterpiece, though it's too long, of course. That reminds me of Mozart's reply to the Emperor who thought his "Il Seraglio" score had "too many notes": "Which notes do you think I should take out?" (I'm quoting the "Amadeus" movie there, and from memory, so that's not quite what was really said, but close enough.) Like Mozart, I find that a dumb comment, unless Osborne cares to tell us which parts of "Tristan" etc we should do away with to make it shorter. And I think the job of someone writing an introduction to any composer is to be critical, certainly, but also to communicate enthusiasm, not weariness.
So for new insights, Tanner, Magee, Millington are better, and for "sources, plot plot summary plus musical commentary" Newman is better. It's not actually bad, just mediocre. Also, unlike Newman Osborne covers the first three Wagner operas, "Die Feen", "Das Liebesverbot" and "Reinzi", so that's quite useful.
Laon