The book is complete with historical annotation, with 340 research notes and 97 reactions and commentaries by Norman Mailer, Tom Wicker, Gerald R. Ford, and many others.

    Johnston's frank, informed, and novel thoughts about Canada.Touching on a wide range of topics ranging from learning, the law, kindness and courage, to the monarchy, Aboriginal education, justice, bilingualism, mental health and hockey, David Johnston has always used the letter writing form to tackle the passions, challenges, and goals of his incredibly accomplished and varied life. From his earliest years at Harvard, he has written several letters each day, starting with those to his large family, and broadening out to an ever-widening circle of friends that includes ministers and monarchs, educators and entrepreneurs, and many extraordinary Canadians who have deepened his perspective and touched his heart. The letters included in this beautiful volume are all about Canada -- a project to help him understand and share his views on this great country, past, present and future.      Presented in three parts -- What Shapes Me, What Consumes Me, and What Comforts Me -- His Excellency reaches out to everyone from his grandchildren, Kevin Vickers, Clara Hughes, Chris Hadfield, the Aga Khan, Tina Fontaine, Mike Lazaridis, the teachers of our country, a grade five class in Winnipeg, an unknown Inuit boy he met at Rideau Hall, and many others. The perfect gift for graduates, this unique and lovely book should find its home in every Canadian's library.

    A study of German culture between the two wars, the book brilliantly traces the rise of the artistic, literary, and musical culture that bloomed ever so briefly in the 1920s amid the chaos of Germany's tenuous post-World War I democracy, and crashed violently in the wake of Hitler's rise to power. Despite the ephemeral nature of the Weimar democracy, the influence of its culture was profound and far-reaching, ushering in a modern sensibility in the arts that dominated Western culture for most of the twentieth century. Vivid and eminently readable, Weimar Culture is the finest introduction for the casual reader and historian alike.

    Some pictures are easily appreciated at first glance, but others - often the most rewarding - require some explanation before they can be fully understood. This clearly written and enjoyable book is intended to increase pleasure and stimulate thought. It tackles many aspects of looking at paintings as well. Starting with familiar ideas, Dr Susan Woodford moves on to explore subtler, less obvious concepts. For example, she shows how paintings can be appreciated as patterns on a flat surface emotional effect; how ordinary objects can conceal hidden meanings and how knowledge of tradition improves our understanding of revolutionary works.

    David Horowitz’s classic Why Israel is the Victim, updated by the author, sets the record straight about the basic truths of the Middle East conflict. In addition to restoring the authentic history of the region – a history of obsessive aggression first by Arab countries determined to physically annihilate the Jewish State and later by terror groups determined to destroy its will to survive and right to exist—this booklet brings the story up to date by showing the systematic way in which Hamas and Hezbollah, under Iran’s direction, have subverted peace in the Middle East. As Shillman Fellow Daniel Greenfield notes in his insightful introduction, this pamphlet “tells us why we should reject the “Blame Israel First” narrative that has so thoroughly saturated the mainstream media… It confronts the myth of Palestinian victimhood… and it delivers a rousing restatement of the true history of the hate that led us to all this.” America should be Israel’s protector. Instead, as David Horowitz notes, under the leadership of Barack Obama, it has become its prosecutor.

    The drawings provide a retrospective of Wolfe's twenty-three years as a graphic artist.

    A substantial written component by Fischer details his upbringing on the outskirts of Zurich, Switzerland, and the hardships and triumphs he faced bringing the visions of his groundbreaking bands Hellhammer and eventually Celtic Frost to reality. In addition, the book includes an introduction by Nocturno Culto of Norwegian black metal act Darkthrone, and a foreword by noted metal author Joel McIver.Without question Only Death Is Real goes farther than any other source in exploring the origins of underground heavy metal. The wealth of visual information is astounding, both in terms of documenting early 1980s headbangers and exposing the still-relevant imagery of the first Hellhammer and Celtic Frost photo sessions. On top of that, the written chapters combine Tom Fischer’s often shocking stories with lengthy quotes from Martin Eric Ain and the other main Hellhammer members, explaining in intimately human terms how extreme metal was born.

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    The talks ultimately resulted in failure for Labour amid recriminations on both sides and the accusation that the Lib Dems had conducted a dutch auction, inviting Labour to outbid the Tories on a shopping list of demands. Despite calls for him to give his own account of this historic sequence of events, Adonis has kept his own counsel until now. Published to coincide with the third anniversary of the general election that would eventually produce an historic first coalition government since the Second World War, 5 Days In May is a remarkable and important insider account of the dramatic negotiations that led to its formation. It also offers the author's views on what the future holds as the run-up to the next election begins. 5 Days in May presents a unique eyewitness account of a pivotal moment in political history.

    Berlin Stories collects his alternately celebratory, droll, and satirical observations on every aspect of the bustling German capital, from its theaters, cabarets, painters’ galleries, and literary salons, to the metropolitan street, markets, the Tiergarten, rapid-service restaurants, and the electric tram. Originally appearing in literary magazines as well as the feuilleton sections of newspapers, the early stories are characterized by a joyous urgency and the generosity of an unconventional guide. Later pieces take the form of more personal reflections on the writing process, memories, and character studies. All are full of counter-intuitive images and vignettes of startling clarity, showcasing a unique talent for whom no detail was trivial, at grips with a city diving headlong into modernity.

