Army Pathfinders. The vanguard of the Allied forces in World War II Europe. Countless times they preceded invasions and battles vital to bringing the enemy to its knees.Because before the front lines could move forward, the Pathfinders had to move behind enemy lines . . .The first into combat, and the last out, their advance jumps into enemy territory were considered suicide missions by those who sent them into action. World War Two’s special operations commandos, they relied on their stealth, expert prowess, and matchless courage and audacity to set the stage for airborne drops and glider landings throughout Europe.They were born of hard necessity. After the invasion of Sicily almost ended in disaster, General Jim Gavin was determined to form an all-new unit of specialized soldiers who would jump ahead of the airborne forces—including the now legendary Easy Company—without any additional support, stealing across enemy terrain to scout and mark out drop zones with a unique array of homing equipment.Sporting Mohawk haircuts, war paint, and an attitude of brash confidence, they were the best of the best. Their heroic feats behind the lines were critical to nearly all of the Allies’ major victories from Normandy to snowy Bastogne—where they saved the day for thousands of besieged American troops in an operation almost forgotten by history—to the attack on the Ruhr River in Germany.This is the story of the U.S. Army Pathfinders—their training, bonding, and battlefield exploits—told from the perspectives of the daring men who jumped and the equally bold transport crews who risked everything to fly them into action.INCLUDES PHOTOS

    It examines the physical conditions of fighting, the particular emotions and behaviour generated by battle, as well as the motives that impel soldiers to stand and fight rather than run away.In his scrupulous reassessment of three battles, John Keegan vividly conveys their reality for the participants, whether facing the arrow cloud of Agincourt, the levelled muskets of Waterloo or the steel rain of the Somme.

    According to intriguing reports I had heard, it was the custom, on their kibbutzim already established in Palestine, for boys and girls under the age of eighteen to shower together. Hashomer Hatza'ir members in Montreal included a boy I shall call Shloime Schneiderman, a high-school classmate of mine. In 1944, when we were still in eighth grade, Schloime enjoyed a brief celebrity after his photo appeared on the front page of the Montreal Herald. Following a two-cent rise in the price of chocolate bars, he had been a leader in a demonstration, holding high a placard that read: down with the 7cents chocolate bar. Hashomer Hatza'ir members wore uniforms at their meetings: blue shirts and neckerchiefs. "They had real court martials," wrote Marion Magid in a memoir about her days in Habonim in the Bronx in the early fifties, "group analysis, the girls were not allowed to wear lipstick." Whereas, in my experience, the sweetly scented girls who belonged to Young Judaea favored pearls and cashmere twinsets. They lived on leafy streets in the suburb of Outremont, in detached cottages that had heated towel racks, basement playrooms, and a plaque hanging on the wall behind the wet bar testifying to the number of trees their parents had paid to have planted in Eretz Yisrael, the land of Israel.I joined Habonim -- the youth group of a Zionist political party, rooted in socialist doctrine -- shortly after my bar mitzvah, during my first year at Baron Byng High School. I had been recruited by a Room 41 classmate whom I shall call Jerry Greenfeld..."

    As editor Charlotte Mosley notes, not since the Brontës have the members of a single family written so much about themselves, or have been so written about. The Mitfords offers an unparalleled look at these privileged sisters: Nancy, the scalding wit who transformed her family life into bestselling novels; Pamela, who craved nothing more than a quiet country life; Diana, the fascist jailed with her husband, Oswald Mosley, during World War II; Unity, a suicide, torn by her worship of Hitler and her loyalty to home; Jessica, the runaway Communist and fighter for social change; and Deborah, the genial socialite who found herself Duchess of Devonshire. Spanning the twentieth century, the magically vivid letters of the legendary Mitford sisters constitute not just a superb social and historical chronicle; they also provide an intimate portrait of the stormy but enduring relationships between six beautiful, gifted and radically different women who wrote to one another to confide, commiserate, tease, rage and gossip -- and above all, to amuse.

    They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso , Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.

