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• Sales Rank: #10454185 in Books
• Published on: 2010-06-18
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .58" w x 5.50" l, .66 pounds
• Binding: Paperback
• 254 pages

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[R826.Ebook] PDF Download Peter Lindbergh: A Different Vision on Fashion Photography, by Thierry-Maxime Loriot

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The Lindbergh lens
Unique fashion storytelling that first launched the supermodels

When German photographer Peter Lindbergh shot five young models in downtown New York City in 1989, he produced not only the iconic British Vogue January 1990 cover but also the birth certificate of the supermodels. The image didn’t just bring revered faces together for the first time; it marked the beginning of a new fashion era and a new understanding of female beauty.

Coinciding with his major retrospective at the Kunsthal in Rotterdam, the Netherlands, this book gathers more than 400 images from four decades of Lindbergh’s photography to celebrate his unique and game-changing storytelling and the new romantic and narrative vision it brought to art and fashion.

Whether in striking single portraits or dramatic situations of figure and setting, we trace the photographer’s cinematic inflections and his provocative play with female archetypes as subjects adopt the guise of dancers, actresses, heroines, and femmes fatales. Raw and seductive at once, we see how Lindbergh’s trademark monochrome pictures also redefined standards of beauty by emphasizing spirit and personality as much as looks, celebrating the elegance and sensuality of older women, and privileging natural and authentic beauty in an era of pervasive retouching.

In a testimony to Lindbergh’s illustrious status in the fashion world, his images are contextualized by commentaries from collaborators such as Jean Paul Gaultier, Nicole Kidman, Grace Coddington, Cindy Crawford, and Anna Wintour, who chose Lindbergh to shoot her first US Vogue cover. Their tributes explain what makes Lindbergh’s images so unique and powerful.



Exhibition Peter Lindbergh. A Different History of Fashion at Kunsthal, Rotterdam, The Netherlands, September 10, 2016 – February 12, 2017

Text in English, French, and German

• Sales Rank: #66458 in Books
• Published on: 2016-09-21
• Original language: English, French, German
• Dimensions: 13.50" h x 2.10" w x 9.60" l, 7.96 pounds
• Binding: Hardcover
• 524 pages

Review
“Alongside celebrity portraits [A Different Vision on Fashion Photography] includes his most influential fashion pictures such as the 1988 American Vogue cover of supermodels on a California beach, said by Vogue to be the most important image of the 1980s; and the magazine’s 1994 cover of Michaela Bercu in a haute couture jacket and stonewashed jeans that was so unprecedented the printers called Anna Wintour to see if she’d made a mistake.” (The Financial Times)

“This book, containing more than 400 images from four decades, is a moody, monochrome fashion delight.” (Metro, London)

“What publisher TASCHEN has delivered is the seminal compendium of the the work of one of the most influential fashion photographers of the past century.” (ELLIMAN, New York)

“Throughout the book’s 500-plus pages, the affection Lindbergh has always had for his subjects is constantly apparent. His photos, almost all in black and white, have always favored personality over polish; and his ultimate concern is how his models and actresses themselves wish to be portrayed.” (The New York Times)

“Rather than playing up the glamour of the famous subjects he’s captured over the last three decades, the German photographer Peter Lindbergh’s genius lies in letting them speak for themselves. From a fresh-faced Kate Moss in overalls to the more traditional supers of the ‘90s in simple white shirts, Lindbergh’s knack for understatement is now at the center of Peter Lindbergh: A Different Vision on Fashion Photography.” (wmagazine.com)

“…Peter Lindbergh: A Different Vision on Fashion Photography offers an incomparable history of fashion, designers, models, and art luminaries– as well as showcasing the German lensman’s minimalist, mainly black-and-white style.” (InStyle.com)

About the Author
Peter Lindbergh was born in Lissa, Germany, in 1944. His celebrated work is part of many permanent collections of Fine Arts Museums and has been presented in prestigious museums and galleries around the world, from The Victoria & Albert Museum, Londo; to Centre Pompidou; Paris, as well as in solo exhibitions at Hamburger Bahnhof, Museum f�r Gegenwart, Berlin; Bunkamura Museum of Art, Tokyo; and the Pushkin Museum of Fine Arts, Moscow. Lindbergh lives and works between Paris, New York, and Arles.

