Europe Books

I enjoyed the cross section pictures and thought that the text was interesting. There is lots of fine detail, I see something different everytime I flip through it. Be sure to watch the movie "Master and Commander - The Far Side of the World". The movie director did an excellent job portraying life aboard the Man-of-War. In my opinion, the movie is the book put in motion. The movie and book captures what life could have been like aboard the Man-of-War.

This is a great book for getting an overview of the pieces of a first-rate ship of the line. In this case, the British first-rate, triple-(gun)-decker, 104 gun HMS Victory. The Victory was launched in 1765 and commissioned in 1778, but is best known as Admiral Lord Nelson's flagship in the victorious Battle of Trafalgar in 1805 (in which Nelson was killed by an enemy sharpshooter while standing on the quarterdeck).

The amount of detail packed into this book's 25 or so very large pages is mind-boggling. In fact, the book's so large that you may have trouble finding a place to shelve it. Although it took less than an hour to read all the text, I'm still finding new things in the pictures. It provides a great sense of just how crowded these ships were. The illustrations are in the very clear line-and-watercolor style of the rest of Biesty's "cross-section" books.

There is a lot of information on day-to-day life and practice in a ship, detailing foodstuffs (including weevils and bargemen), officer's roles, disease, the working of the guns, the cooking of food in the galley, the use of the heads, floggings, scurvy, etc.

Oddly, the book only concentrates on illustrating the decks; there is almost nothing said about the sails or rigging, which is a real disappointment. I found it very hard to get a sense of the fore-to-aft arrangement, with each cross-section being so narrow.

I wish I had found this book before reading about a dozen series of nautical fiction (Aubrey, Hornblower, Ramage, Kydd, Lewrie, etc. etc.). After all that background, I actually didn't learn anything reading this book I didn't know from reading the fiction and other supporting materials. For depth, you'll need "The Young Sea Officer's Sheet Anchor" written by Darcy Lever in the early 1800s, and comprehensive on everything from rigging to stepping masts to club-hauling off a lee shore. And its images are both beautiful and a complete contrast to the ones in this book, being early 19th century etchings.

Though some of the photos are a bit funny and maybe a little "crud", but it's a neat book anyway.

Also try another DK ship book called the Visual Dictionary of Ships if you can find it (it's out of print).

Dorling Kindersley has in the past twenty years quickly established itself as an outstanding publisher of niche books--children's reference books, travel guides, atlases, and the such. What I find so remarkable about a number of their children's books is how enormously satisfying they are for adults as well, even adults who are fairly familiar with the subject matter. One of the better series of books in their impressive list are the Cross-Sections books by Stephen Biesty. As someone who is interested both in the history of ships and the Aubrey-Maturin novels by Patrick O'Brian, I find this one even more interesting than most.

Two things stand out about this book: its remarkably detailed drawings and the enormous amount of information that gets stuffed into the book's relatively short length. This book provides a pictorial rendering of one of the great ships of the line of the Napoleonic navy, similar to H.M.S. Victory. Virtually nothing gets left out, and the book can actually serve as a surprisingly comprehensive introduction to the Royal British Navy during the time of Nelson and Napoleon. It is somewhat misleading in that the ship depicted was the exception and not the norm, the British navy possessing only a handful of ships this size. Apart from that the book has no serious flaws, except for the unaffordable one in a visual guide that it is sometimes hard to locate information in its closely packed pages.

I would also recommend another Dorling Kindersley book, also unfortunately out of print, THE VISUAL DICTIONARY OF SHIPS AND SAILING. It does a bit better job than this one of defining many nautical terms. Each represents a marvelous addition to personal library of books on the age of the sailing ship.

you should definitely try to get this book. I am a landlubber, who has just discovered the pleasures of Hornblower and Aubrey/Maturin (via Austen's Persuasion). Along with a number of more serious naval non-fiction reference works, notably THE WOODEN WORLD by N.A.M. Rodger (ISBN 0393314693; ASIN 0393314693)I found a copy of this wonderful book first at my public library and then in a sale at my local store.

This is an oversized book, thin but full of detailed information. A man-of-war, one of the mainstays of the Georgian fleet during the wars of the 1700s and early 1800s, is "cut away" section by section and deck by deck to illustrate life on board as well as the structure of the ship. The first works better than the latter, although I got a very good idea of how the ship's anchor works as well as how the ship crew handled guns and gunpowder (as well as the dangers of a loose gun). I wished that the authors had provided a bird-eye view of the ship from the top of the masts, and showed sailors working the sails. Apart from this and other minor quibbles, I think I learned more from this book faster than I had expected.

Yes, this is a children's book, but it is highly recommended by sites specializing in naval fiction of the Georgian and Regency era (think Napoleonic Wars, Revolutionary Wars, as well as sites devoted to O'Brian and Forester). Children will be delighted by various grosser aspects of life abroad (the very basic toilet and bathing facilities, the surgeon in action during battle, and of course the maggot-filled biscuits), not to mention trying to find a certain stowaway. Adults will revel in little details that explain things that have puzzled them.

