Book by Halevy, Elie

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Yvonne Kapp, best known today for her biography of Eleanor Marx, was a remarkable woman whose life spanned virtually the entire twentieth century. "Time Will Tell" charts her life: 'enfant terrible' in London, the literary editor of "Vogue" in France in the late 1920s, work for anti-fascist refugee committees in 1930s' London, research for the Amalgamated Engineering Union and the British Medical Research Council, then, in her later years, work as a translator and a biographer. Kapp is a gifted writer on the details of family life and a fine recorder of shifting political and cultural patterns. Accounts of the many encounters she had with various important figures--Quentin Bell, Rebecca West, Paul Robeson, John Heartfield, Melanie Klein and Herbert Morrison, to name only a few--are expertly woven into the fascinating story of her own life. This is the autobiography of a woman who took issue with the dominant political movements of her age, with Fascism and with Communism, while at the same time reflecting on the changing cultural and political climate in Britain during her lifetime.

In this collection, Maureen Lipman presents a variety of her adventures and views on topics as diverse as supermodels, sleeping policemen, cones, Cohens and critics. She also wards of awards, salutes Streisand and snuggles down with something with a hard spine.

In her inimitable, stylish, witty way, Maureen Lipman entertains us with stories from her personal and professional life over the last 25 years.

Text: English (translation) Original Language: German

Albert Meltzer (1920-whenever) has been involved actively in class struggles since the age of 15; exceptionally for his generation in having been a convinced Anarchist from the start, without any family background in such activity. I Couldn't Paint Golden Angels is a lively, witty account of what he claims would have been the commonplace life of a worker but for the fact that he spent sixty years in anarchist activism. As a result it is a unique recounting of many struggles otherwise distorted or unrecorded, including the history of the contemporary development of anarchism in Britain and other countries where he was involved, notably Spain. His story tells of many struggles, including for the first time, the Anglo-Spanish cooperation in the post-War anti-Franco resistance and provides interesting sidelights on, amongst others, the printers' and miners' strikes, fighting Blackshirts and the battle of Cable Street, the so-called Angry Brigade activities, the Anarchist Black Cross, the Cairo Mutiny and wartime German anti-Nazi resistance, the New Left of the 60s, the rise of squatting - and through individuals as varied as Kenyata, Emma Goldman, George Orwell, Guy Aldred and Frank Ridley - all of which have crowded out not only his story, but his life too.

This book explores how recollections and traces of the reign of Richard III survived a century and more to influence the world and work of William Shakespeare. In Richard III, Shakespeare depicts an era that had only recently passed beyond the horizon of living memory. The years between Shakespeare's birth in 1564 and the composition of the play in the early 1590s would have seen the deaths of the last witnesses to Richard's reign. Yet even after the extinction of memory, traces of the Yorkist era abounded in Elizabethan England - traces in the forms of material artefacts and buildings, popular traditions, textual records, and administrative and religious institutions and practices. Other traces had notoriously disappeared, not least the bodies of the princes reputedly murdered in the Tower, and the King's own body, which remained lost until its apparent rediscovery in the summer of 2012. Shakespeare and the Remains of Richard III charts the often complex careers of these pieces of the past over the course of a century framed on one side by the historical reign of Richard III (1483-85) and on the other by Shakespeare's play. Drawing on recent work in fields including archaeology, memory studies, and material biography, this book offers a fresh approach to the cultural history of the Tudor era, as well as a fundamentally new interpretation of the wellsprings and preoccupations of Richard III. The final emphasis is not only on what Shakespeare does with the traces of Richard's reign but also on what those traces do through Shakespeare - the play, in spite of its own pessimistic assumptions about history, has become the medium whereby certain fragments and remains of a long-lost world live on into the present day.

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Miriam Karlin is that rare creature: a pillar of the British acting establishment who is at the same time a thoroughgoing maverick. This autobiography is free of self-justification and recrimination, and full of the passion and earthy humour of one of our finest character actors.

This candidly written autobiography of Sir Michael Kerr chronicles the life of one of Britains most prominent judges of the 70s and 80s from his Continental childhood up to his career in the Court of Appeal and beyond. In the first part of his memoir,the author traces his family history and Germanic roots. His father, Alfred Kerr, was a well-known dramatic critic and essayist, whose writings were widely known throughout Germany from the turn of the century and have recently seen a resurrection, 50 years after his death, as related in the last chapter of the book. But because of the fame of his anti-Nazi writings and broadcasts, the Kerrs were forced to flee from Berlin as early as 3 March 1933, when Hitler came to power. The author and his sister Judith, later to become a famous author of childrens books, had a relatively happy cosmopolitan childhood in Zurich, Paris, Nice and ultimately England. But their parents lives remained on the edge of poverty and sometimes despair and there was never again a family home. The memoirs then tell of his years at Aldenham School and the beginnings of Cambridge, and of his assimilation into the English way of life. They relate the story of his internment as an enemy alien in 1940 and of his subsequent release and service as a pilot in the Royal Air Force until the end of World War II. The author then returned to Cambridge to finish his law degree and was urged to go the Bar. The later chapters of this autobiography are mainly devoted to the law. They recount the authors career as a leading commercial Junior and then a Silk, his initial hesitations about the Bench, but ultimately culminating in his appointment as a Lord Justice of Appeal. He describes the Bar of the post-war decades and is frank about the frustrations and disappointments of his career. He also provides insights into the oddities of the English legal system, but maintaining throughout his firm belief in the importance of an independent Bar.