Thierry-Maxime Loriot was born in Qu�bec City, Canada, in 1976. After working more than ten years in the fashion industry between New York, Milan, and Paris, he curated the exhibition The Fashion World of Jean Paul Gaultier. From the Sidewalk to the Catwalk, a blockbuster show seen by more than two million visitors. He collaborates with different magazines and Fine Arts museums around the world on fashion and photography projects.

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4 of 4 people found the following review helpful.
Whoa...
By N. Ma
This is one of the best books I have ever bought. It is pricey but I do not regret a single dollar. The photos in this book are amazing, they kind of make me want to give up trying to become a photographer because I will not reach the level of Peter Lindbergh. This book is a great addition to anyone's library.

4 of 4 people found the following review helpful.
Excellent retrospective. Big book
By Ice9ine
Excellent retrospective. Big book, lots of pages, well printed. Shows depth and tenure for his style. Excellent addition to anyone's photo library.

1 of 1 people found the following review helpful.
Bad printing quality for the price.
By German Saez
Content is amazing, but Taschen is going really cheap in print quality.

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This text provides a basic introduction to the geometrical techniques of structural geology.

• Published on: 1968
• Binding: Unknown Binding

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This book is a study of related passages found in the Arabic Qur’ān and the Aramaic Gospels, i.e. the Gospels preserved in the Syriac and Christian Palestinian Aramaic dialects. It builds upon the work of traditional Muslim scholars, including al-Biqā‘ī (d. ca. 808/1460) and al-Suyūṭī (d. 911/1505), who wrote books examining connections between the Qur’ān on the one hand, and Biblical passages and Aramaic terminology on the other, as well as modern western scholars, including Sidney Griffith who argue that pre-Islamic Arabs accessed the Bible in Aramaic.

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• Sales Rank: #3238990 in Books
• Published on: 2013-12-27
• Original language: English
• Number of items: 1
• Dimensions: 9.20" h x .90" w x 6.20" l, .0 pounds
• Binding: Hardcover
• 304 pages

About the Author

Emran El-Badawi is Director and Assistant Professor of Arab Studies at the University of Houston. His articles include "From ‘clergy’ to ‘celibacy’: The development of rahbaniyyah between Qur’an, Hadith and Church Canon" and "A humanistic reception of the Qur’an." His work has been featured on the New York Times, Houston Chronicle and Christian Science Monitor.

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6 of 6 people found the following review helpful.
'Gospel according to Mohamed?'
By Kindle Customer
El-Badawi makes a valid case proving the influence of the Aramaic gospels in the Qur'an. But at times one has the feeling he seems to imply that the Qur'an is 'the gospel according to Mohamed', which it is not. Badawi ignores the Jewish element in the Qur'an considerably. According to Simon Schama "Himyarite-Arabic Judaism may have been, in a deep sense, the direct parent of Islam, for it makes no sense historically to classify Muhammad’s core doctrines as anything but essentially Judaic – evident in the indivisibility of the one unseen omnipotent God (referred to in Himyarite and Arabian Judaism, after all, as ‘rahman, the all-merciful and compassionate who art in heaven and earth’); the coming of the Last Days (a central belief of the Qumran community); the hatred of idolatry; the righteous commandment of charity (sadaaqa in Arabic, tzedaka in Hebrew); the strict prohibition not only against pork but also against consuming meat with its living blood still in the flesh; the insistence on ritual washing and purification, especially before prayer ... were all standard Jewish practice".
So are we getting here a Muslim scripture based on Christianity and Muslim ritual based on Judaism? Also I would like to know when the author refers to the Diatessaron, given the original is lost, is he referring to the extant Arabic translation or what? And does the Arabic translation of the Diatessaron have any echos in the Qur'an given the original was in Aramaic?