I started out not knowing port from starboard, and very little else. By the end of this book, while I cannot claim to be proficient, I certainly understand that a ship has three masts in several sections, that it has several decks, and that life at sea was more complicated than is sometimes depicted in fiction.

You might also want to try "The Visual Dictionary of Ships and Sailing" (ISBN 1879431203; ASIN 1879431203) which apparently discusses different types of ships, the sails and ropes, and so forth. I have not seen this book yet, but it looks interesting.

My grandparents got this for me before I left to study abroad in Paris for a few months. It didn't take me long to realize how useful it is. I literally didn't leave home without it! It had everything I needed and was small enough to fit in a purse, but not so small that it was difficult to read. The metro map in particular was accessible and very, very helpful. Highly recommended to anyone going to Paris, whether it's for a few days or a few years.

This book (mine is spiral bound, but the one here does not look it) is very useful to the traveler. The maps are very clear, in full color, and easy to understand. My only complaint is that when you are looking at a page, if you want to view the continuation of that page, there is no reference to what page to view next. There is a small diagram showing what section the page highlights, but I do not find that quite as clear. But overall, a good, portable map of Paris for visitors.

I spent the fall semester of 2003 studying in Paris. I'm a type A so I was really prepared before leaving -- I'd done a ton of research and I couldn't imagine arriving in Paris without a map. So I headed down to my local bookstore to buy one. I happened to come accross this Michelin map and it was perfect!!

It has ring binding so it's really easy to keep open without creasing the pages. It's also broken down by arrondissement and in the back is a road index. All of the metro stops and even taxi stops (a God send at times) are marked down!! And in the inside cover you find a map of the Paris Metro system. It's also really really thin and can easily be taken wherever you go.

I really couldn't have down without this Paris Pocket Atlas!

My friends all purchased their maps in Paris (Paris Pratique). Trust me though this one is far better and more convenient!!!

I loved it!!

I bought this map for my trip to Paris. It is such a great map. Very readable and so well organized. Having a map in a booklet format like this is indispensable.

This pocket Atlas of Paris is a book/map that truly amazes me. I bought it based on the reviews here, and I am still awed by it. The navigation of the pages is well-done and user-friendly. You can quickly lookup and flip to the right neighborhood you need. The level of detail is amazing. Even pedestrian-only shopping arcades are there. The metro stations are easy to find and use. With this spiral atlas and a mini-compass velcro-strapped to your watchband, you will never be lost in the maze of Paris. Key sights and monuments are labeled and drawn in brown (with the correct building geometries!). Wanna change plans on the fly and zip from one neighborhood to another? no problem. You will spend less time looking for sights and more time touring. We even used the one-way street detail of the atlas to pre-plan our drive thru the hustle of Paris traffic; Zipping around the Place de Madeline and Champs Elysees was a real rush and treasured memory. The whizzing by of passing scooters made me feel like I was an X-wing in a Tie-fighter dogfight. I wish I could have a guide like this for every city we tour.

"The bible" of touring Western Europe, by motorcycle, pedal bike or auto. Mr. Hermann has produced " a must own" publication if one is planning a trip through Western Europe and wishes to be part of the history and scenic beauty that captures the essence and beauty that this region has to offer.

This is an outstanding guide to the best riding roads in the world. I recently took an organized motorcycle tour of the Alps. Good thing I took this book with me, as it quickly became my guide. Others on the tour were wondering how I found all the great roads!! If you are going to tour the Alps, buy this book now! Rates all the passes, with a short recap on each one.

I use to go on travel with my motorcycle just one or two times a year. I'm really busy and I haven't too much time to plan these travels so I bought this book thinking it could help me to plan a travel by the Alps. But it was a surprise!!! All the travel was perfectly planned in this book! Hotels, Restaurants, special places, roads, etc. Just a little deception: the pictures are black and white!

I took a packaged tour of the Alps in 2002. Thank goodness I took this book with me. This book had so much more quality information than the touring company, it was unbelievable! Each night, we would return from some awsome ride (not on the base or recommended route). It became a nightly ritual to review where we went. People, including the tour guide, wanted to know how I knew of these roads, I showed them the book.

Next time, I will just take this book and go, no tour company! I am a heavy rider, 30K miles per year, close to 400K miles ridden.

I took John's first edition of this book and a map and rode the Alps and the Dolemites for ten days. We reviewed the routes and stops each morning and evening. This is a great resource if you are traveling in the area. I brought three other books on this topic and left them behind at hotels as the trip progressed, as I realized I did not need any other resources. Use this and an internet translator site (like Babelfish)and you can make your reservations in some of the same hotels that Edelweiss and other formal tour groups use.This new edition expands on the first by adding Corsica and updating the Alps/Dolemite section. It is a great read. John is the recognized authority on this area for those of us that don't speak other languages well, and don't live there.He is also correct in stating that the riding in this region is addictive.

I've taken several seminars at UCLA with Saul Friedlander, and to say that he is an objective and very insightful historian is an understatement. This book is terrific and deserves all the critical praise that it has received. Even if you are just curious about the Holocaust, or you are a serious historian of the time period, you should definitely pick this book up.