    Anne-Marie O'Connor, writer for the Washington Post, formerly of the Los Angeles Times, tells the galvanizing story of the Lady in Gold, Adele Bloch-Bauer, a dazzling Viennese Jewish society figure; daughter of the head of one of the largest banks in the Hapsburg Empire, head of the Oriental Railway, whose Orient Express went from Berlin to Constantinople; wife of Ferdinand Bauer, sugar-beet baron. The Bloch-Bauers were art patrons, and Adele herself was considered a rebel of fin de siècle Vienna (she wanted to be educated, a notion considered "degenerate” in a society that believed women being out in the world went against their feminine "nature"). The author describes how Adele inspired the portrait and how Klimt made more than a hundred sketches of her-simple pencil drawings on thin manila paper. And O'Connor writes of Klimt himself, son of a failed gold engraver, shunned by arts bureaucrats, called an artistic heretic in his time, a genius in ours. She writes of the Nazis confiscating the portrait of Adele from the Bloch-Bauers' grand palais; of the Austrian government putting the painting on display, stripping Adele's Jewish surname from it so that no clues to her identity (nor any hint of her Jewish origins) would be revealed. Nazi officials called the painting, "The Lady in Gold" and proudly exhibited it in Vienna's Baroque Belvedere Palace, consecrated in the 1930s as a Nazi institution. The author writes of the painting, inspired by the Byzantine mosaics Klimt had studied in Italy, with their exotic symbols and swirls, the subject an idol in a golden shrine. We see how, sixty years after it was stolen by the Nazis, the Portrait of Adele Bloch-Bauer became the subject of a decade-long litigation between the Austrian government and the Bloch-Bauer heirs, how and why the U.S. Supreme Court became involved in the case, and how the Court's decision had profound ramifications in the art world. In this book listeners will find riveting social history; an illuminating and haunting look at turn-of-the-century Vienna; a brilliant portrait of the evolution of a painter; a masterfully told tale of suspense. And at the heart of it, The Lady in Gold-the shimmering painting, and its equally irresistible subject, the fate of each forever intertwined.

    96 people were crushed to death and another 766 injured in a tragedy that was later admitted to have been exacerbated by police failures.Hillsborough Voices does justice to the memory of all those who died and for all those left behind. From the tragic events of the day to what unfolded in the hours, days and eventually years that followed, the book will interweave the voices of those who were there with the families and friends of those who died, and all those who have played key roles in the long search for the truth.The author, Kevin Sampson, has a long history with Hillsborough. Not only was he there as a fan to witness the horror first-hand, he also helped organise the Hillsborough benefit concert at Anfield and has close connections with the justice campaign. He has conducted exhaustive and exclusive interviews both with people who have become familiar public figures and those who will be telling their heart-rending personal stories for the first time – to bring us the full story.The book will be fully endorsed and promoted by the Hillsborough Justice Campaign and will carry the official HJC logo.

    She is a lover of art, the humanities, and the sciences. She is a novelist and a feminist. Her lively, lucid essays in A Woman Looking at Men Looking at Women begin to make some sense of those plural perspectives.Divided into three parts, the first section, “A Woman Looking at Men Looking at Women,” investigates the perceptual and gender biases that affect how we judge art, literature, and the world in general. Among the legendary figures considered are Picasso, De Kooning, Jeff Koons, Louise Bourgeois, Anselm Kiefer, Susan Sontag, Robert Mapplethorpe, the Guerrilla Girls, and Karl Ove Knausgaard.The second part, “The Delusions of Certainty,” is about the age-old mind/body problem that has haunted Western philosophy since the Greeks. Hustvedt explains the relationship between the mental and the physical realms, showing what lies beyond the argument—desire, belief, and the imagination.The final section, “What Are We? Lectures on the Human Condition,” discusses neurological disorders and the mysteries of hysteria. Drawing on research in sociology, neurobiology, history, genetics, statistics, psychology, and psychiatry, this section also contains a profound and powerful consideration of suicide.There has been much talk about building a beautiful bridge across the chasm that separates the sciences and the humanities. At the moment, we have only a wobbly walkway, but Hustvedt is encouraged by the travelers making their way across it in both directions. A Woman Looking at Men Looking at Women is an insightful account of the journeys back and forth.

    It features a breathtaking mix of techniques from traditional cut-and-paste to digital to collage with paint or encaustic, and styles ranging from wildly playful and colorful to evocative, almost monochrome images.Each highlighted master takes center stage in an informative eight-page feature that includes nearly a dozen gorgeous, high-quality photos plus a short essay by curator Randel Plowman placing the impressive work and its creator in context. The innovative featured artists include:Cecil Touchon  - Jonathan Talbot  -  Lynne Perrella  -  Lynn Whipple  -  James Michael Starr and others

    They include introductions for books of avant-garde poets; collaborations with visual artists, and articles for publications such as The New York Review of Books, The London Review of Books, and October.One section focuses on writers and literary works: strange tales from classical and modern China; the Psalms in translation: a skeptical look at E. B. White’s New York. Another section is a continuation of Weinberger’s celebrated political articles collected in What Happened Here: Bush Chronicles (a finalist for the National Books Critics Circle Award), including a sequel to “What I Heard About Iraq,” which the Guardian called the only antiwar “classic” of the Iraq War. A new installment of his magnificent linked “serial essay,” An Elemental Thing, takes us on a journey down the Yangtze River during the Sung Dynasty.The reader will also find the unlikely convergences between Samuel Beckett and Octavio Paz, photography and anthropology, and, of course, oranges and peanuts, as well as an encomium for Obama, a manifesto on translation, a brief appearance by Shiva, and reflections on the color blue, death, exoticism, Susan Sontag, and the arts and war.