0 of 0 people found the following review helpful.
the Qur'an in dialogue with Aramaic Christianity
By David Reid Ross
"The Qur'an and the Aramaic Gospel Traditions" (Q&AGT) adapts Badawi's PhD thesis. Observing that thesis was Fred Donner, who wrote "Narratives of Islamic Origins" (my review: 2/5) and then "Muhammad and the Believers" (a personal inspiration to me, which if I had reviewed it here would be 4/5). Q&AGT collects and (loosely) organises, from the Qur'an, such tropes as are parallel to tropes in Aramaic literature. Such come mainly from the Aramaic-speaking Christian tradition, namely (Edessene) Syriac and Palestinian. We may treat Q&AGT as an attempted followup to Gabriel Reynolds' "Biblical Subtext".

Badawi tells the reader that he respects Islam but is at heart a universalist, or maybe a henotheist (pp. xiii, xvii). So one should expect, here, a critical view of the sources. And so Badawi claims: that he will assume the Muhammadan Sira, but will not demand it. But then he accepts the first chapter of Donner's "Narratives" (p. 15), that Muhammad wrote every sura in the canonical mushaf; he rules this view "mainstream".

Outside this mainstream, Tom Holland's "Shadow of the Sword" is simply dismissed, as written by one who does not know Arabic (p. 14). As it happens I have reviewed that book here too (4/5). As I said at the time, Holland did not, himself, reject the Qur'an either; although he did footnote some scholars who have questioned it, which scholars very much *did* read Arabic: Wanbrough, Crone et al. So I found this aside to be misguided and unworthy of the author.

Because of the constraints which Badawi has set for himself, he has forced this book to be impressionistic, with no real view on how the Qur'an quotes itself, nor on its development over time. I can accept that, for my part, but to that end an introduction ducking the debate entirely would have worked equally well. This is exactly the problem I had with his teacher Donner's "Narratives".

In the main text, the book offers a comprehensive overview of Qur'anic expressions and doctrines "in dialogue" with the Christian tradition in Aramaic(s). The Qur'an had Things To Say, a thorough critique of what it had found in the Aramaic texts. We also learn that in Aramaic, the Gospel translators sometimes adapted the Greek into rhyming prose, for rhetorical force and for ease of memory. The Sermon on the Mount, for instance, rhymes on -a and -un. The Qur'an took this strategy (Arabs call it saj') and ran with it.

That said, I did detect some flaws, many serious, so I must detail them here.

For all Badawi disapproves non-Arabophone intrusions into his field, his own handle on the Arabic source material is slippery. In p. 43, Badawi rates Ibn Abi Dawud as "document[ing]... well" how al-Hajjaj carried out his editorial work; but Ibn Abi Dawud is late and likely bowdlerised his own sources. In p. 41, Badawi declares Ibn al-Kalbi's "Asnam" as "essential" to understanding pre-Islamic paganism; Ibn al-Kalbi is also late and tendentious, as Hawting points out in "Idea of Idolatry". Badawi tacitly endorses the tafasir attributed to Muqatil b. Sulayman and Mujahid b. Jabr, with the tafsir to Ibn 'Abbas by contrast as "questionable", p. 44; but Mujahid isn't much later than Ibn 'Abbas. We should speak of a Mujahid School (or several), like we speak of 'Abbasi schools.

On the pre-Islamic Arabic side, there never was such a language as "Thamudic" (p. 47). Collaters of Arabian graffiti use that as a Miscellaneous category for West Semitic texts they cannot yet classify. Some "Thamudics" have since been gathered into their own coherent group, one of which is a proto-Arabic now labeled "Hismaic".

Philologically, I should like to have seen a more careful relation between Semitic cognates pp. 87-8. Syriac zdiqé is related to Arabic sadiq, shlihé to salih, sahdé to shahid. Do we know the rules of sound-changes between proto-West-Semitic and Aramaic on one side, and Arabic on the other? As stake here is whether these now-Arabic terms are loanwords from a Syriac religious community, and if so *when* they were borrowed; and if not, if they are natively Arabic (albeit calqued) or if taken from some other related language like - say - Hebrew.

Badawi's knowledge of Sasanian history is *far* out of date as well as cursory. Pace pp. 54-5, Mazdak was probably not a prophet, although Khusro was happy to slander him as a false one; see now Michael R Jackson Bonner. Pace p. 57, the Lakhm kingdom was deposed from al-Hira 604 CE, not 633. I notice in Badawi's footnotes that he relied here on scholarship from 1953, 1934, and 1906. I notice in the bibliography the absences of Pourshariati and Daryaee.

