Download Lost Light (A Harry Bosch Novel), by Michael Connelly

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Lost Light (A Harry Bosch Novel), by Michael Connelly

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Review

"Swift, absorbing."―Houston Chronicle"Lost Light succeeds."―Denver PostLoyal fans of the series have gotten to know Harry over the past eight books, and they'll learn even more in this one. He remains one of the most fascinating characters in the mystery world."―USA Today"An intriguing story...Connelly comes through."―Miami Herald"Lost Light has all of the ingenious plotting and skillful writing that are Connelly's hallmarks."―Baltimore SunAs always, Connelly rewards mystery fans who pay attention...There is an energetic pace to the painstaking detective work...The atmosphere and supporting characters are richly textured."―People"Exciting...and Connelly's coda has a kicker about Harry's private life that will draw gasps of astonishment from longtime readers."―Publishers Weekly

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About the Author

Michael Connelly is a former journalist and author of over twenty books, including the bestselling Harry Bosch series. His novelsBlood Work and The Lincoln Lawyer have been made into major motion pictures. He has won numerous awards for his journalism, as well as an Edgar Award, a Nero Wolfe prize, a Macavity Award, an Anthony Award, and the 2009 Carvalho Prize for his books. Michael Connelly lives in Florida.

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Product details

Series: A Harry Bosch Novel (Book 9)

Mass Market Paperback: 384 pages

Publisher: Grand Central Publishing; Reprint edition (September 30, 2014)

Language: English

ISBN-10: 1455550698

ISBN-13: 978-1455550692

Product Dimensions:

4.2 x 1 x 7.5 inches

Shipping Weight: 9.1 ounces (View shipping rates and policies)

Average Customer Review:

4.6 out of 5 stars

1,038 customer reviews

Amazon Best Sellers Rank:

#47,310 in Books (See Top 100 in Books)

Harry Bosch is not a cop anymore but he acts like one in this book. He’s retired from the LAPD and is haunted by a four year old murder case that was never solved. Having nothing better to do he reopens the case and starts a new investigation. In doing so, he runs up against FBI agents and night club owners who want him to keep his nose out of their respective businesses. Besides the unsolved murder, there is the matter of some two million dollars in cash that went missing from a movie set. This is one of the items in the story that I thought was a bit “over the top.” The movie’s director wanted to show real money in the film which caused all kinds of extra work and security measures that were eventually found to be ineffective. The other item involved an attack on Harry by a group of four suspects which took place in the darkness. No problem for Harry, thanks to his Viet Nam tunnel experience dealing with the VC. Harry also has a personal problem that vexes him: the absence of his ex-wife, Eleanor Wish, whom he misses dearly. Eleanor has been so successful playing poker in Las Vegas that she now has financial backers. He gets over to Las Vegas several times to see her and, in one touching scene, answers a question I’ve had on my mind for several years. It’s a good read and the complex plot makes you pay close attention.

I've been reading these books since the first Season of Bosch on Amazon. These are just so good. The books and the show are related, but they are different Harrys. I think I like the book version much better.It's hard to believe Harry Bosch has retired. But now he can investigate the cases he chooses. This one is a doozy. It's a cold case and it involves a bank heist, a missing FBI agent, and an anti-terrorism squad.Harry Bosch is an excellent detective and these stories are rich in detailed characters and vivid scenes. Very poignant at the end. It's okay to cry.

I accidentally discovered Michael Connelly's books a couple of months ago. Then I began watching the series Bosch on Amazon and I was hooked. Detective Bosch isn't a lovable Columbo-type ruffled detective. He is driven, tough, and he has had his share of tough times in his life. But underneath that exterior is a man searching for the truth and bringing justice all crime victims want. I am currently reading Echo Park and, like the dozen or so novels left, am enjoying every minute of my reading pleasure. I am also awaiting tonight's Series Three premiere.

