Born with a split lip and cleft palate, Toshy Wolfman's life is an uphill battle. Believing he is dim-witted and ugly, Toshy finds his resentment slowly building as he is ridiculed, used, and misled. Ultimately, he is imprisoned after being caught stealing a valuable and famous diamond, the Orange Sunset. But Toshy's story is not his alone - it is shared with his two sisters: Lil, a radical and a devotee of anarchist Emma Goldman; and Bessie, who goes to work for one of Goldmans enemies, the owners of the Orange Sunset. Toshy's love for his sisters drives him to make some of the bravest decisions of his life. But despite having seemingly overcome his obstacles, an aging Toshy stuns his nephew by asking for his assistance in committing suicide.Toshy wont fully explain his decision. Nor will he fully explain why, at this late stage in life, he is obsessed with making a journey to France.

"Franz Baermann Steiner (1909-52) provided the vital link between the intellectual culture of central Europe and the Oxford Institute of Anthropology in its post-Second World War years. This book demonstrates his quiet influence within anthropology, which has extended from Mary Douglas to David Graeber, and how his remarkable poetry reflected profoundly on the slavery and murder of the Shoah, an event which he escaped from. Steiner's concerns including inter-disciplinarity, genre, refugees and exile, colonialism and violence, and the sources of European anthropology speak to contemporary concerns more directly now than at any time since his early death"--

War gaming has become a characteristic feature of modern life. From amateur clubs to professional academicians playing the war game in the company of military circles, we have come up against the phenomenon of the "robotization" of human life. Irving Louis Horowitz argues that those who protest the idea that war is a game do so on moral grounds that leave unanswered tough questions: What is the alternative to playing the game? What will become of us if we allow the opponent to become the better "player" in an all-or-nothing game of extinction? Horowitz provides answers in a logical manner while focusing on facts and ethical alternatives to risky ethics. The work is divided into three sections: The New Civilian Militarists, Thermonuclear Peace and Its Political Equivalents, and General Theory of Conflict and Conflict Resolution. Included are such topics as arms, policies, and games; morals, missiles, and militarism; and conflict, consensus, and cooperation. Horowitz concludes that it is time to register the fact that the basic option to destructive uses of science is not traditional morality, but better science--a science of survival. With a new introduction by Howard Schneiderman along with a major essay and other materials not included in the original edition, this classic work is a worthy contribution to intellectual debate in the twenty-first century and a must read for military strategists, sociologists, and historians.

This book obviously does not set out a complete record of the Nixon scandals or of the Nixon career. It doesn't even include all the cartoons about Nixon or relating to him--which probably number more than those Block did on almost any other public figure (good or bad), including such long-in-the-limelight persons as Franklin D. Roosevelt and Joseph Stalin. It does include a large number of the Nixon cartoons, along with dates of some incidents, and comments and recollections about their subject--a political career which in some way has affected all of us.

These articles, written over a period of time from the end of World War II to the American invasion of Vietnam, expose the deception propagated by various administrations and their apologists. That deception was the claim that the United States Government was fighting for "freedom and democracy".

"The available sources on Hasidic society at the turn of the twentieth century create an impression of discontented Jewish youth and panicked parents, but not inexorable crisis and decline. Though the First World War and post-war pogroms further destabilized Hasidic society, they inadvertently created opportunities for the reinvention and revitalization of traditionalist education. The challenges of the early twentieth century would prove more galvanizing than demoralizing for certain visionary, reform-minded Hasidic leaders"--

For centuries, knowledge has been thought to be the key to human progress of all kinds and has dominated Western culture. But what if knowing has now become an impediment to further human development? The End of Knowing is concerned with the practical consideration of how to reconstruct our world when modernist ideas have been refuted and many social problems appear insoluble. Newman and Holzman suggest provocatively that we should give up knowing in favour of "performed activity." They show how to reject the knowing paradigm in practice and present the many positive implications this has for social and educational policy.

"This is a biography of labor and political activist Frank Lumpkin featuring his leadership of the struggle to recoup the pensions of the former work force at Republic Steel"--

From the beginning, myths have told of women who lived apart from men -- the Sirens who sang on the Aegean rocks, the Amazons of the Brazilian jungle, the self-reproducing women on islands in Polynesia, to mention only a few. As this theme emerged in her own fiction, Batya Weinbaum became intrigued by its persistence across time and cultures and began tracing it in literature and mythology, as well as in actual locales that are or were said to be islands of women. In this fascinating, interdisciplinary book, she explores how the myth of Amazons has served varying psychological needs in different cultures over time. Weinbaum first analyzes various historical interpretations and uses of the Amazon archetype, some designed to empower women, others created by men to disempower them. She next turns to the original Greek context, in Homer's epics and other aspects of Greek culture, and then traces how Amazons eventually evolved into negative representations of paganism. Moving from Rodriguez de Montalvo's fifteenth-century Sergas de Esplandian, which imagined an island of women in the New World, Weinbaum concludes with revealing fieldwork she conducted on Isla Mujeres (Island of Women) off the Yucatan Peninsula, which included giving birth with the participation of a native Maya midwife. Batya Weinbaum is Assistant Professor of English at Cleveland State University. She founded and edits the journal Femspec.