For more minor nitpicks, the root of Gospel is not the "Latin" phrase "go spell"; this was "godspell", an archaic English compound noun still sometimes heard in Broadway musicals. Moving on to the publisher Routledge: Q&AGT may well have the worst proofing I have ever seen, including self-published work here. On page 15 alone I noticed "posess", "ina" for "in a", and "palimsests".

Overall Q&AGT is a useful book but dangerous. Wherever it makes a claim, I feel I must check that claim against other work of this type.

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• Sales Rank: #1975579 in Books
• Brand: SQUADRON/SIGNAL
• Published on: 1981-06-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 50 pages

Features

• Used Book in Good Condition

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6 of 6 people found the following review helpful.
History of US Light Tanks
By matt8386
This In Action series books gives you a little of the history of US light tanks prior to WW2. The M-2, M-3, M-5 and even the M-24 are shown in this 48 page book. There are also 2 pages of color plates to show the camoflage schemes used.

The b&w photos show the tanks in all sorts of weather & terrain. These light tanks were out gunned and out armored in Europe, but good in the Pacific. Each tank got a little better than the previous one, culminating in the M-24 Chaffee light tank, which was a whole new design. Nice bonus to have it added here. There are also data charts to show the penetration power of the 37mm gun and statistics on each tank's height, weight, armor.

I would not pay the $42.00 asking price for a new book (as of this writing), but picking it up used as I did, or waiting for it to be re-published are options. Great for modelers or those starting out with an interest in armored warfare. These light tanks were good for scouting or secondary theaters, this book shows that very well.

0 of 1 people found the following review helpful.
great reference material
By Amazon Customer
Just the reference material that I need for the models that I am building. Lots of pictures. Lots of documentation

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A small, isolated town starts to change after a Amanda takes a sip of a mysterious red liquid. Amanda is given the power to warp the world around her, enacting her salacious will upon the denizens of Cloverdale. Her devoted followers transform into paragons of sexual debauchery as the crimson milk is spread throughout the town. Will the innocent escape or will they find out that, deep in their dirty minds, they are finally getting what they always wanted.

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• Sales Rank: #287684 in eBooks
• Published on: 2014-02-26
• Released on: 2014-02-26
• Format: Kindle eBook

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1 of 1 people found the following review helpful.
Really fun scenes but muddy plot
By t'Sade
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The first, most crucial step in making a film is finding the funds to do it. This unique guide bridges the gap between the filmmaker and the business by teaching you how to create a business plan that can be presented to a potential investor. In clear, jargon-free terms, the author leads you through every step. Each chapter concentrates on a different section of the business plan, with supplementary exercises on the CD workbook.

The fourth edition contains completely revised and updated industry data, along with a new CD workbook for hands-on practice.

• Sales Rank: #4482043 in Books
• Published on: 2003-12-05
• Original language: English
• Number of items: 1
• Dimensions: 8.75" h x 6.00" w x .75" l,
• Binding: Paperback
• 227 pages

Review
"Thank you so much for all your help from the business plan to the emails and introductions. You have helped this film become what it is today." Robin Cowie, Producer, The Blair Witch Project

"Levison's book gives filmmakers an inspiring and coherent merger of plain English, film lingo, and traditional business-speak. It helped me create a straightforward and thorough business plan that ultimately raised $2 million for my new project." --- Stu Pollard, Producer/Director,
Keep Your Distance

"Buying this book is the first step to becoming a successful, independent filmmaker. It helped me launch my company."
- Rick Pamplin, The Pamplin film Company

"If Louise Levison's Filmmakers & Financing were only about business plans it would be worth more than its cover price. In addition, Levison gives sage, savvy and clear introductions to every important aspect of film business - marketing, distribution, varieties of investors, financing options - it's all here, including a sample business plan. This book is a "must have" for any filmmaker's
bookshelf." --Morrie Warshawski, Consultant, and author of Shaking the Money Tree: How to Get Grants and Donations for Film and Video-2nd Edition

"A 'must have' educational and reference tool to help you conquer current industry practices regarding finance, production and distribution. Louise has consistently delivered a plethora of information that is easy for a beginning filmmaker to understand, while at the same time very useful to the entertainment veteran. No filmmaker's library would be complete without it. -J. David Williams, Distributor, Shiloh and The Omega Code