There are so many times in this novel when it seems that Harry will not be able to solve this case from the past because of pressure from the LAPD, the FBI, former colleagues, and just about any other powers that operate in Los Angeles. Harry is retired in this one, and it is written in First Person, so we are in Harry's mind throughout. Some of the characters were introduced in earlier novels, as well as some of Harry's former colleagues. All of them add to the excitement and suspense right up to the last three chapters where the case is solved, and Harry goes back to Las Vegas unannounced to see his ex-wife, Eleanor, and get the surprise of his life. The plot twists are everywhere, and Harry has one of the most dangerous fights of his life with the perps in this case. It is one of the best of the Bosch series!

This was another Harry Bosch book. It's such a good story; twists and turns right up to the finish. It's good to read the books in sequence so you can follow Harry's life in the LA police department and in the cases that he works after retirement. With every book, I like him more; he's such a good human being, but a pit bull on a murder case until he solves it, and he solves every one of them, taking you along for the ride.Connelly is such a good writer; he knows LA well as he describes the streets and freeways Bosch travels in his quest to solve a crime. He also gives you an insider's look at the politics of the LA police department and their relationship with the FBI and Homeland Security. I have read almost all of the books now and this is a very good one.

I have dedicated this summer to reading nothing but mystery novels, and I am loving it! Case in point:Harry Bosch, in Michael Connelly's "Lost Light", is now retired from the LAPD, and yet his search for the truth still compels him. In this case, the theft of $2 million dollars from a movie set and the trail of corpses before, during and after the violent robbery is the focus of Harry's investigative skills. In particular, the cold-blooded murder of Angella Benton, an employee of the movie studio, is haunting him and has been for years. As always, Connelly's writing moves well-beyond expertise and craftsmanship; it is an art. I have finally come to realize that there are few as good (and none better) at the genre than Michael Connelly.The mystery and action elements aside, "Lost Light" is a great read for other reasons. Fans of the Harry Bosch series may be jarred by the use, for the first time, of the first-person narrative. Although Harry's voice had been so close to the third-person narrator's voice (or is it vice-versa?) in previous installments, we get Harry's immediate responses--his spontaneous reactions--to comments and situations that were only reported in other novels, leaving us to decipher the feelings behind them. This new approach worked well here.Another intriguing element here, and I believe it has much to do with the title and its explication toward the end of the novel, is the exploration of the gray area, the clouded, unclear directions that life presents us. In Connelly's "Angel's Flight", Bosch realizes that angels can fly both ways: they can ascend to heaven or become fallen angels. It's one way or the other. In "Lost Light" Bosch realizes that things are not that simple. He muses that there is a Paradise Road in LA but also a Devil's Punch Bowl. "There is no sign leading to Paradise Road," Harry realizes. Paradise may have no roadsigns but the path to The Devil's Punch Bowl is just as tricky. While LA may be the City of Angels, Bosch is all too familiar with its evils. Yet, Las Vegas--one of America's largest "Sin Cities"--holds what may be the key to Bosch's paradise. The novel is filled with such dichotomies.Sad, to say, my summer of reading mystery novels exclusively is coming to an end. But I could think of no better novel than "Lost Light" to cap it off.

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Download The Landscape of History: How Historians Map the Past

Download The Landscape of History: How Historians Map the Past

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The Landscape of History: How Historians Map the Past

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From Booklist

Two classics of historiography, The Historian's Craft by Marc Bloch (1953) and What Is History? by E. H. Carr (1961), have prompted notable cold war historian Gaddis to offer his own abstract of what historians do. Does the methodology of historians captivate readers of popular history? Those sensitive to a historian's attitudes might be intrigued by this disquisition into the "ductwork" installed in every piece of historical writing. In discussing ductwork, the concepts by which a historian selects facts, comprehends time and space, and ultimately presents the past, Gaddis hews to two central tenets: that there is, somewhere, an objective truth in history, and that history is a science. Those ideas have been severely challenged, especially by social scientists enamored of quantitative methods. Gaddis dismisses quantification alone as unworkable and inappropriate and says historians must combine the techniques of many disciplines. A technical but provocative inquiry for sophisticated history readers. Gilbert TaylorCopyright © American Library Association. All rights reserved

