Peter Giles (1860-1935) spent most of his working life at Emmanuel College, Cambridge. In addition to obtaining first-class degrees at Aberdeen and Cambridge, he attended the lectures in Germany of the philologist Karl Brugmann, which resulted in this 1895 book, bringing to Britain the ideas of the Neogrammarians. As Giles explains in his preface, it is intended for 'Classical students who, without being professed students of Comparative Philology, desire some acquaintance with its principles as applied to Latin and Greek'. Part I discusses comparative philology and the Indo-European languages in general; Part II, the specifics of phonetics and phonology in Latin and Greek; and Part III deals with morphology. This useful guide was Giles' only book, but he contributed to the Cambridge Ancient History and the Cambridge History of India, and was the single most prolific contributor on language-related topics to the eleventh edition of the Encyclopaedia Britannica.

Drawn from his long experience as a cathedral lay clerk and solo singer, Peter Giles provides a comprehensive guide, from the making of the first sounds to acquiring the complete technique. The vital aspects of resonance, different registers, breathing and vocal agility are all carefully explained, in words and also with special drawings created by the author. There are graded vocal exercises to encourage the production of the sounds that have been so thoroughly explained - it is in fact the complete manual for the teacher and the would-be countertenor.

OSCAR AND LUCINDA is a sweeping, irrepressibly inventive novel set in nineteenth-century England and Australia where the two potential lovers lead parallel lives until chance brings them together on board ship. A narrative tangle of love, religion, gambling, commerce and colonialism culminates in a nightmare expedition - the result of a wager - to transport a glass church across the Australian wilderness. In TRUE HISTORY OF THE KELLY GANG the legendary Australian outlaw Ned Kelly speaks for himself in a voice that is direct, colloquial, theatrical, and utterly magical. To his pursuers he is nothing but a monstrous criminal, but to his own people he is a hero, defying British imperial authority in support of the poor Irish settlers who are its victims. In a dazzling act of ventriloquism, Carey brings the famous bushranger unforgettably to life.