"Need money for a movie? Here's the road map every indie filmmaker needs to find it. It worked for me!" -Paul Sirmons, Director/Producer, The First of May and Forevermore Films

"Even if you only wrote the script, this is a real important book to read. It will help you understand the market in terms of how independent film companies structure deals with screenwriters. And if you just aren't finding a market for your script and have considered making the film yourself, Levison's book is one of the best places to start if you want to find out what you are up against in terms of the kind of dollars you will need, where and how to get them, and the best strategy for getting your hands on the dough. To paraphrase the perennial Passover question: Why is this film financing book different than all other film financing books? It's pretty simple. No one tackles the dilemma of screenwriters who design to turn their script into independent features as succinctly and logically as Levison does. If you want to make an independent feature you need money, which means you need a business plan, which means you need Levison. Project outlines, industry overview, marketing, sample business plans, distribution, financial planning, loans and partnerships are all included. There is even a nifty CD-ROM supplement that comes with the book."
- Jeffrey M. Freedman, Script Magazine

From the Publisher
Each chapter concentrates on a specific section of the business plan, such as the executive summary, industry, market, distribution financial planning, etc. A sample business plan provides readers with a reference as they write their own plans. This book provides information needed for approaching potential investors, including: defining goals and objectives, describing proposed films, researching markets and distribution systems, developing complete financial projections, applying the plan to the management of one's company.

The third edition includes a new chapter on the growing use of the internet as an outlet for film.

About the Author
Levison is President of Business Strategies (www.moviemoney.com), a consulting firm in Sherman Oaks, California, specializing in business plan packaging and venture capital financing. Ms. Levison is a visiting lecturer in the Department of Entertainment Studies of the Extension Program at UCLA and is publisher and editor of The Film Entrepreneur newsletter. She regularly conducts workshops on financing for organizations and at film festivals. Levison holds an M.B.A. in finance.
Levison is President of Business Strategies (www.moviemoney.com), a consulting firm in Sherman Oaks, California, specializing in business plan packaging and venture capital financing. Ms. Levison is a visiting lecturer in the Department of Entertainment Studies of the Extension Program at UCLA and is publisher and editor of The Film Entrepreneur newsletter. She regularly conducts workshops on financing for organizations and at film festivals. Levison holds an M.B.A. in finance.

Most helpful customer reviews

1 of 1 people found the following review helpful.
THE WORSE BOOK I'VE READ ABOUT BUSINESS PLAN IN A DECADE !!!!! DO NOT WASTE YOUR MONEY
By Amazon Customer
It should deserve no star at all. Boring, terribly written. Louise Levison repeats herself on and on, she drags you on... and on, with useless and distracting examples, constantly highlights oblivious facts by using fear and disproportions. it's just filled up with clich�, and it clearly a hardcore conservatism bias. Basically, if you have NO IDEA how a movie is produced, and how finance function, you may then want to know more, and will find this book horribly boring and repetitive, but you may learn a few useless things as well that may give you the summary of what a business plan. Because that is all a business plan, a summary, which you fill with your own plan. This book will not help anyone rise funds. I regret spending money and time reading this crap.

The book is empty. It's void. It could be summed up in 5 pages. It's a dishonest and deceptive attempt at taking money from readers.

0 of 0 people found the following review helpful.
The Absolute Authority On Film Financing
By C. Tovar
BUY THIS BOOK. If you are an independent filmmaker and want to learn about film financing from a truly accomplished expert, then by all means, purchase this book and every new edition that comes out.

Louise is a fantastic mentor and her book has become a mainstay... I had the opportunity to attend two workshops featuring her, as well as a private consultation and she is definitely an experienced, grounded voice in the field of film finance.

Her book clearly lays out everything you need to know about writing a business plan for your independent feature film and it provides clear examples and reasoning for why things are done the way they're done.

By all means, this is a MUST-READ for every independent director, producer and filmmaker.