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Review

"A masterful statement on the historical method by a distinguished Cold War historian.... Gaddis' most provocative claim is a powerful irony: Social science, with its independent variables and deductive theories, would appear to have more scientific pretensions than does history. But the historical method, which relies on thought experiments and the interplay of inductive and deductive reasoning, more fully shares the methodical logic of such fields as astronomy, paleontology, and evolutionary biology. Gaddis' characterization of the social sciences will surely spark debate even as it illuminates important intellectual connections between the disciplines. Delightfully readable, the book is a grand celebration of the pursuit of knowledge."--Foreign Affairs"A bold and challenging book, unafraid of inviting controversy. It provides a strong statement for our time of both the limits and the value of the historical enterprise."--Alan Brinkley, New York Times Book Review"Never before have I come across a book that so illuminated the craft of the historian.... Gaddis has a delightful command of language--and a delight in it. He draws on Gertrude Stein, Mark Twain, contemporary movies, Thucydides, Tom Stoppard, Woody Allen and lots more.... He is a distinguished scholar who writes with a clarity and a lack of pedantry that is quite marvelous. Equally impressive, he's not afraid of a rip-roaring fight with his fellow academics."--Michael Pakenham, The Baltimore Sun"An urbane and eloquent little volume.... Gaddis's learned and graceful reflections on all of these questions are deeply humane, propelled by the conviction that only by sustaining a historical consciousness can we know where we should want to go. They will also never allow either the reader of history or the writer of it to think about the past in quite the same way as before."--Richard Bernstein, New York Times"Rewarding and readable, with unusual thinking and delightful comparisons that range from art to music to contemporary films such as 'Shakespeare in Love' and 'Being John Malkovich....' Thought-provoking and even funny, challenging but also accessible to amateurs who read history but are ready to think more seriously about its methodology."--Associated Press (in The Chicago Tribune)"This is another of those books that rewards the effort it requires. Besides providing invaluable insights into how the historian goes about his business, it teaches--like all really good books--of life beyond its boundaries."--Colin Walters, Washington Times"Entertaining, masterful disquisition on the aims, limitations, design, and methods of historiography.... Employing a wide range of metaphors (from Cleopatra's nose to Napoleon's underwear), displaying an extensive knowledge of current thinking in mathematics, physics, and evolutionary biology, alluding frequently to figures as disparate as Lee Harvey Oswald, Gwyneth Paltrow, John Lennon, and John Malkovich, Gaddis guides us on a genial trip into the historical method and the imagination that informs it.... Provocative, polymathic, and pleasurable."--Kirkus Reviews"The Landscape of History explores recent, surprising convergences of natural science and human history and does so with clarity, charm and easy erudition. Gaddis's book is a real tour de force: a delight to read, and a light-hearted celebration of the odd, 'fractal' patterns that intellectual and other forms of human and natural history exhibit."--William H. McNeill"In this landmark study Gaddis brilliantly distills many of his previous analyses of the relationship of historical thinking to the social sciences and the hard sciences as well."--Alexander George, Professor Emeritus, Stanford University

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Product details

Series: INAUGURAL LECTURES

Hardcover: 208 pages

Publisher: Oxford University Press; 1st US Edition 1st Printing edition (September 2002)

Language: English

ISBN-10: 0195066529

ISBN-13: 978-0195066524

Product Dimensions:

8.6 x 0.8 x 5.6 inches

Shipping Weight: 13.8 ounces (View shipping rates and policies)

Average Customer Review:

4.0 out of 5 stars

52 customer reviews

Amazon Best Sellers Rank:

#58,761 in Books (See Top 100 in Books)

