In Ajax, the Dutch, the War he skilfully pieces together an alternative account of World War II. He looks at the lives of the footballers who played for the Dutch club, the officials and the ordinary fans during this tumultuous period and challenges the accepted notion of the War in occupied Europe. With almost 80 per cent of Amsterdam's Jewish Corner wiped out during the war, the long-held belief that, by and large, half the Dutch population had some kind of link to the Resistance has, of late, come into question. Kuper explores this issue and looks deeper into the role of football across Europe in the years both preceding and following the War. The result is a compelling and controversial account of the War, seen through the lens of football.

    He finds cynicism the dominant mode in contemporary culture, in personal and institutional settings; his book is both a history of the impulse and an investigation of its role today, among those whose earlier hopes for social change have crumbled and faded away.

    “It is guilty and should admit itself so.” The word, the flesh, and the devil are explored by this extraordinary intellect in the work of eight outstanding authors: Emily Bronte, Baudelaire, Blake, Michelet, Kafka, Proust, Genet and De Sade.Born in France in 1897, Georges Bataille was a radical philosopher, novelist, and critic whose writings continue to exert a vital influence on today's literature and thought.

    In contrast to traditional readings that see in Kafka's work a case of Oedipalized neurosis or a flight into transcendence, guilt, and subjectivity, Deleuze and Guattari make a case for Kafka as a man of joy, a promoter of radical politics who resisted at every turn submission to frozen hierarchies.

    In this book, she offers her reflections on what it's like to be the wife of a Frenchman and the mother of two French-American children.

    Cultural misunderstandings, Carroll points out, can arise even where we least expect them—in our closest relationships. The revealing vignettes that Carroll relates, and her perceptive comments, bring to light some fundamental differences in French and American presuppositions about love, friendship, and raising children, as well as such everyday activities as using the telephone or asking for information.

    A truly landmark study, The Hour of Our Death reveals a pattern of gradually developing evolutionary stages in our perceptions of life in relation to death, each stage representing a virtual redefinition of human nature. Starting at the very foundations of Western culture, the eminent historian Phillipe Aries shows how, from Graeco-Roman times through the first ten centuries of the Common Era, death was too common to be frightening; each life was quietly subordinated to the community, which paid its respects and then moved on. Aries identifies the first major shift in attitude with the turn of the eleventh century when a sense of individuality began to rise and with it, profound consequences: death no longer meant merely the weakening of community, but rather the destruction of self. Hence the growing fear of the afterlife, new conceptions of the Last Judgment, and the first attempts (by Masses and other rituals) to guarantee a better life in the next world. In the 1500s attention shifted from the demise of the self to that of the loved one (as family supplants community), and by the nineteenth century death comes to be viewed as simply a staging post toward reunion in the hereafter. Finally, Aries shows why death has become such an unendurable truth in our own century--how it has been nearly banished from our daily lives--and points out what may be done to re-tame this secret terror. The richness of Aries's source material and investigative work is breathtaking. While exploring everything from churches, religious rituals, and graveyards (with their often macabre headstones and monuments), to wills and testaments, love letters, literature, paintings, diaries, town plans, crime and sanitation reports, and grave robbing complaints, Aries ranges across Europe to Russia on the one hand and to England and America on the other. As he sorts out the tangled mysteries of our accumulated terrors and beliefs, we come to understand the history--indeed the pathology--of our intellectual and psychological tensions in the face of death.