6 of 6 people found the following review helpful.
better than basic/could be more specific
By film book reader
"Filmmakers and Financing..." is pretty good at helping you piece together a business plan for making a film (or creating a production company) and is better than a lot of the material on the web related to general business plans because it deals with issues specific to films and the filmmaking business. On the other hand, another reviewer has suggested that the book wasn't specific enough and that the example "fictional" business plan didn't seem to have enough substance. I agree with that comment. The author, who helped the "The Blair Witch Project" folks with their business plan, could have suggested some real-life examples (tough to walk the fine line drawn by naturally protected "proprietary information"). It's nice to see what a multi-million dollar production company business might look like, but I have to say that if I'm going to handle that kind of money, I'm probably going to retain a consultant to help prepare my business plan--maybe even the author! It's a good review of things you should know. Glad I read it. I think I'll pass it along to the next person.

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[E269.Ebook] Get Free Ebook The Code of the Woosters, by P. G. Wodehouse

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“To dive into a Wodehouse novel is to swim in some of the most elegantly turned phrases in the English language.”―Ben Schott

Follow the adventures of Bertie Wooster and his gentleman’s gentleman, Jeeves, in this stunning new edition of one of the greatest comic novels in the English language. When Aunt Dahlia demands that Bertie Wooster help her dupe an antique dealer into selling her an 18th-century cow-creamer. Dahlia trumps Bertie's objections by threatening to sever his standing invitation to her house for lunch, an unthinkable prospect given Bertie's devotion to the cooking of her chef, Anatole. A web of complications grows as Bertie's pal Gussie Fink-Nottle asks for counseling in the matter of his impending marriage to Madeline Bassett. It seems Madeline isn't his only interest; Gussie also wants to study the effects of a full moon on the love life of newts. Added to the cast of eccentrics are Roderick Spode, leader of a fascist organization called the Saviors of Britain, who also wants that cow-creamer, and an unusual man of the cloth known as Rev. H. P. "Stinker" Pinker. As usual, butler Jeeves becomes a focal point for all the plots and ploys of these characters, and in the end only his cleverness can rescue Bertie from being arrested, lynched, and engaged by mistake!

• Sales Rank: #34018 in Books
• Brand: Wodehouse, P. G.
• Published on: 2011-07-05
• Original language: English
• Number of items: 1
• Dimensions: 8.30" h x .70" w x 5.50" l, .49 pounds
• Binding: Paperback
• 272 pages

Review
Bertie and Jeeves are at their best in The Code of the Woosters. "

You should read Wodehouse when you re well, and when you re poorly; when you re travelling, and when you re not; when you re feeling clever, and when you re feeling utterly dim. Wodehouse always lifts your spirits, no matter how high they happen to be already. --Lynne Truss"

Wodehouse s idyllic world can never stale. He will continue to release future generations from captivity that may be more irksome than our own. He has made a world for us to live in and delight in. --Evelyn Waugh"

Wodehouse is the funniest writer that is, the most resourceful and unflagging deliverer of fun that the human race, a glum crowd, has yet produced. "

From the Inside Flap
P.G.Wodehouse's best-loved creation by far is the master-servant team of Bertie Wooster, the likable nitwit, and Jeeves, his effortlessly superior valet and protector. This unlikely duo is as famous as Holmes and Watson, Don Quixote and Sancho Panza, and Tracy and Hepburn, but they have their own very special inimitable charm. According to Walter Clemons, Newsweek, "They are at their best in The Code of the Woosters," in which Bertie is rescued from his bumbling escapades time and time again by that gentleman's gentleman: Jeeves.

From the Back Cover
A Jeeves and Wooster novel

[insert P.G. Wodehouse signature]

‘You don’t analyse such sunlit perfection, you just bask in its warmth and splendour. Like Jeeves, Wodehouse stands alone.’ Stephen Fry

When Bertie Wooster goes to Totleigh Towers to pour oil on the troubled waters of a lovers' breach between Madeline Bassett and Gussie Fink-Nottle, he isn’t expecting to see Aunt Dahlia there – nor to be instructed by her to steal some silver. But purloining the antique cow creamer from under the baleful nose of Sir Watkyn Bassett is the least of Bertie’s tasks. He has to restore true love to both Madeline and Gussie and to the Revd Stinker Pinker and Stiffy Byng – and confound the insane ambitions of would-be Dictator Roderick Spode and his Black Shorts. It’s a situation that only Jeeves can unravel…

Most helpful customer reviews

97 of 100 people found the following review helpful.
The funniest series in the world.
By Mary Ingram
Believe it or not, I am 74 years old and had never read

about the trials and tribulations Jeeves put up with

Bertie Wooster. I have never laughed so much in my life.