This book is an excellent book for anyone wanting to learn about the rise of Fascism in Germany. It is factual and yet easy to read. Anyone that wants to understand how Hitler got his power should read this. The author's bias is kept to a minimum.

This is a wonderful book albeit with few personal experiences of the victims but on the whole you will enjoy the book. The writer's grasp of English is exceptional and in fact taking this parameter alone you can enjoy the book and learn something new in word and sentence formations. Though at first glance it may look like one of those boring and dry books, which inhabit the shelves of libraries all over the book without being opened for many years to come. The book is excellent and shows the level of utter nadir reached by Nazis and German people while persecuting their own. Seems to have been a sort of a collective disease in which even a modicum of humanity or decency taken a permanent back seat. The author has presented the facts and names of very difficult and guttural German names with such ease that there is no confusion to the reader.

I wonder why Israelis have to have any kind of relationship with Germany or Poland. . I think Israeli children are not really taught history but some kitsch formulated to draw their minds away from the murderers of their grandfathers to Palestinians. I think Israelis pretend that the Palestinians are the Germans of 1930's and 1940's, hence the highly ambiguous stance and conflicting gestures. Though it must be remembered that Arabs briefly flirted with Nazis like the Great Indian Leader Subhash Chandra Bose who fought against British imperialism - who excelled in demonstrative racial discrimination that was religiously followed by Germans with such ardor. I support the bombarding of German cities and also of the London Blitz. No doubt such "innocent" darlings hugely deserved each other.

This first in a two volume work by acclaimed historian is a remarkably objectivean , comprehensive and scrupulously scholarly work and represents a very critical contribution to historians' efforts to comprehend just how and why one of the most civilized and sophisticated countries in Europe descended into the systematic attempt to exterminate the Jews. The book proceeds along a chronological axis in recounting the slow but inexorably tightening of restrictions on the Jewish population within Germany during the years of the mid to late 1930s.

While centering his account of what went wrong in Nazi Germany during the pre-war years, he also humanizes his narrative considerably by interspersing individual accounts of people caught confused and unaware of what was really occurring in the crucible of cultural change. As substantiated in other recent accounts such as Victor Klemperer's "I Shall Bear Witness", Jews were very slow to recognize just how malevolent and serious the national Socialists were about ridding Germany of its Jewish population and also nationalizing and "Aryanizing" their resources and assets.

It is important to note that the author does not overlay any overall interpretive spin of his own, intent more on presenting the best evidence of what was going on than in coming to any premature general interpretation of what the mass of evidence in total might mean. This is not to suggest he offers no interpretation; on the contrary, he offers a series of brilliant insights in various aspects of the evidence. But unlike other recent authors like Goldhagen, he makes no sweeping interpretative conclusions based on all of the evidence he presents. Also, one must remember that this is the first of two volumes, and one would expect that he intends to fully conclude his systematic and chronological presentation of all of the available evidence before engaging in that sort of interpretative analysis.

In sum, I find this work to be an excellent book that is engaging, well-written and argued, and a joy to read despite its tragic and dispiriting subject matter, and a book that offers an amazing look at a wide variety of different perspectives and social situations within the Third Reich as it descended into the abyss. After finishing this volume I immediately ordered the second volume, which is slated for formal publication release later this year. This is a work that belongs on the bookshelf of any serious student of the Holocaust.

This is an outstanding history. It is measured, detailed and backed by meticulous research. It is by far the best of this genre

The shame is that the much anticipated sequel is now not planned for publication.

But half a classic is better than none

From its striking dust cover art to its beautiful binding and print, this middle-grade adventure story has it all: boats and the sea, pirates, castles, Nazis, and time travel. It has everything a young reader could want. The writing is crisp, clear, and practically flawless. Description and scene setting put the reader in the middle of things where he or she is immediately drawn into the adventure with the leading characters, Nick and Kate. As the story progresses, more and more actors are sprinkled in until a full host are moving the story faster and faster forward toward a roaring climax. Action never stops in the great novel which rivals Robert Lewis Stevenson's Treasure Island in size and scope. The author covers this book's sometimes rapid point of view changes with seamless transition and skill seldom seen in a beginning writer.

Twelve-year-old Nick McIver loves his idyllic life on Greybeard Island, the smallest of England's Channel Islands. He spends his days on his little sloop, the Stormy Petrel, exploring the coastline and mapping reefs with his little sister Katie. Their father is the lighthouse keeper at Greybeard Light, and their happy family lives there. Nick's father Angus has a secret hobby, though. He's a "birdwatcher," scouting the Channel for German U-boats and airplanes, and reporting to Winston Churchill, in direct violation of orders from the government.