This is a rare account of the horrors of the WW2 death camps from someone who experienced them. Born into an Orthodox Jewish family in Prague, Hoffman lost his entire family in the Holocaust. Fourteen-year-old Martin Hoffman escapes immediate death on arrival at Auschwitz by claiming to be eighteen. Through a combination of chutzpah and luck, he first survives a year at Auschwitz, then the Death March to Buchenwald, and stays alive until the camp is liberated by American troops. After relocating to England, Hoffman is tortured by survivor's guilt, which leads to episodes of deep depression. He learns a trade (diamond-cutting), but eventually discovers two things: a talent for bridge, and a fascination with gambling. As he finds success with the first, becoming a world-class professional player, the second almost destroys him. It is only later in life, with the help of his wife Audrey, that Hoffman is able to overcome his dark memories, conquer his addiction to gambling, and finally find contentment in a new life in Florida.

Sir Leon Radzinowicz is one of the key figures in the development of criminology in the twentieth century. This account of the development of criminology intertwines his personal narrative as a criminologist with the progression of criminology itself. His experience gained from a career which has spanned 70 years since the 1920s, offers a profound overview of how the understanding of crime and criminals, of criminal justice systems and penology has changed, and of the tensions and dilemmas these pose for democratic societies.

Pp. 1-7 contain the story of Greenman, told in his own words. A Jew born in London, he lived with his wife and small son in Rotterdam. In 1942, disregarding his British nationality, the Nazis sent him and his family to Westerbork and then to Auschwitz, where his wife and son were killed. In January 1945 Greenman was sent on a death march and transport to Buchenwald, where he was liberated by the American army. After the war he returned to England. Startled by British ignorance of the Holocaust, he began to recount his experiences to students. Pp. 8-13 contain guidelines for teachers using Greenman's story for Holocaust education.

The Iron Chancellor, Otto von Bismarck, leader of the rising German Empire based on Prussian militarism and discipline, and Lord Odo Russell, Britain's Liberal Ambassador when her empire was at its most powerful, serene and confident, were politically and socially worlds apart. Their remarkable friendship, which is examined in this volume, endured intense national rivalry which would change the face of Europe and the world, and end in world war. The author sets out to illustrate major themes of the relationship between Bismarck and Russell: the Franco-Prussian war; Turkey as "the sick man of Europe", and the Eastern Question; relations with France, Russia and other European powers; the beginnings of imperial rivalry; and the clash of ideologies between liberal Anglo-Saxon beliefs and the militarism of the new Germany. Emerging from the text is a picture of the German Imperial court and of British political society at its highest.

Jack Rosenthal had always resisted writing an autobiography until he hit on an original way of writing it that excited him: it would be as a screenplay, with himself as the central character, the storyline that of his own life, the supporting cast drawn from the many wonderful and sometimes eccentric people who touched, shaped and shared that life. What a prospect, coming from the author of such memorable classics as 'Bar Mitzvah Boy', 'The Evacuees', 'London’s Burning', 'The Knowledge' and 'P’tang Yang, Kipperbang', a writer who uniquely won three successive BAFTA Awards. The story moves from Manchester in the 30s – via school, evacuation, university, the Navy, the early days of Granada TV (he wrote 129 pioneering episodes of 'Coronation Street'), the ‘Busby Boys’, marriage and life with Maureen Lipman, fatherhood, writing his famous plays, working with Barbara Streisand – to Muswell Hill in the 90s. Sharp, funny, evocative, teeming with memorable stories and characters, this is an autobiography like no other ... but then, its author is Jack Rosenthal.

Jack Rosenthal had always resisted writing an autobiography, until he hit on an original way of writing it that excited him--it would be as a screenplay, with himself as the central character, and the supporting cast drawn from the many wonderful and eccentric people who touched, shaped, and shared that life. What a prospect, coming from the author of such memorable classics as Bar Mitzvah Boy, The Evacuees, London's Burning, The Knowledge, and P'tang Yang, Kipperbang, a writer who uniquely won three successive BAFTA Awards. The story moves from Manchester in the 30s--via school, evacuation, university, the Navy, the early days of Granada TV, marriage and life with Maureen Lipman, fatherhood, writing the famous plays, and working with Streisand--to Muswell Hill in the 90s. Sharp, funny, evocative, teeming with memorable stories and characters this is an autobiography like no other.