This book is packed! Being a beginner to this type of historical investigative methodology, I found it a little difficult to grasp at first (a little dry, as science details can sometimes be), yet ultimately leading toward a hope of historical consciousness. Gaddis lists I think 6 examples with a detailed description of various ways and comparisons, and examples of historical hard science methods of investigation and its seeming evidence gathering (he calls general particularization through "continuities" of which the "new science" takes general ideas, findings of phenomenon that do not form patterns of history and manipulates them as evidence to a particular conclusion to historical methods. Historians attempt, as best they can, to connect through contingencies (and other methods) that is, through investigation and actual evidence (s) finding patterns that extend over time, though sometimes both are needed). I enjoyed in his last chapter his brief summary of these methods, using the cover of the book, a man, from his back, facing fog covered mountains and a camera pulling away from a deserted island of a vast continent to point to: simultaneous significance/insignificance, detachment/engagement, adventure and danger (historical landscaping) as polarities of what historical consciousness is and how it all points to an understanding of our future.

The Landscape of History is based on the series of lectures presented by John Lewis Gaddis during his Eastman Visiting Professorship at Oxford University. In them, he presents his thoughts on how and why historians pursue their profession.ScopeThe historian is a traveler in time and space with the freedom to (1) select the specific times and places, (2) simultaneously examine events that were originally separated in time and/or space, and (3) adjust the scale of his research from the micro to the macro in time, space, and events.History as Cartography?The historian creates a map, a representation of history, much as a cartographer creates a map that represents a portion of the earth's surface. Neither representation can capture all the detail of the original. Each must focus on a subset of the original chosen to illustrate specific features.History as Science?History can be thought of as a form of remote sensing. It employs thought experiments similar to those in such non-experimental sciences as geology, astronomy and evolutionary biology. These sciences, like history, are not replicable. Perhaps they are a form of history.History as Social Science?The social sciences (economics, sociology, some might include psychology) are intently focused these days on developing predictive models and identifying independent variables. Physics-envy, Gaddis calls it. The trouble is that there really are no independent variables. The Fed can change interest rates, but they do that in response to inflation. Inflation depends on the growth of the money supply which, in turn, responds to changes in interest rates. So, where is the independent variable? Rather than taking the reductionist approach of the social sciences, historians take an ecological approach, viewing events as part of an interacting system. Their goal is to understand what happened in the past, why and how it was significant, but not to predict the future.Narrative versus ModelsHistorians present their results in the form of narratives rather than models, and, as a result, their work is accessible to a much wider audience.Biography is a particularly difficult form of history. To be successful, the biographer must see the world and history through the eyes and mind of his subject and chronicle not only what the subject did but why. But then, having mind-melded with the subject, the biographer must break the bond in order to provide an objective assessment of the subject.The historian develops a representation of history, with the passage of time, may become the perceived historical reality. This creates a special responsibility. Moral judgments are an integral part of writing history. There is a currently popular "post-modern" urge among some academics to write purely factually, non-judgmentally, but how can one not judge Hitler, Lenin and Stalin, Mao, Pol Pot, or bin Laden? The difficulty is to judge in a manner that convinces both professional historians and non-professionals.As a leading historian of the Cold War, Gaddis confronted one problem most historians experience only in their nightmares: The subjects of his research (many of whom were or are still alive) could and did confront him and challenge his narratives. Perhaps he envies the medievalists who are only confronted by Banquo's ghost.ConclusionsGaddis ends on an optimistic note: The sources of oppression are lodged in time and are not independent of time. We can escape then. But that is not to say that new sources will not arise.Historians' purpose is to help define the optimal balance within ourselves and within society between oppression and liberation. Here oppression and liberation are not limited to the conflict between the individual and society or government. They include conflicts within ourselves. Gaddis makes the interesting point that we need balance between oppression and liberation, not the elimination of oppression and maximization of liberation. Some (mild) forms of oppression are essential to stimulate growth, to interact constructively with society, to cope with life. The goal is to achieve an optimal balance in order to grow, to mature, to understand ourselves in relation to society.Reviewer's CommentsThe Landscape of History was both interesting and fun to read. Gaddis has retained much of the flavor of his original lecture series: The conversational tone and injections of subtle humor. I've read and reviewed several of his other books. I think this one gave me some insights into his methodology and work that I didn't get from his major works. I particularly enjoyed his comments on biography and will keep them in mind as I read his biography of George Kennan and contrast it with Kennan's autobiography.