One day while out exploring in the Stormy Petrel, Nick and Katie come upon a sea chest in the sand, bearing the name Nicholas McIver, which was also the name of an ancestor of theirs. A mean red parrot sitting on the chest bites Katie and flies off, and Nick hides the chest in a cave for exploring later because the weather is getting ugly. On the way home, the storm drives Nick and Katie to stop in a nearby pub where the owner, Gunner, will give them hot tea. The red parrot is there, sitting with a menacing pair, Billy Blood and Snake, a thug with red snakes tattooed on his face. After frightening Gunner and the children, they disappear. When Nick's dog Jip is kidnapped by Billy Blood the same day his parents are called to London, they ask Gunner to watch the children, and Nick convinces him to go with him to the cave to collect the sea chest, Blood's ransom for his dog. Once they retrieve the chest and begin sailing for the rendezvous with Blood, an encounter with a German U-boat leads them to mysterious Hawke Castle, where they defy security measures and gain an audience with Lord Hawke, the castle's reclusive owner, whose own children have also been kidnapped by Billy Blood. They open the sea chest with the help of Hawke's close friend Hobbes, a high-ranking British admiral, to find a time machine and a note from Nick's ancestor, Captain Nicholas McIver, who needs help in a sea battle against Billy Blood 130 years earlier.

While Nick, Gunner, and Lord Hawke travel back in time to battle Billy Blood, Hobbes and Katie sail for London to deliver the information Nick collected on the German U-boat to Winston Churchill, and they soon find themselves captured by the Germans. Both Hobbes and little Katie have to use their wits to not only survive, but outsmart the Germans, while Nick, Lord Hawke, and Gunner combine their abilities to assist Captain McIver in his battle against Billy Blood, as well as rescuing Jip, Hawke's children, and a whole brig full of kidnapped children and pets.

Though enjoyable for all readers, this book would be an excellent choice for a preteen. The violence and language are mild, and its protagonist is 12 years old. The story is told mostly from a kid's perspective, too. I liked the dual adventures against fearsome adversaries in both 1939 and the distant past. Though not as globe-hoppingly exciting as his Alex Hawke adventures, this was a pretty good page turner a kid could especially love.

Set in 1939, NICK OF TIME is about young Nick McIver and his adventuresome spirit.

Nick loves to sail and be out on the water with his trusty dog, Jip. He loves it so much that he often loses track of time and comes home late for dinner, which irritates his tough yet loving mother. One night, Nick also discovers that his father is no ordinary lighthouse keeper. He's also a spy for England. What would become World War II was brewing, and Nick joins his dad in his efforts of spying for Nazis.

This story has a lot going for it. The writing is excellent, the story includes sailboats, Nazis, submarines, secret castles, mysterious villains, pirates, squawking parrots, dogs, cats, spies and, as the title implies, travel through time. The one downside is that it takes more than one hundred pages to get to the time travel promised by the title.

Nevertheless, it's a fun story, full of adventure and suspense, with a dose of history thrown in.

Reviewed by: Marie Robinson

If you liked Ted Bell's "Hawk" series, you'll LOVE "Nick of Time". I was hesitant when I first ordered this book, since I'm usually disappointed with the early works of authors when they are released after a successful series. This certainly wasn't the case here. Not only was "Nick of Time" a lively tale that kept me drawn in from page one, it also provided an interesting background for the "Hawk" series. If you've enjoyed his work thus far, then "Nick of Time" belongs on your shelf!

I have read Ted Bell's novels prior to this one and even tho i thought it might have been written for a junior I felt that it was highly enjoyable. The enjoyable action was there but it did not have the female relationships that Lord Hawke had in his exploits, as I felt the later novels were meant for a more mature readership.

What a great addition to any St. Patrick's Day arsenal! A great cliff-hanger-type folk tale, complete with kings, sea monsters, vindictive witches, and a heroine who gives a whole new meaning to "riding off in the sunset"! The illustrations are superbe! My kinders raved about this book, even though I feared it would be a bit above them. We read it in sections, stopping at the brink of each near-certain disaster, so that it was just the right amount of listening for my many wiggily boys!! It fits in so well with our current fairy tale theme, that I would include in this genre, as well. This is a not-to-miss adventure, complete with classic twists and turns, and a few new ones!

I bought this book for my nephew but decided to wait to give it to him for several reasons. The main one being that I absolutely LOVE the book myself! LOL! However, while the story is good and I know he'll enjoy it, he's still a bit young (not even 2); it seems more appropiate for 4 years old or older.

In the story, Young Kate uses her wits to save her family and her village with an ending I never saw coming -- not your typical 'Fairy Tale Ending' but an excellent one nonetheless especially for our modern times. I fell in love with the illustration's ton of detail that kept me looking at each page long after the reading was over.

My one complaint is that, while the book itself is good sized so you can see the pictures, the paperback edition seems a bit flimsy. If this story is to be loved (and thus read) as much as I think it will then I may have to order another copy or two to last through the years. Perhaps the school binding edition is more sturdy?

Both girls and boys will enjoy this story and I think you grown ups will, too.

"O'Sullivan Stew" is a rollicking book with a truly heroic female protagonist. The pictures are both lovely and funny--if you pay special attention to facial expressions I guarantee you'll be laughing out loud. Kate, the heroine, spins yarns with a skill beyond her years, painting pictures with her inventive tales. Her speech is like music--you can practically hear her brogue while you're reading. And if her storytelling doesn't convince you that she's painting pictures with her words, then the illustrations will. They vary from dreamy pastels to muted and murky to bold and bright depending on the nature of the tale she's telling. And when she stops, the world turns black and white.