    Abel Paz's magnificent biography resurrects the very soul of Spanish anarchism.”—Mike Davis, author of Planet of SlumsAK Press has commissioned an elegant, new and unabridged translation of the definitive biography of Spanish revolutionary and military strategist, Buenaventura Durruti. But Abel Paz, who fought alongside Durruti in the Spanish Civil War, has given us much more than an account of a single man’s life. Durruti in the Spanish Revolution is as much a biography of a nation and of a tumultuous historical era. Paz seamlessly weaves intimate biographical details of Durruti’s life—his progression from factory worker and father to bank robber, political exile and, eventually, revolutionary leader—with extensive historical background, behind-the-scenes governmental intrigue, and blow-by-blow accounts of major battles and urban guerrilla warfare. An amazing and exhaustive study of an incredible man and his life-long fight against fascism in both its capitalist and Stalinist forms.Includes Jose Luis Gutierres Molina’s introduction about Abel Paz’s life and the historiography of the Spanish Civil War.Abel Paz was born in 1921. At 15, he joined the Durruti Column and fought in the Spanish Revolution. After the revolution's defeat, he was active as a guerilla fighter against the Franco regime and spent eleven years in prison. He lives in Barcelona, Spain.Chuck Morse founded the Institute for Anarchist Studies, co-edited Perspectives on Anarchist Theory, and founded and edited The New Formulation: An Anti-Authoritarian Review of Books. He lives in Brooklyn, New York.

    Readers who enjoyed Too Much Tuscan Sun will welcome this second book, which includes even more episodes from the author’s life growing up as a Chiantigiano.

    In this brilliant study (his best-known and most controversial), he opposes the Marxist concept of dialectical materialism and its view that change takes place through "the struggle of opposites." Instead, he relates the rise of a capitalist economy to the Puritan determination to work out anxiety over salvation or damnation by performing good deeds — an effort that ultimately discouraged belief in predestination and encouraged capitalism. Weber's classic study has long been required reading in college and advanced high school social studies classrooms.

    That's where my music is made." For so long, rock 'n' roll has been fueled by this fear and loathing of the feminine. The first book to look at rock rebellion through the lens of gender, The Sex Revolts captures the paradox at rock's dark heart--the music is often most thrilling when it is most misogynist and macho. And, looking at music made by female artists, it asks: must it always be this way?Provocative and passionately argued, the book walks the edgy line between a rock fan's excitement and a critic's awareness of the music's murky undercurrents. Here are the angry young men like the Stones and Sex Pistols, cutting free from home and mother; here are the warriors and crusaders, The Clash, Public Enemy, and U2 taking refuge in a brotherhood-in-arms; and here are the would-be supermen, with their man-machine fantasies and delusions of grandeur, from Led Zeppelin and Jim Morrison to Nick Cave and gangsta rap. The authors unravel the mystical, back-to-the-womb longings of the psychedelic tradition, from Pink Floyd, Jimi Hendrix, and Van Morrison to Brian Eno, My Bloody Valentine, and ambient techno. Alongside the story of male rock, The Sex Revolts traces the secret history of female rebellion in rock: the masquerade and mystique of Kate Bush, Siouxie, and Grace Jones, the demystifiers of femininity, like the Slits and Riot Grrl, tomboy rockers like L7 and P. J. Harvey, and confessional artists like Janis Joplin, Joni Mitchell, and Courtney Love.A heady blend of music criticism, cultural studies, and gender theory by two of rock's keenest observers, The Sex Revolts is set to become the key text in the women-in-rock debate.

    In 1939, when the war ends, his brother, Tanis Gamuzo avenges his death. For both these events, the blind accordion player Gaudencio plays the same mazurka. Set in a backward rural community in Galicia, Cela's creation is in many ways like a contrapuntal musical composition built with varying themes and moods. In alternately melancholy, humorous, lyrical or coarse tones, he portrays a reign of fools.

    In This Cold Heaven she combines the story of her travels with history and cultural anthropology to reveal a Greenland that few of us could otherwise imagine.Ehrlich unlocks the secrets of this severe land and those who live there; a hardy people who still travel by dogsled and kayak and prefer the mystical four months a year of endless darkness to the gentler summers without night. She discovers the twenty-three words the Inuit have for ice, befriends a polar bear hunter, and comes to agree with the great Danish-Inuit explorer Knud Rasmussen that “all true wisdom is only to be found far from the dwellings of man, in great solitudes.”This Cold Heaven is at once a thrilling adventure story and a meditation on the clarity of life at the extreme edge of the world.

    

    Based on hundreds of interviews in the Soviet Union, this illuminating expose offers a fascinating look at the explosive changes taking place in that dominant country.