John Lewis Gaddis' The Landscape of History is a scholarly yet very approachable work that successfully attempts to pick up the mantel of the famous scholars of historiography, specifically Marc Bloch and E. H. Carr. Gaddis' purpose is to encourage students and historians not only to reexamine the theories of Bloch and Carr in a more modern light, but also scrutinize the methodology that historians use, and more often than not, recoil from making explicit. Gaddis, in a veiled manner does refute some of the assumptions of postmodernism, primarily the extremist view that historians are unable to make conclusions about the past. Gaddis is content with inundating his work with metaphors, some of which span chapters to relate and clarify complex ideas and arguments to the reader since he claims that "we need all the help we can get" (pg 128). Gaddis, masterfully using this powerful tool, arrives at a concept of historical consciousness which he argues helps to establish human identity. In the course of this argument Gaddis explains how historians "achieve [this] state" (pg 129) through their manipulations of time and space, the mechanisms of structure and progress, and causation, contingency, and counterfactuals. He claims that the methodology that emerges, although long since said to be closer to the realm of the social science, actually uses methods and techniques more similar to paleontology, geology, and evolutionary biology since both require thought experiments.One of Gaddis' achievements is his ability to convey complicated ideas in a crisp, persuasive, and well-supported fashion. His primary tool is the use of extended metaphors, the most important being the painting The Wanderer above a Sea of Fog by Caspar David Friedrich, comparisons to sciences such as paleontology, and the length of Britain's coastline. Gaddis' exploration of metaphor of The Wanderer above a Sea of Fog spans his carefully unfolding arguments from beginning to end and each subsequent interpretation is added to by the next, providing a vast framework. These metaphors provide a point of reference for the reader and a visual embodiment of Gaddis' arguments. It encourages active participation by the reader in the argument and the layered interpretation exemplifies the complexity of his arguments and the complexities the historian faces in general.Gaddis argues that people cannot apply the `scientific method' to history, since historical events have already happened the causes cannot be proven with a physical experiment. But not all sciences use physical experimentation either. Paleography examines the remains and postulates from fossils that are millions of years ago. History and many sciences "start [s] with surviving structures;" the geologist studies an ancient formation, the historian his sources (pg 41). The conclusions are proven by thought experiments; however, the deductions made must be "tethered to and disciplined by their sources." Gaddis does not clearly state if history is a science, but declares that the "distinction would lie along the line separating actual replicability... from the virtual replicability that's associated with thought experiments" (pg 43). He is not skirting the issue for much it to be gained "by comparing what they do to what happens in other fields," namely, to illustrate facets of the historian's own methodology. This answer relates back to Gaddis' purpose, to argue that historians need to make their methodological approaches clear for "methodological innocence leads to methodological vulnerability" especially from the extremist critiques of the postmodernist (pg 51). Just as metaphors cannot convey the complexity in its entirety yet yield important benefits, comparisons to science allows the historian to examine their methodological methods.A critic of The Landscape of History probably would argue that the well-read student or historian already puts into practice, sometimes without knowing it, most of Gaddis' conclusions about methodology. However, Gaddis' purpose is not to belabor the obvious but rather to argue that historians need to make "their methods more explicit" (pg XI). This book rather, makes a point to examine these unconscious workings that once pointed out to us are often obvious. Like many historians and students Gaddis' admits that he also has questioned the benefit of history, a study that he has devoted his life to, and partially because of his unease he decided to write this book to reestablish in his own mind the importance of history (pg x). He concludes with the following powerful statements of the purpose of history which his metaphors slowly revealed: "by breathing life into whatever remains from another time... we thereby assure it a kind of permanence" (pg 140), the study "helps establish human identity" (pg 147), and by "learning about the past liberates the learner from oppressions earlier constructions of the past have imposed upon them" (pg 146). The most remarkable part of the book, and unfortunately the briefest, occurs on the last few pages where Gaddis argues that the "single most important thing any historian has to do.... is to teach" (pg 149). Gaddis' The Landscape of History is a fascinating and illuminating read for both the student and the historian.