Not only does this book contain excellent illustrations, a strong, believable heroine, and a captivating story line, but there are several surprises and an unexpected ending. I hope you'll read it... it would be a shame to miss out on such a marvelously fun book!

The Irish have long memories, and even longer tales to reflect that. This book is a wonderful way to get children caught up in the excitement and tension of a classical tale, while also giving them a resourceful and modern heroine to admire. The book is everything a children's story should be: it's funny, the languish reads well and beautifully, and the illustrations are well done. This is a must-have.

This is probably my favorite story for a St. Patrick's Day read aloud. The village of Crookhaven is cursed when the local witch's horse is stolen by the king. Kate O'Sullivan and her father and brothers try to steal the horse back but are captured. It is up to Kate to weave a series of tales to get them all off the hook by describing other "true" stories where her family was in a "worse spot" than this one. The King is amused and enthralled by Kate's tales until the last one and all her work is about to be undone until an astonishing secret is revealed.

Hudson Talbott's illustrations are a riot of color and action. The expressions of the characters are so evocative you will laugh out loud.

Grab some Irish music to play in the background and share the story with everyone. The story will compell you to read with an Irish brogue even if you never have before.

Hudson Talbott books are like having a storyteller sitting at your elbow. The pacing of the story as it interplays with the illustrations is perfect.

Carol Drinkwater provides so much information and knowledge about her Olive Farm. Delightful Memoirs of her life. Excellent.

Countless readers enchanted with Carol Drinkwater's initial memoir "The Olive Farm" will find themselves similarly captivated with her eagerly awaited follow-up. The candor, humor, sensuality, and gift for the appropriate word, all the qualities we've come to associate with this talented actress/writer are again very much in evidence in her latest offering.

"The Olive Farm" which traces Ms. Drinkwater's passion for an abandoned villa called "Appassionata" in the south of France, and her even greater passion for Michel, a French film director, allowed many to enter a world of which they could only dream. Despite the dire prognostications of friends she joined her financial resources with Michel's to purchase the villa with hopes of restoring it to former glory and overseeing a profitable olive farm.

As "The Olive Season" opens with yet another marriage proposal from Michel, Ms. Drinkwater cannot quite bring herself to take that step and responds with, "Only if the King of Tonga marries us."

She underestimates Michel, and their vows are repeated on an island in the South Pacific. It is more than a fairy tale wedding. Upon returning to their villa they happily learn that she is pregnant. She has miscarried several times, and now yearns to have their child. Yet thoughts of impending motherhood must be set aside as pesky boars are once again intruding. Further, the newly marrieds want the much desired Appellation d'Origine Controlee rating for their olive oil, which necessitates an infinite number of bureaucratic forms, inspections, plus an expansion of their farm. The setting of the Cote d'Azur, evenings on their terrace are incomparably beautiful; their work is exhausting.

Once again Ms. Drinkwater peppers her narrative with vivid descriptions of lush countrysides as well as historical notes. Readers accompany her to villages that Napoleon once roamed and learn the origins of bamboo, which she is surprised to find near Baremme amidst apple and cherry trees.

Bringing her own unique style and perceptions to these descriptive passages Ms. Drinkwater's words fairly sing with verve and rhythm. "And our poppies in the garden," she writes, "so hot is that colour, I hear the heroin cracked voice of a jazz singer, scarlet lips flush against a silver mike, crooning the blues."

Dropping by Cannes for the film festival, the contented couple saunter through the Croisette. This area is described as a haven for swindlers or, in French, for an "escroc." Scoundrels abound, seeking out and bilking foreigners who long for a part of the Cote d'Azur. Escroquerie or swindling "is woven into the fabric of living here," she opines. "How could it be otherwise when money is the god? It is the yardstick by which worth is judged and valued."

Visitors come and go at "Appassionata;" readers will never want to leave. We wish for just a little more time with Ms. Drinkwater, a charming hostess who enchants and delights with her tales. She is a spellbinding contemporary Scharazade who leaves us awaiting another missive from her paradisaical land.

- Gail Cooke

The Olive Season, the sequel to Carol Drinkwater's The Olive Farm, transcends the travel memoir genre to create a searing personal narrative.

In The Olive Season, Drinkwater has wed her fiance, Michel, in the South Pacific, and has returned to their farm in southern France to bring in another olive harvest. The harvest season proves difficult, however, and the care of the olive farm becomes a challenging undertaking for the newly pregnant Drinkwater, whose situation is complicated by her husband's absence, her own professional obligations, and intrusions from her past.

The events of The Olive Season force Drinkwater to revisit her past, transcend her present and muster her courage to shape her future. Suffused with the idyllic scents and scenery of southern France, The Olive Season is both a superb piece of travel writing and a wrenching examination of life, its tragedies and its triumphs.

