The suitcases contained all manner of paraphernalia: medals, gems, two cigar cutters, silk underwear, a hot water bottle, and the equivalent of 1 million in cash. Hidden in a coffee can, a set of brass vials housed glass capsules containing a clear liquid and a white precipitate: potassium cyanide. Joining Göring in the detention center were the elite of the captured Nazi regime—Grand Admiral Dönitz; armed forces commander Wilhelm Keitel and his deputy Alfred Jodl; the mentally unstable Robert Ley; the suicidal Hans Frank; the pornographic propagandist Julius Streicher—fifty-two senior Nazis in all, of whom the dominant figure was Göring.To ensure that the villainous captives were fit for trial at Nuremberg, the US army sent an ambitious army psychiatrist, Captain Douglas M. Kelley, to supervise their mental well-being during their detention. Kelley realized he was being offered the professional opportunity of a lifetime: to discover a distinguishing trait among these arch-criminals that would mark them as psychologically different from the rest of humanity. So began a remarkable relationship between Kelley and his captors, told here for the first time with unique access to Kelley's long-hidden papers and medical records.Kelley's was a hazardous quest, dangerous because against all his expectations he began to appreciate and understand some of the Nazi captives, none more so than the former Reichsmarshall, Hermann Göring. Evil had its charms.

    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.

    The Balkans in World Historyre-defines this space in positive terms, taking as a starting point the cultural, historical, and social threads that allow us to see this region as a coherent if complex whole. Eminent historian Andrew Wachtel here depicts the Balkans as that borderland geographical space in which four of theworld's greatest civilizations have overlapped in a sustained and meaningful way to produce a complex, dynamic, sometimes combustible, multi-layered local civilization. It is the space in which the cultures of ancient Greece and Rome, of Byzantium, of Ottoman Turkey, and of Roman Catholic Europemet, clashed and sometimes combined. The history of the Balkans is thus a history of creative borrowing by local people of the various civilizations that have nominally conquered the region. Encompassing Bulgaria, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, Albania, Macedonia, Greece, andEuropean Turkey, the Balkans have absorbed many voices and traditions, resulting in one of the most complex and interesting regions on earth.

    Originally titled “Three Lives,” the memoir describes Vienna of the late Austro-Hungarian Empire, the world between the two world wars and the Hitler years.Translated from the German by Benjamin W. Huebsch and Helmut Ripperger; with an introduction by Harry Zohn, 34 illustrations, a chronology of Stefan Zweig’s life and a new bibliography, by Randolph Klawiter, of works by and about Stefan Zweig in English.“The best single memoir of Old Vienna by any of the city’s native artists.” — Clive James“A book that should be read by anyone who is even slightly interested in the creative imagination and the intellectual life, the brute force of history upon individual lives, the possibility of culture and, quite simply, what it meant to be alive between 1881 and 1942.” — The Guardian“It is not so much a memoir of a life as it is the memento of an age.” — The New Republic

    

    The Soviet Army's intent to take revenge for the horror that the Nazis had wreaked on their people produced a conflict of implacable brutality in which millions perished.From the great battles that marked the Soviet conquest of East and West Prussia to the final surrender in the Vistula estuary, this handsome volume from Osprey recounts in chilling detail the desperate struggle of soldiers and civilians alike. These brutal campaigns are brought vividly to life by a combination of previously unseen testimony and astute strategic analysis recognizing a conflict of unprecedented horror and terrible suffering. Author Prit Buttar spins a mesmerizing tale accompanied by rare photographs and informative maps.

    First published in Sweden in 1947, German Autumn, a collection of the articles written for that assignment, was unlike any other reporting at the time. While most Allied and foreign journalists spun their writing on the widely held belief that the German people deserved their fate, Dagerman disagreed and reported on the humanness of the men and women ruined by the war—their guilt and suffering. Dagerman was already a prominent writer in Sweden, but the publication and broad reception of German Autumn throughout Europe established him as a compassionate journalist and led to the long-standing international influence of the book.Presented here in its first American edition with a compelling new foreword by Mark Kurlansky, Dagerman’s essays on the tragic aftermath of war, suffering, and guilt are as hauntingly relevant today amid current global conflict as they were sixty years ago.