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Get Free Ebook World War II: The Definitive Visual History from Blitzkrieg to the Atom Bomb

Get Free Ebook World War II: The Definitive Visual History from Blitzkrieg to the Atom Bomb

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World War II: The Definitive Visual History from Blitzkrieg to the Atom Bomb

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Review

"[A] striking coffee-table book…The first-rate illustrations, maps, and time lines make for a good introduction for all general readers embarking on study of this war." — Library Journal"[A] worthy book for the shelves of the serious student of war, or for the coffee table of any reader who seeks a comprehensive history of the world's greatest conflict." — BookPage"This ultimate World War II guide describes each momentous episode of the conflict, while simultaneously giving an overarching view of the war intended to end all wars." — History Channel Magazine"This is a good quick-reference source for information on not just what happened in this great conflict but also on the causes and consequences of it as well" — Booklist

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About the Author

DK was founded in London in 1974 and is now the world's leading illustrated reference publisher and part of Penguin Random House, formed on July 1, 2013. DK publishes highly visual, photographic nonfiction for adults and children. DK produces content for consumers in over 87 countries and in 62 languages, with offices in Delhi, London, Melbourne, Munich, New York, and Toronto. DK's aim is to inform, enrich, and entertain readers of all ages, and everything DK publishes, whether print or digital, embodies the unique DK design approach. DK brings unrivalled clarity to a wide range of topics with a unique combination of words and pictures, put together to spectacular effect. We have a reputation for innovation in design for both print and digital products.   Our adult range spans travel, including the award-winning DK Eyewitness Travel Guides, history, science, nature, sport, gardening, cookery, and parenting. DK’s extensive children’s list showcases a fantastic store of information for children, toddlers, and babies. DK covers everything from animals and the human body, to homework help and craft activities, together with an impressive list of licensing titles, including the bestselling LEGO® books. DK acts as the parent company for Alpha Books, publisher of the Idiot's Guides series and Prima Games, video gaming publishers, as well as the award-winning travel publisher, Rough Guides.

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Product details

Hardcover: 372 pages

Publisher: DK; Revised edition (May 5, 2015)

Language: English

ISBN-10: 1465436022

ISBN-13: 978-1465436023

Product Dimensions:

10.4 x 1.2 x 12.2 inches

Shipping Weight: 4.8 pounds (View shipping rates and policies)

Average Customer Review:

4.7 out of 5 stars

174 customer reviews

Amazon Best Sellers Rank:

#24,260 in Books (See Top 100 in Books)

I saw this in the bookstore of the Air and Space museum in DC and they wanted $40 for it, plus I couldnt fit it in my luggage. But I knew I had to have it. It's the most complete and detailed single-volume, all-encompassing WWII history book I've found. Other books may have more specific info about individual people or battles but this has all aspects covered at least briefly, and I think they did it very well. I keep it on my coffee table with a bookmark in it and have been steadily reading 1-2 pages a day while having coffee.The book came shipped in a box that was way too big for it, and had very minimal packing material. The dust cover was falling off and was creased in several spots. One corner of the book is smashed in from hitting the side of the box during shipping. This is Amazon's fault, and doesn't take away from the high quality of the book itself. Just be aware your book may not arrive in perfect condition due to lazy packers at the warehouse.

This was actually a gift to a customer who I assumed knew everything there was to know about WWII. He's read every book I've recommended and a few in German as well. When I bought this book I didn't know what his response would be but he said he uses it regularly. He'll read a different book about a certain battle or general and then he'll use this book as a reference guide. It's worth the money and it makes a great present for any WWII history buff.