A five-star read that will not disappoint.

THE OLIVE SEASON and THE OLIVE FARM are excellent as is THE OLIVE HARVEST. When I recently saw A CELEBRATION OF OLIVES, I thought C. Drinkwater published a new book and ordered it. I received it today and was disappointed to find it's a double volume of THE OLIVE SEASON and THE OLIVE FARM combined, both of which I have. According to Amazon.com readers who buy A CELEBRATION OF OLIVES also buy her other books. I feel like I was duped and cannot return the book.

In the Olive Season, Carol Drinkwater continuous Michel and her dream-come-true olive farm experience in the south of France. Other reviewers of her first book, as well as this reviewer, hoped for a sequel and Carol did not disappoint them. Although the book can be read and enjoyed without reading The Olive Farm, this reviewer strongly recommends that readers first read the Farm, as it provides the necessary backdrop and introduction to characters that enhances the enjoyment of the Season.

In the Season, Carol shares a lot more on personal level than in the Farm. Although I have enjoyed the first book specifically because it largely revolved around their farming experience and dealt less with them at intimate level, I can accept the change in focus because it is quite understandable when one reads about their tragic loss halfway through the book. The closing paragraph of the book confirms this conclusion. Do yourself a favour and do not read the last page of the book before you "legitimately" can after you have read the rest of it - apparently some people actually do that! It will not necessarily spoil your reading experience, but the story unfolds very well and pulls the reader closer to the author as it develops. Similar to the first book, the Season is well written and/or edited.

I again enjoyed Carol's description of the French rural characters she and Michel meet during their farming adventure. Although I appreciate her sharing of her research into various aspects of farming and nature, I find that those specific paragraphs tend to clash with the writing style of the rest of the book. Although short, they are almost reference book fact-like descriptions. However, they are far and in between and do not really distract from the overall reading experience. Their exploits into the French countryside and visits to interesting little shops and eating places do a lot to make the reader want to get onto a plane and explore those hide-away places!

If you have enjoyed The Olive Farm, you will also enjoy The Olive Season, although it is somewhat more "heavy" because of the dramatic events referred to earlier. Would I buy the next episode if Carol writes it? Yes, probably, even if only to find out whether they have managed to find a beekeeper! She clearly wrote, or at least completed, this one, inter alia for her own personal healing, but her writing style is such that I would support sequels in the Olive-saga much more positively than I would support Hollywood follow-on's!

I had the pleasure of being a student of Terry Parssinen around the time this wonderful story was released. Needless to say, I couldn't be any more prouder as to what he has uncovered. It is a refreshing book to read in regards to his opinion as to what might have happened; And I'm not just saying that because I was once his student. Excellent read!

To see how close WWII could have been stopped at least in the European Theatre, this book keeps you on the edge, even though you know the outcome. Excellent.

An interesting book about a fascinating "what if" of history. Parssinen makes a convincing case that the plotters of 1938 were closer to success then is generally credited. His case also illuminates the tragedy of appeasement for Great Britain, Germany and the rest of the world.

I learned a lot I did not know about Hans Oster, who comes off as an extremely admirable person and plotter.

Few history books raise to the high bar of objectivity that we're expecting from sciences in general. And objectivity in this context has mainly to do with the broader political context of the times in question rather than just a selective exposition of facts. Too many times, focusing on a certain historical issue without the proper context leads to erroneous interpretations.

Interpretation is not only an academic concern, especially when applied to political sciences. The meaning assigned to facts, the interpretation given has practical consequences, and the book "The Oster Conspiracy of 1938 : The Unknown Story of the Military Plot to Kill Hitler and Avert World War II" points out to little thus far known details about those times, about the framework, internal and international in which Hitler operated, about the blown chances to recognize the opportunity (when it presented itself) to deal with the hitlerite threat in a much less fatal fashion.

The account in this book is fundamentally different than in a typical "what if" book. "What if" books border on fiction. Their premise or starting point is fictitious. This book's premise is not fictitious at all. It's researched facts. The only "what if" part of it is the argumentative interpretation of the British politicians both a priori and a posteriori of the chances of a coup d'etat in Germany, had they agreed to send an unmistakable signal that they do not accept to be bullied and made a joke of in front of the whole world at gunpoint.

A good, objective and reflective read. At times it feels just like a novel and not a researched history text.

It's shocking to me that the events in this book aren't chronicled in every high school and college World History class. The fact that, as Hitler resolutely thrust Germany toward war in September 1938, nearly all his troop commanders had decided to revolt against a war they were certain would mean the destruction of Germany, casts a long and dark shadow on modern-day attempts to deal diplomatically with fanatical national leaders.

Ironically, Hitler's generals had realized what the leaders of the Western democracies had not: that Germany stood to be quickly and decisively defeated in a war against England, France, and Czechoslovakia. On the very morning that Chamberlain, in a pitiful "if Daddy says no, ask Mommy" display of desperation, was grovelling with Mussolini for a peace conference to negotiate German occupation of western Czechoslovakia, armed men were positioned to storm the Reich Chancellery and kill Hitler at the first announcement of war.