    They distributed anti-Nazi leaflets, printed subversive newspapers, hid resisters, secreted Jews to safety, transported weapons, and conveyed clandestine messages. The youngest was a schoolgirl of fifteen who scrawled "V" for victory on the walls of her lycée; the eldest, a farmer's wife in her sixties who harbored escaped Allied airmen. Strangers to each other, hailing from villages and cities from across France, these brave women were united in hatred and defiance of their Nazi occupiers.Eventually, the Gestapo hunted down 230 of these women and imprisoned them in a fort outside Paris. Separated from home and loved ones, these disparate individuals turned to one another, their common experience conquering divisions of age, education, profession, and class, as they found solace and strength in their deep affection and camaraderie.In January 1943, they were sent to their final destination: Auschwitz. Only forty-nine would return to France.A Train in Winter draws on interviews with these women and their families; German, French, and Polish archives; and documents held by World War II resistance organizations to uncover a dark chapter of history that offers an inspiring portrait of ordinary people, of bravery and survival—and of the remarkable, enduring power of female friendship.

    It was also the first age of cultural globalization—an epoch when mass communications and high-speed rail travel brought Europe together, overcoming the barriers of nationalism and facilitating the development of a truly European canon of artistic, musical, and literary works. By 1900, the same books were being read across the continent, the same paintings reproduced, the same music played in homes and heard in concert halls, the same operas performed in all the major theatres.Drawing from a wealth of documents, letters, and other archival materials, acclaimed historian Orlando Figes examines the interplay of money and art that made this unification possible. At the center of the book is a poignant love triangle: the Russian writer Ivan Turgenev; the Spanish prima donna Pauline Viardot, with whom Turgenev had a long and intimate relationship; and her husband Louis Viardot, an art critic, theater manager, and republican activist. Together, Turgenev and the Viardots acted as a kind of European cultural exchange—they either knew or crossed paths with Delacroix, Berlioz, Chopin, Brahms, Liszt, the Schumanns, Hugo, Flaubert, Dickens, and Dostoyevsky, among many other towering figures.As Figes observes, nearly all of civilization’s great advances have come during periods of heightened cosmopolitanism—when people, ideas, and artistic creations circulate freely between nations. Vivid and insightful, The Europeans shows how such cosmopolitan ferment shaped artistic traditions that came to dominate world culture.

    It is the connections between the facts that seem to elude us--those subtle nuances of feeling & emotion that a biographer relies on to paint a true, complete portrait. Lacking these, we are almost compelled to make the story up as we go along, weaving together facts, opinions & our own personal biases to flesh out an otherwise bloodless life. For this reason, John Gardner may well be the perfect candidate to construct a life of Chaucer. An award-winning novelist & a translator of Middle English poetry, Gardner dumps into a pile all the facts we know about the beloved English poet & mixes them with a judicious sampling of literary criticism & a heaping dose of lively conjecture. What emerges is a rollicking good tale that might stand on its own, filled with persuasive answers to vexing questions; imaginative reconstructions of the Black Death & other compelling events of the times; & whatever snippets of Chaucer's own poetry may help shed light on his extraordinary age. Black-&-white illustrations.

    Art critics gave them the name "the School of Paris" to set them apart from the French-born (and less talented) young artists of the period. Modigliani and Chagall eventually attained enormous worldwide popularity, but in those earlier days most School of Paris painters looked on Soutine as their most talented contemporary. Willem de Kooning proclaimed Soutine his favorite painter, and Jackson Pollack hailed him as a major influence.Soutine arrived in Paris while many painters were experimenting with cubism, but he had no time for trends and fashions; like his art, Soutine was intense, demonic, and fierce. After the defeat of France by Hitler's Germany, the East European Jewish immigrants who had made their way to France for sanctuary were no longer safe. In constant fear of the French police and the German Gestapo, plagued by poor health and bouts of depression, Soutine was the epitome of the tortured artist. Rich in period detail, Stanley Meisler's Shocking Paris explores the short, dramatic life of one of the most influential artists of the twentieth century.

    Throughout the war, Atkins recruited, trained, and mentored the agents for the SOE's French Section, which sent more than four hundred young men and women into occupied France, at least one hundred of whom never returned and were reported MPD (missing presumed dead) after the war. Twelve of these were women and among Atkins' most cherished spies. When the war ended in 1945, she made it her personal mission to find out what happened to them and the other agents lost behind enemy lines, tracing rigorously their horrific final journeys. But as the woman who carried out this astonishing search appeared quintessentially English, Atkins was nothing of the sort. As we follow her through the devastation of postwar Germany, we learn Atkins herself covered her life in mystery so that even her closest family knew almost nothing of her past.In A Life in Secrets Sarah Helm has stripped away Vera Atkins' many veils. Drawing on recently released sixty-year-old government files and her unprecedented access to the private papers of the Atkins family, Helm vividly reconstructs a complex and extraordinary life.