DK Publishing provides a comprehensive and extensive source of information. The chronological timeline and concise narrative and amazing photographic display of World War II is an exceptional accompaniment to their companion publication of World War I. The Definitive Visual History From Blitzkrieg to the Atomic Bomb may be one of the most important resources when one may refer to a particular event of history for research and reference.However, the book may appear to be an encyclopedic format, it is more than that. In addition to the historical events, the important areas that are stressed within each of the pages include people, eyewitness, technological advancements that emerge during the war, critical points, and parallels to each theater of the war. But of course, the history of events are the highlight of the book, but one major element that may bring the history one step further are the unforgettable haunting images of hundreds of photographs that may not have been seen before as well as the maps and illustrations. Indeed, the tireless work of contributors that made this book possible cannot be overlooked such as editor Richard Holmes, consultants Charles Messengers and Jonathan Bastable, et al. that offered their expertise of archival, scholarly, and journalistic assistance to compile all of the information in one package. And for the narrative of World War II, each section begins with a timeline and a brief overview of World War I in 1914 within 42 pages to set the stage by 1939 to what led to the Second World War in Europe and Asia and the Pacific; the war was a continuum to the first of unresolved issues within economic, political, and social proportions that were also linked to cultural traditions that became skewed in interpretations. Importantly, a war that expanded beyond territories and peoples that were not in conflict during the first war, especially in Asia and the Pacific islands. Richard Holmes asserts, “The events of the war were inter-related by long and complex threads, and it is misleading to consider any single episode, no matter how significant, in isolation. One of the many virtues of this book is that it tells, on the one hand, the stories of specific battles and campaigns but, on the other, its layout enables the reader to see how these relate to previous and subsequent events”(Foreward).Aside from the layout of the book, it is a coffee table or one’s personal source to one of the most climactic events in world history and vividly exhibits year by year of the origins of how the war occurred. And similar to World War I, this book enlarges every important source that is included in this edition and concludes with an after thought with the last pages that mention the years to follow 1946-1950. No doubt, a great source and topic up for further discussion that may elaborate on war and remembrance.

Colorful, loaded with maps, timelines, sidebars and biographies of key figures during the war, this is truly a definitive guide that serves as a great introduction into the complexities of World War II or as a refresher for those who are more well-read on the conflict.The writing is crisp and direct, though by its nature may not shed a lot of new light on the topic.My only minor criticisms are occasional typos, such as a missing preposition or article, but not nearly as distracting as in some other non-Smithsonian DK produced books.Otherwise this is a very easy and engaging read organized in such a way as to easily see how one event led to another, and another ... and another.If anything, this book could be even longer, perhaps with more first-hand accounts. Highly recommended.

The contents of this bio are incredible, but the spine of the book disintegrated.

I ordered this book together with the other WW1 Visual History book. The layout and the included pictures in both books are great. With regards the textual content, it's more than necessary for the type of information they're trying to convey. They have to condense each aspect of the war in 1 or 2 pages, which is tough. People who are looking for more depth should read other books dedicated to each subject (e.g. there are really more than enough good books on The Battle of Hürtgen Forest, or Ardennen offensive etc.).But as a reference book for quick information or just plain browsing, this book, like most DK books, is great and serves its' purpose (also looks good in a bookcase btw).

Yes, history does have a way of repeating itself, but, in this text, it repeats itself in a fantastical way. I love military history and I just couldn't help myself to have a peek at this book. Absolutely outstanding! Now, I've read quite a few military books and this one in particular about WWII is quite impressive, not to mention the text covered. Yeah, there's always going to be a few photographs you have seen in other books, bound to be in this one, but compiled from amazing resources and, to say the least, impressive photos that I have not seen throughout other books. This book, "the visual history" states exactly that! Trust most any book or collection that states this claim, "VISUAL HISTORY." Generally, speaking, these types of newly released books are ones to be reckoned with compared to other sources.WELL WORTH THE MONEY.

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World War II: The Definitive Visual History from Blitzkrieg to the Atom Bomb PDF

World War II: The Definitive Visual History from Blitzkrieg to the Atom Bomb PDF

World War II: The Definitive Visual History from Blitzkrieg to the Atom Bomb PDF

World War II: The Definitive Visual History from Blitzkrieg to the Atom Bomb PDF

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