More than just a surprising lesson in history, this work speaks volumes to today's leaders of free and peaceful nations in dealing with hostile regimes in the Middle East or Chinese aggression toward Taiwan. Peace kept by capitulation and appeasement is a peace that cannot last, and serves only to sustain and embolden expansionist, warmongering tyrants.

Painting The Word is a truly outstanding guide to Christian paintings and their meanings brings art and spirituality together in an inspiring coverage. More than a history of painting, Painting The Word discusses how Christian images reflected and influenced Christian civilization as a whole, with a universal quality delivering balanced messages. Color reproductions of significant classic Christian art works appear throughout.

As an ordained Anglican priest and the dean of Christ Church in Oxford, John Drury is by no means an accredited art historian but he is a trained artist and has a knowledgeable background in theology and New Testament exegesis. Depicted as "a book about how Christian paintings convey their messages" (p.ix), Painting the Word uniquely "extends" the "historically iconographical, or picture-describing, approach" to art by incorporating spiritual "meditation," in order to bring the reader through a "contemplative waiting process" of viewing Christian artwork (p. xi-xiii).

John Drury specifies that the purpose of the book is for the reader to take ownership of the paintings and receive `spiritual nourishment' from them. What originally began as `postcard sermons' describing artwork exhibited in the London National Gallery, has developed over time into the authoring of this wonderful book, which is full of photographic illustrations of European Christian paintings from the 14th to 18th century.

The author successfully brings the reader along on a spiritual journey through the life, death and resurrection of Jesus. Drury groups paintings under each key moment of the salvation story, starting with the Annunciation, to the Nativity, to Christ's baptism and ministry, and culminating with his death and resurrection. In this way, Painting the Word is entirely Christocentric, as it focuses on the sacrificial narrative of Jesus "from conception to resurrection" (p. xiv).

I question whether Drury successfully builds a connection between the artwork itself and the spirituality being conveyed by the artist, because Drury presents some very odd theological concepts throughout his book. I disagree with Drury's constant insinuation that the original painters understood the biblical scenes that they were depicting as "myths." For example, as Drury begins his discussion of paintings depicting the Annunciation, he states, "A dialogue between Mary and the angel follows. It can only be imaginary, but... it is held together over a respectful distance by their mutual regard" (p.41). Drury claims on the very next page that the "moment" of the Annunciation is thanks to the "imagination" of St Luke and St John. Is Drury actually insinuating that the dialogue between Mary and the angel was only a fantasy? Would the artists of the Annunciation paintings really see their portraits as depicting a mythical scene? If so, then a plethora of Christian artists from the 14th to 17th centuries must have believed that Christianity was nothing more than a "myth", as Drury repeatedly refers to sacred Tradition as "myth" throughout the book (cf. p.48, 89, 114). It is more likely that Drury is imposing his own view upon the reader rather than objectively bringing out the artist's intended spirituality.

A more detailed review is available on my website:
http://members.shaw.ca/angelamccormick

This book is without doubt one of the more beautifully prepared and printed books in my collection. Done by the Yale University Press in association with the National Gallery of London, virtually every page is a treasure. There are nearly two hundred full-colour-process reproductions of artworks throughout the text, and every page (not just the colour plates) are heavy bond, high-gloss stock that shows the ink and colour with vibrancy and depth.

John Drury spent a career at both Cambridge and Oxford dealing in matters of theology, ecclesiology, liturgy, and art. I discovered Drury's book while attending a course at my own seminary on the church and the arts, and kept finding myself frustrated at the rapid pace we would go through topics (a frustration I know the professor teaching the course shared - how does one do justice to 2000 years of music, architecture, and art in a mere 15 sessions?). I sought out supplemental materials to help fill out the outline, and Drury's text serves the purpose in many ways.

Drury states his purpose early in the text. `This is a book about how Christian paintings convey their messages. It takes on whole paintings. It is not content with just picking symbols out of them for identification. Composition, colour, contents (including architecture and landscape as well as figures) and the ways in which the paint itself is handled - all are treated as part and parcel of their religious meanings.' This is a holy and holistic approach.

Drury adopts a kind of picture-describing approach (one that he terms `historically iconographical'). This involves absorbing details while understanding context and material. This is the same kind of attention that worship requires (and indeed, the Eastern church has always had this kind of physical artistic interplay with the tradition of use of icons for prayer, meditation and worship purposes) - it requires an openness to experience and feeling while also benefitting from understanding and guidance.

Major artists and works studied in detail in this text include the work of Tiepolo (c. 1750s), the Wilton Diptych (anonymous, c. 1390s), Titian (c. 1510-40s), Duccio (c. 1310s), Filippo Lippi (c. 1450s), Poussin (c. 1630-50s), Rembrandt (c. 1640s), Piero della Francesca (c. 1450-70s), Caravaggio (c. 1600s), Rubens (c. 1630s), Velazquez (c. 1610s), Cezanne (c. 1900s), and others. Most presentations begin by showing the whole work, then proceeding to look at individual characteristics or highlights often pulled aside in side images or isolated for greater emphasis. The text and artwork is arranged in good pattern throughout the text.