A new translation of a forgotten masterpiece of German World War I literature, based on the author's own first-hand experiences of combat The war, an operation instigated by men, still felt to him like a storm decreed by fate, an unleashing of powerful elements, unaccountable and beyond criticism. Arnold Zweig's novel was first published in 1933 and is based on his own experiences in the German army during World War I. Following the unlawful killing of his younger brother by his own superiors, Lieutenant Kroysing swears revenge, using his influence to arrange for his brother's unit, normally safely behind the lines, to be reassigned to the fortress at Douaument, in the very heart of the battle for France. Bertin, a lowly but educated Jewish sapper through whose eyes the story unfolds, is the innocent man caught in the cross-fire. The book not only explores the heart-breaking tragedy of one individual trapped in a nightmare of industrialized warfare but also reveals the iniquities of German society in microcosm, with all its injustice, brutality, anti-Semitism, and incompetence. A brilliant translation captures all the subtleties, cadences, and detachment of Zweig's masterful prose.

E. Howard Hunt, who sued this author for writing about his involvement in the JFK assassination or "The Big Event" confessed to being part of the crew and named Frank Fiorini Sturgis as one of principals; Coup D'Etat in America was the book that inspired Congressman Henry Gonzalez to introduce a bill in Congress that led to the formation of House Select Committee on Assassinations. This is a longer updated version. It is based on the theory that the three tramps who were picked up about an hour after the Kennedy Assassination (not to be confused with the three real bums who were picked up right after the big event - Oliver Buck Revell of FBI Dallas FO floated this story to discredit the tramp theory) were E. Howard Hunt, CIA official who was instrumental in the overthrow of Arbenz of Guatemala and was deeply involved in the Bay of Pigs fiasco, Frank Fiorini Sturgis, a leader of Operation 40 which involved assassinating all the Communists and their families in Cuba after Castro was deposed, and David Lemar Christ, who was locked up and tortured by Castro for bugging the ChiCom wire service and released in April 1963 in a prisoner exchange. It also documents the part that James Angleton played in Oswald's defection to the Soviet Union and Oswald's role in sabotaging an upcoming USSR USA Summit conference. Coup is based on years and years of research at NARA, Federal Court houses, personal interviews and the information I bought from Gerry Patrick Hemming, the man who brought Oswald into the mix and had him believing that he was running a counter-intelligence operation against the Cubans by trying to visit Cuba, by forming the Fair Play for Cuba Committee and other of Oswald's shenanigans. Hemming offered Oswald twice the cost of his rifle and told him to bring it to the TSBD on November 22, 1963. Oswald didn't have a clue that the big event was going down. Hemming tried to set me up for a fall to work off a beef. He said he knew of a lab where the Yippies could construct an atomic IED. Just taking a step in that direction is conspiracy. I told him my name was no Oswald. Coup also documents Jack Ruby's part in the conspiracy as the CIA and the Mafia had worked together to assassinate Fidel Castro. But Jack's flunkie Tippet messed up because Oswald had realized he was a patsy in the big event by this time and took Tippet out before Tippet could take him out as Ruby had ordered. Oswald had heard Hemming talk about scenarios where patsy's get blown away and suddenly realize that his old Marine buddy had set him up. This book in constantly being updated.

This major collection of essays challenges many of our preconceptions about British political and social history from the late eighteenth century to the present. Inspired by the work of Gareth Stedman Jones, twelve leading scholars explore both the long-term structures - social, political and intellectual - of modern British history, and the forces that have transformed those structures at key moments. The result is a series of insightful, original essays presenting new research within a broad historical context. Subjects covered include the consequences of rapid demographic change in the eighteenth and nineteenth centuries; the forces shaping transnational networks, especially those between Britain and its empire; and the recurrent problem of how we connect cultural politics to social change. An introductory essay situates Stedman Jones's work within the broader historiographical trends of the past thirty years, drawing important conclusions about new directions for scholarship in the twenty-first century.

Quasi una Fantasia contains Adorno‘s own selection from his essays and journalism over more than three decades. In its analytical profundity it can be compared to his Philosophy of Modern Music or his monographs on Berg, Mahler and Wagner. Its themes and references range from Mozart to Boulez, the minuet to the jitterbug. At the book‘s core are studies of the founders of modern music: Mahler, Schoenberg and Berg, as well as sympathetic rediscoveries of Zemlinsky and Schreker. Especially significant is Adorno‘s “dialectical portrait” of Stravinsky, in which he refines the damning indictment he gave in Philosophy of Modern Music. In “Vers une musique informelle” he plots a course for a music of the future” which could take up the challenge of an unrevised, unrestricted freedom.” More unexpecedly, there are moving accounts of earlier works, such as Bizet‘s Carmen and Weber‘s Der Freischutz, along with “Natural History of the Theatre,” which explores the rituals and hierarchies of the auditorium, from dress circle to foyer. Musical kitsch, be it Gounod‘s “Ave Maria” or the “Penny Serenade,” is the target of several of the shorter pieces. Yet even while Adorno demolishes “commodity music” he is sustained by the conviction that music is supremely human because it retains the capacity to speak of inhumanity and to resist it.