    Alan Riding introduces a pageant of twentieth-century artists who lived and worked under the Nazis and explores the decisions each made about whether to stay or flee, collaborate or resist.We see Maurice Chevalier and Edith Piaf singing before French and German audiences; Picasso painting and occasionally selling his work from his Left Bank apartment; and Marcel Carne and Henri-Georges Clouzot, among others, directing movies in Paris studios (more than two hundred were produced during this time). We see that pro-Fascist writers such as Louis-Ferdinand Celine and Robert Brasillach flourished, but also that Camus's The Stranger was published and Sartre's play No Exit was first performed-ten days before the Normandy landings.Based on exhaustive research and extensive interviews, And the Show Went On sheds a clarifying light on a protean and problematic era in twentieth-century European cultural history.

    One was a Prince, one was a Count, and the third was a commoner with an Italian name, who four years earlier had been the subject of one of John Singer Sargent’s greatest portraits. The commoner was Samuel Pozzi, society doctor, pioneer gynaecologist and free-thinker – a rational and scientific man with a famously complicated private life.Pozzi's life played out against the backdrop of the Parisian Belle Epoque. The beautiful age of glamour and pleasure more often showed its ugly side: hysterical, narcissistic, decadent and violent, a time of rampant prejudice and blood-and-soil nativism, with more parallels to our own age than we might imagine.The Man in the Red Coat is at once a fresh and original portrait of the Belle Epoque – its heroes and villains, its writers, artists and thinkers – and a life of a man ahead of his time. Witty, surprising and deeply researched, the new book from Julian Barnes illuminates the fruitful and longstanding exchange of ideas between Britain and France, and makes a compelling case for keeping that exchange alive.

    From Wellington at Waterloo and Jackson at New Orleans to the surge of democratic power and the new forces of reform that emerged by 1830, this is a portrait of a period of great and rapid changes that saw the United States transform itself from an ex—colony into a formidable nation; Britain become the first industrial world power; Russia develop the fatal flaws that would engulf her in the 20th century and China and Japan set the stage for future development and catastrophe. Latin America became independent, and the dawn of modernity appeared in Turkey and Egypt, Southeast Asia, the Middle East and the Balkans.It was an age of new ideas, inventions and great technological advances of every kind. Throughout the world the last wildernesses from Canada to the Himalayas to the Andes were being penetrated and settled. The new and expanding cities were being beautified—Boston was lit by gas in 1822; New York and London were being paved. There were steamboats on the Mississippi as early as 1811; the first railroad was built in 1825 in England, and in 1826 the Erie Canal was completed. Charles Babbage invented the first computer, and Turner, Constable, Delacroix and Géricault were fashioning the visual grammar of modern art. Jane Austen finished Emma during Napoleon’s Hundred Days; Goethe presided over the German literary establishment, - and Hegel was creating the theory of the modern state. Beethoven was writing his Ninth Symphony and Mendelssohn his Midsummer Night’s Dream. Byron, Shelley, Keats and Victor Hugo were leading figures in the Romantic Movement. Despite the immense social strains of the Industrial Revolution and the expansion of society, constitutional government was able to survive, initiating and sustaining reforms affecting almost every part of society. And, after Waterloo, an international order was established that, for the most part, endured for a century.ln Paul Johnson's words, “The age abounded in great personalities; warriors, statesmen and tyrants; outstanding inventors and technologists; and writers, artists and musicians of the highest genius, women as well as men. I have brought them to the fore but I have also sought to paint in background, showing how ordinary men and women-—and children—lived, suffered and died, ate and drank, worked, played and traveled." This was the era of Wellington, Castlereagh, Metternich, Talleyrand and Bolivar; of Wordsworth, Coleridge, Washington and Chateaubriand; of Humphry Davy, Michael Faraday and Robert Fulton; of Madame de Staél, Mary Shelley, Lady Holland and Maria Edgeworth; of John Quincy Adams, Henry Clay, James Monroe and Andrew Jackson; of Goya, Richard Bonington and Thomas Cole.Provocative, challenging and readable, Paul Johnson’s book covers the whole spectrum of history and human affairs, bringing together the various strands into a coherent narrative and telling it through the lives and actions of its outstanding, curious and ordinary people.