    Kennedy, the response has been: Why would the U.S. national-security establishment — that is, the military and the CIA — kill Kennedy? As Douglas P. Horne details in this ebook, JFK’s War with the National Security Establishment: Why Kennedy Was Assassinated, the answer is because Kennedy’s ideas about foreign-policy collided with those of the U.S. national-security establishment during the height of the Cold War. In the eyes of the military and the CIA, Kennedy’s policies posed a grave threat to national security.Horne served as Chief Analyst for Military Records for the Assassination Records Review Board (ARRB). This was the federal agency that Congress established to secure the disclosure and release of JFK-related records and documents after the public outcry generated by Oliver Stone’s movie JFK. Horne is the author of Inside the Assassination Records Review Board: The U.S. Government’s Final Attempt to Reconcile the Conflicting Medical Evidence in the Assassination of JFK, a five-volume work that focuses primarily on the autopsy of Kennedy’s body that was conducted by the U.S. military.

    Prize-winning novelist Cai Emmons praises Sterry by saying she really knows how to tell a story. Sterry grew up in a succession of isolated one-room schools in northern and central Montana, where her mother, a teacher, eked out a living. A must read for anyone who loves Montana and its rich history.

    She cold-shouldered Princess Diana and humiliated Elizabeth Taylor.Andy Warhol photographed her. Jack Nicholson offered her cocaine. Gore Vidal revered her. John Fowles hoped to keep her as his sex-slave. Dudley Moore propositioned her. Francis Bacon heckled her. Peter Sellers was in love with her.For Pablo Picasso, she was the object of sexual fantasy. “If they knew what I had done in my dreams with your royal ladies” he confided to a friend, “they would take me to the Tower of London and chop off my head!”Princess Margaret aroused passion and indignation in equal measures. To her friends, she was witty and regal. To her enemies, she was rude and demanding.In her 1950’s heyday, she was seen as one of the most glamorous and desirable women in the world. By the time of her death, she had come to personify disappointment. One friend said he had never known an unhappier woman.The tale of Princess Margaret is pantomime as tragedy, and tragedy as pantomime. It is Cinderella in reverse: hope dashed, happiness mislaid, life mishandled.Combining interviews, parodies, dreams, parallel lives, diaries, announcements, lists, catalogues and essays, Ma’am Darling is a kaleidoscopic experiment in biography, and a witty meditation on fame and art, snobbery and deference, bohemia and high society.

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    In a city blasted by a civil war that many fear will cross borders and engulf Europe—a conflict one writer will call "the decisive thing of the century"—six people meet and find their lives changed forever. Ernest Hemingway, his career stalled, his marriage sour, hopes that this war will give him fresh material and new romance; Martha Gellhorn, an ambitious novice journalist hungry for love and experience, thinks she will find both with Hemingway in Spain. Robert Capa and Gerda Taro, idealistic young photographers based in Paris, want to capture history in the making and are inventing modern photojournalism in the process. And Arturo Barea, chief of the Spanish government's foreign press office, and Ilsa Kulcsar, his Austrian deputy, are struggling to balance truth-telling with loyalty to their sometimes compromised cause—a struggle that places both of them in peril. Beginning with the cloak-and-dagger plot that precipitated the first gunshots of the war and moving forward month by month to the end of the conflict. Hotel Florida traces the tangled and disparate wartime destinies of these three couples against the backdrop of a critical moment in history: a moment that called forth both the best and the worst of those caught up in it. In this noir landscape of spies, soldiers, revolutionaries, and artists, the shadow line between truth and falsehood sometimes became faint indeed—your friend could be your enemy and honesty could get you (or someone else) killed. Years later, Hemingway would say, "It is very dangerous to write the truth in war, and the truth is very dangerous to come by." In Hotel Florida, from the raw material of unpublished letters and diaries, official documents, and recovered reels of film, the celebrated biographer Amanda Vaill has created a narrative of love and reinvention that is, finally, a story about truth: finding it, telling it, and living it—whatever the cost.*INCLUDES 16 PAGES OF BLACK-AND-WHITE PHOTOGRAPHS