Throughout his text, Drury makes a repeated call for care, meditation and attention to be given to the artwork as well as the response to the artwork. He makes that statement that we should stay in front of the images `longer than people usually do' - noticing in museums, art shops, churches and other places that people tend to shuffle past rather than give attention to the most stunning and sublime works of art. Drury draws in history, theology, philosophy, literature, biblical references and images, and other cultural and contextual references to make the experience of these works a full and profound one. This is not a book to be read quickly or glanced over lightly.

Drury includes a narrative annotated bibliography rather than a simple list; he provides both a general bibliography for the entire text as well as a selected bibliography for each chapter/topic.

This is a wonderful book, a great gift for oneself or for others. It is particularly good for those who want a deeper experience and understanding of the way in which art has and can interact and enhance one's relationship with Christianity and its message.

Reasoned analysis involves dissection of statements and dissection of images. The dissection is needed to detect evidence or to expose the lack thereof. The reason analysis of images is needed is that all of the images are not natural. They are iconic based on conventions (like language) and therefore Christian images are signs. The discipline to investigate them is not the neuropsychology of perception but semiotics, the science of signs. Here we have an excellent semiotic rhetoric of Christian images informing us of the meaning of the signs and the meaning behind the images given to us by an expert in both religion (John Drury is a priest) and in the history of art. The cross, the scourging pillar, the spear and the sponge on a cane -all these have meaning. Particularly interesting was Chapter three with the dissection of the different presentations of the annunciation by Duccio as compared to Lippi and Poussin and the biblical quotes that supported each artist's view of what happened and how it happened.

John Drury is an art historian who uses his vocation as a priest to explain the subtlety of meaning that lies hidden in the symbolism of religious paintings in London's National Gallery.

Anyone how has looked at such a painting but not "seen" it, would do well to read this wonderful book and share the insights that the author offers. Paintings that I would have passed by with scarcely a second glance, are revealed within a context of their time, with reference to their history, the world view of the artist, the common and uncommon symbolism employed and much else besides.

It gives the possibility of sharing a visual language that we have lost and enables us to understand what it is about a picture that we sense is great, without comprehending why that might be.

It is hard to think that anyone who has ever visited an art gallery could not profit from reading this book and has certainly given me the enthusiasm to go and look at the pictures for myself.

Excellent book, it gives a good account of one of the British irregular army units in action in Italy and Germany during the later states of WWII.

Peniakoff tells a interesting tale of WWII, but I was struck by his continually contradictory behaviour.

In one sentence he'll say that the purpose of a mission was reconnaissance only, and his unit was not to engage the enemy unless escape was not possible and they were attacked. In the next paragraph, he'll tell how they attacked a convoy of enemy vehicles simply because they felt the need for some action before heading back to base.

He complains about the Italian gentry exploiting the peasantry and the next minute, he's eating a seven course meal with them.
That's just a couple of examples; the book is loaded with similar incidents.

Still, it's a good read, and shows how intelligence is gathered during wartime (sometimes you just get on the phone and call ahead!).

There are books on your shelf you should never loan out if you ever hope to see them again. This is one of those books. The WW2 British unit known as Popski's Private Army (PPA) operated in North Africa and Italy. Written by its founder, Vladimir Peniakoff (Popski), the book covers the units contributuion to the war effort. Using machinegun armed Jeeps like the later fictional TV Rat Patrol, this small united operated behind the German and Italian lines. The PPA did not beat Nazi Germany by itself, but its contribution far exceeded its small size. If the grand sweep of armies leaves you hungering for the individual courage found in small units, then this is the book for you. I also recommend "Fighting with Popski's Private Army" by fellow PPA member Park Yunnie.

This book is hard to find but well worth the effort. Peniakoff led a facinating life and this book is a must for anybody interested in World War II special operations.

On the 6th of May 1945 men in wheeled vehicles crossed the mosaic floor of the Piazza San Marco in Venice for the very first time in history. They drove around the square seven times in the small, heavily armoured vehicles in which they'd fought their way across North Africa, Italy, and were to travel on to Austria. At the head of this curious band was a man who sported a hook for a hand, and a nom de guerre which was similarly incongruous for a 48 year old Major in the British army. Vladimir Peniakoff, or "Popski" as he became known, was the enigmatic Belgian born son of White Russian emigres, who had until recent years "pursued the ordinary activities of industry" as a discontented sugar refiner in Egypt. Having tutored himself, alone in the Sand Sea but for the navigational instruments of antiquity, he emerged from the wilderness to train the men who accompanied him through the years of turmoil to this long dreamt of moment of victory. "Private Army" is one of the finest military memoirs I have read, and ranks alongside Fitzroy McLean's "Eastern Approaches" and TE Lawrence's "The Mint". This is the authoritative work on Popski's Private Army, but is much more than a Regimental history. This is a superb piece of literature which you will not quickly forget. Read also "With Popski's Private Army" by Ben Owen, a superb companion book to the above.