    In this powerful historical narrative, Oxford historian Alexandra Richie follows Berlin from its Medieval foundation to the nation-building dreams of Frederick the Great and Bismarck. Most important, she concentrates on the city during the twentieth century's upheavals: the Weimar Republic's decadent capital; Hitler and Goebbels's fascist metropolis; the city divided by the Cold War. Published to international acclaim, Faust's Metropolis is history at its most enthralling. "Brilliant work . . . the material is all fascinating, and Richie is an excellent descriptive writer." - New York Review of Books "Thoroughgoing and engrossing" - Peter Gay, author of My German Question "Outstanding . . . brilliantly written" - Michael Howard, Times Literary Supplement "Magnificent . . . should be required reading for anyone with any curiosity about where Europe has been and where it is going" - Piers Paul Read, Sunday Telegraph "A compelling narrative" - Philadelphia Inquirer "Absorbing" - Wall Street Journal

    What is beauty? Umberto Eco, among Italy’s finest and most important contemporary thinkers, explores the nature, the meaning, and the very history of the idea of beauty in Western culture. The profound and subtle text is lavishly illustrated with abundant examples of sublime painting and sculpture and lengthy quotations from writers and philosophers. This is the first paperback edition of History of Beauty, making this intellectual and philosophical journey with one of the world’s most acclaimed thinkers available in a more compact and affordable format.From the Trade Paperback edition

    "A rich and readable introduction to the whole sweep of Russian cultural and intellectual history from Kievan times to the post-Khruschev era." --Library Journal.Complete with Illustrations, references and 32 pages of index, this is an exhaustive history of Russia and its peoples.

    Two vast armies engaged one another on land and in the air, in a conflict that included the most costly single day of aerial warfare of all time. This was the battle of Kursk - a battle so terrible that even Hitler confessed it made his ‘stomach turn over’. Citadel was the last great German offensive on the Eastern Front; its aim was to claw back the initiative after the surrender of the Sixth Army at Stalingrad in January 1943. The location chosen by Hitler was the Kursk salient in the heartland of the Ukraine. The date was 5 July 1943, the codename ‘Citadel’. The Red Army, warned of the German plans by the ‘Lucy’ spy network in Switzerland, was prepared to defend the salient in massive strength and depth. Against its breakwaters Hitler launched his finest armoured divisions, only to see them mangled beyond repair. No sooner had the German thrusts been contained, while within the tantalizing grasp of success, than the Red Army delivered a series of crushing counter-blows with were to drive the Wehrmacht back beyond the River Dnieper. Characteristically, Hitler had gambled all on a throw of a single dice and had lost the initiative in the East - never to regain it. 'Citadel' provides a detailed picture of the Battle of Kursk, from the strategic tug-of-war waged within both high commands in the agonizing months which preceded the German offensive, to the first-hand experiences of the troops on the ground and the airmen flying over the blazing steppe as the battle reached fever pitch. Robin Cross places the battle firmly within the wider strategic context of the spring and summer of 1943, months in which Hitler and Stalin steeled themselves to take decisions which would decide the course of the war and the shape of the peace which followed. Praise for 'Fallen Eagle': "Mesmerising account of those final, bloody weeks of war ... Cross's account of the final hysterical days in his Berlin Bunker is masterful." Sunday Express Robin Cross is a distinguished journalist and military historian whose books include VE Day: Victory in Europe, The Bombers: Strategy and Tactics and The US Marine Corps. Endeavour Press is the UK's leading independent publisher of digital books.

    This history encompasses all the major fascist movements, as well as other forms of authoritarian nationalism, and provides in-depth analyses of these movements, the interpretative problems they pose, and previous interpretations of them. Stanley G. Payne interprets fascism as a form of revolutionary ultranationalism - a program for national rebirth based on a primarily vitalist philosophy, extreme elitism, mass mobilization, the promotion of violence, and military virtues. He traces this phenomenon through the history of ideas, previous political movements, and the events of World War I. Though his focus is chiefly on Fascist Italy and Nazi Germany, he also gives detailed attention to the Romanian Iron Guard, Franco's Spain, Japan, and protofascist movements around the globe. In view of widespread speculation about the return of fascism to Europe and the Afro-Asian World, this work is especially timely. However, Payne presents a powerful case for viewing fascism as a unique "epochal phenomenon." Conversely, he treats significant individual features of fascism as inherent aspects of revolutionary movements and nationalist dictatorships, with every likelihood of reappearing in new and different forms.