This is an outstanding introduction to Gothic. There are 23 lessons, each with a short section on grammar, relevant vocabulary, and practice exercises. This edition also contains all extant portions of the Gospels, as well as excerpts from some of the Pauline Epistles. The grammatical lessons have parallel lessons, at the back of the book in the "historical grammar", which detail the historical linguistic background of the relevant lesson, offering details about the evolution of the Gothic forms from Proto-Germanic, and comparison with other developments in Indo-European. Each lesson of the historical grammar also contains an etymological analysis of each word from the vocabulary list for that lesson.
Here's the way I used this book: after about 5 lessons, I stopped using the historical grammmar together with the lessons; I found it rather distracting, so went through that later, after I had completed the lessons. I read through one lesson per week, and wrote down all of the vocabulary, fully conjugated and declined, in a notebook. As I progressed, I rotated through previous lessons sequentially, at least one per week.
The exercises are the greatest strength of this book; one can find good comparable Gothic grammars elsewhere. Lambdin's exercises, entirely in Gothic, are divided into 3-4 sections per lesson. The first section, in the earlier lessons, is a simple noun phrase (the men, of the man, etc.). The second is a longer, prepositional phrase (in the fields of this land, against the law of the king, etc.). The last section of exercises contains complete sentences, which, in the later lessons, are grouped together into little narratives. The beauty of this approach, as opposed to the traditional method of beginning a lesson with a short text, usually with one occurrence of each word from the vocabulary, is that the student gets a lot of practice seeing a particular verb or noun in various states of conjugation and declension. I used these exercises for my rotating review of previous lessons each week, and to my great pleasure, I made a lot of progress in Gothic.
One idiosyncrasy of this book is the treatment of the digraphs (au, a'u, au'; ai, a'i, ai'). Lambdin points out that there is no evidence that this distinction was present in Gothic pronunciation, so he treats them all as (au, ai). Although he is perhaps technically correct, every other instance of Gothic in every other book I have ever seen maintains this three-way distinction in these digraphs; it is, as he said, a venerable practice in I-E studies, and so his method frankly looks strange, and seems to me a little petty or cantankerous. Going from this book to another one, as I did, requires the student to learn to pronounce the distinction anyway.
All in all, though, this book is a great way to learn Gothic, one of my favorite languages.