I am now going to get my hands on every word P.G. Wodehouse

ever wrote. I truly would have loved to meet the man.

63 of 65 people found the following review helpful.
A Delightful Confection
By M. Allen Greenbaum
In his excellent introduction, Alexander Cockburn notes that "the true Wodehouse fan has the concentration of a butterfly, fluttering inconsequently over Wodehouse country and prattling foolishly about favored features of the region. Very irritating, for serious tourists and new arrivals."
Do not fret. Within a few pages both the initiate and the expert will be won over. This is a superb book in the Wooster-Jeeves series, full of Wooster's malapropisms, preposterous schemes, boggled literary quotes ("the snail was on the wing and the lark on the thorn--or rather, the other way around . . . ") and memories of hi-jinks at Eton and the Drones' club. Then there is Jeeves, the gentleman's gentleman, aware of his subordinate position to Wooster, but--as admitted by all-- possessing a greater knowledge of "the psychology of the individual." Consider the following exchange between Bertie and the ever-troubled Augustus "Gussie" Fink-Nottle: "this is frightful, Bertie." "Not too good, no." "I'm in the soup." "Up to the thorax." "What's to be done?" "I don't know." "Can't you think of anything?" " Nothing. We must put out trust in a higher power." "Consult Jeeves, you mean?"
The book's events appear to take place soon after those described in "Right Ho, Jeeves," and before "Joy in the Morning." As mentioned above, one is easily drawn into the humorous misadventures of our protagonists and their screwball plotting against Gussie's fianc�'s father and his neo-Fascist friend, Spode, modeled after England's Sir Oswald Mosley. Written in 1938, even the humorous hand of Wodehouse touches on the threat of the fascist "black shorts" (the shirts, apparently, had already been taken).
Lighthearted fare, but perfectly crafted by a master of modern farce. This book is simply a delight, a compote of impossibly funny personalities sweetened with a meringue of wit and satire. P.G. Wodehouse, along with those other two-initialed humorists of the early to mid-20th century (E.B. White, S.J. Perelman, A.J. Leibling) is one of our most treasured writers. Give "The Code of the Woosters" a try; I think you'll soon join his legion of fans. Most highly recommended!

28 of 28 people found the following review helpful.
Nothing Quite Like It
By oh_pete
Bertie Wooster's is a different world. A different world indeed, even from the jazzy age of 1920s and 30s England that P. G. Wodehouse employs as his setting. The code of the Woosters is to never let a friend down, and Bertie would do this far more often were it not for his tactful and clever gentleman's personal gentleman, Jeeves. Bertie is a marvelous type of fellow: over-educated but under-intelligent; useless to society but wealthy beyond any need for scruple; completely numbed by the simple pleasures of an aristocratic life, but always there for his friends and family in a pinch. Amusingly enough, very few of the people that Bertie is enlisted in aiding actually deserve anyone's help. He is variously bullied and cajoled--but usually blackmailed--into putting himself in the most precarious positions. He must steal a cow-shaped piece of silver or his Aunt Dahlia will never let him eat a meal served by her godly French chef; he must steal a policeman's helmet to indirectly prevent himself from betrothal to a starry-eyed ditz of a woman. Being a Wooster, of course, he would go through with such a wedding rather than be impolite.
What makes Bertie's bumbling and stumbling antics the more amusing is that he fancies himself a man of wit and decisiveness. Nothing could be further from the truth. Jeeves is the man for that, as well as the man to keep Bertie from his predilection for screaming fashion faux pas.
Wodehouse employs a wonderfully dry wit and a delivery that ranges between the anecdotal and the rat-a-tat. One finds oneself smiling through every page, and occasionally being forced to place the book on the side table so as not to harm in during a fit of laughing out loud. Wodehouse's influence on writers such as Evelyn Waugh, Kingsley Amis and Stephen Fry has enriched British literature of the last century, but he himself was a true original, as are Jeeves and Wooster.

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