Indiana Books

Iy is an out standing history of one of the most unknown but sucessful amphibious operations of World War I. The author did a fantastic job of making it interesting reading. Highly recommended to any person who is interested in World War I.

Where was the most successful amphibious operation of World War I? Was it in Turkey, German East Africa, or maybe Estonia?

In the first amphibious assault of the war (1914), a large British Indian Army attempted a landing at Tanga, German East Africa that ended in disaster. Winston Churchill's Gallipoli Campaign (1915) is regarded as a symbol of military incompetence and calamity resulting in 141,113 Allied casualties.
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Author Michael B. Barrett's "Operation Albion: The German Conquest of the Baltic Islands" brings to light an amazing, completely overlooked campaign so completely atypical to the ubiquitous World War I trench war narrative we are so accustomed to.

"In October 1917, an invasion force of some twenty-five thousand soldiers of the German XXIII Reserve Corps, accompanied by a flotilla of 10 dreadnaughts, 350 other vessels, a half-dozen zeppelins, and 80 aircraft" set out for the Gulf of Riga.

Operation Albion's objective was the capture of Russian controlled Baltic Islands, near Riga, and uncomfortably close to Russia's capital, St. Petersburg. Why were the Baltic Islands an attractive target for Germany? Dr. Barrett reveals, "The Germans hoped their seizure would be the final blow to a Russian seething with revolutionary discontent, and even if the loss of the islands did not lead to immediate capitulation, capturing them would breach the Russian defenses and doom St. Petersburg."

Dr. Barrett's meticulously researched and finely written book draws on new material recently made available from Russian archives.

This well- constructed narrative lets the reader eavesdrop on meetings as the Germans carefully planned their invasion of the Baltic Islands. "What is astonishing," cites the author, "is that Operation Albion was conducted by military forces with no experience in either amphibious or joint warfare."

The author takes us inside the "kriegsspiel" where the commanders carry out their final war game rehearsal of Operation Albion. Dr. Barrett does a fine job presenting the myriad issues German planners faced.

The success of the invasion depended on careful coordination of landings, bombardments and timely seizure of key positions. Much of the German time- table hinged on Russia's slow initial reaction and, always, there was the incessant threat of mines. Naval planners agonized over how minesweepers would quickly carry out their vital work without detection.

German battleships were assigned the bombardment of fortifications and shore batteries. Quickly, assault troops were to be ferried ashore in torpedo boats and motor launches. Local artillery support for the landings was to be supplied by 88mm and 105mm guns aboard the torpedo boats.

In good weather, aircraft based from a seaplane tender would provide air cover and reconnaissance.

Among the planners, there was much apprehension about possible interference from a squadron of British submarines known to be operating from the nearby Finland coast.

The bulk of the chosen German infantry were bicycle troops. Their speed would be critical in cutting off Russian troops attempting to retreat off Osel island's west causeway and escape to the Estonian mainland.

As Dr. Barrett's book makes clear, the command structure for such a complex, unique joint services operation was difficult to resolve. Differing army and navy officers, government officials, and royalty contended for the prestigious leadership positions. When even the Kaiser's brother, Prince Henry, sought the assignment, the Head of the Navy Cabinet, embarrassed the Kaiser by stating the "Prince did not possess the necessary qualifications."

Dr. Barrett systematically details the Russian's defensive plan on each island, pointing out unit strengths, fortifications, trench lines, road- blocks, and the disposition of artillery pieces as well. The author discloses, the Russian ground commander, Rear Admiral Sveshnikov, intended to concentrate troops at the few landing zones, then conduct a delaying action by taking advantage of dense forests and bogs, and mainly defending road junctions and choke points.

The Russian naval defenses featured two pre-dreadnaughts and two cruisers along with many smaller warships. It was hoped that carefully positioned minefields would keep German battleships from coming close enough to bombard the fortifications. Long- range shore batteries protected the minefields from German minesweepers.

Historian Paul Halpern described the defensive naval plan Russia implemented as "a form of naval trench warfare, with the ships sheltering behind the minefields and coordinating their fire with the powerful coastal batteries."

The author insightfully notes, that the Russians had long expected a German attack on the Baltic Islands. Russian spies quickly detected the frenzied marshalling of forces taking place in the assembly ports. They evidently had expected the attack almost 20 days before hand. "Exhausted by the constant vigilance, however, the Russians finally lowered their guard." Dr. Barrett explains. At that point, the Germans launched their last military operation in the East during the First World War.

In Chapter Five, the author skillfully narrates the fight for Osel, Moon, and Dago Islands. Quickly moving German bicycle troops raced to take key positions before panicky Russian army units could effectively react. The two fleets engaged in cat-and-mouse naval actions in the shallow, mine-filled, surrounding waters.

To what extent did Russian submarines, minefields, and surface units seriously disrupt the German naval operations?

Did Russian officers rally their mutinous troops to throw back the German invasion?

Would the German Navy's zeppelins and powerful battleships corner and annihilate the Russian fleet?

Could trapped Russian army units -- backed up by heavy artillery and armored cars -- brush aside the lightly armed German bicycle troops blocking the strategic Osel causeway and escape to the Estonian mainland?

Ultimately the reader will find out if the Germans were able to deliver "a crushing blow" that would knock Russia out of the war.

"Operation Albion: The German Conquest of the Baltic Islands" contained 9 excellent indispensable maps and 37 interesting photographs (including 6 of rare naval actions). This solid and authoritative book will appeal to anyone interested in World War I, naval operations and military history.


About the author

Michael B. Barrett is Professor of History at the Citadel and Brigadier General (retired), U.S. Army Reserve. Prof. Barrett graduated from The Citadel in 1968 with honors and a degree in Modern Languages (German). He was also a Distinguished Military Graduate. He did his M.A. and Ph.D. at the University of Massachusetts and had a Fulbright Scholarship to Germany for dissertation research.

His most recent publication is a book titled "Operation Albion: The German Conquest of the Baltic Islands", from Indiana University Press. He is currently working on a history of the Austro-German Campaign in Romania, 1916. He lives in Charleston, South Carolina.

I had never heard of Oskar Fischinger until I came across his "Kreise", and was surprised that such a work had been conceived in 1933. It predates and anticipates today's synchronized light shows, abstract music videos, and even Winamp visualizations.

Nevertheless, Fischinger remains a relative unknown. Thankfully William Moritz's biography provides a great deal of information on Fischinger's life and artistic influences. It is rather short, but it makes up for this with generous color illustrations throughout, which are definitely worth the price of admission. A complete descriptive filmography and a collection of "statements" from people who knew Fischinger round out the book.

It's a good book (if not the only book) for learning more about Fischinger and his work.

This book is a labor of love, and the culmination of Dr. Moritz's 30+ years of research and work with Oskar's widow, Elfriede. It includes statements written by Oskar about his films; testimonials from several generations of filmmakers inspired by Fischinger; a detailed filmography; and extensive appendices. It is a must-read for anyone interested in Fischinger, or the history of animation.

Where are the people who are out and out evil? Where are the 'Nazis' as depicted by both history and Hollywood?

Instead, we see real people. People just like us. That is what makes the book so disturbing. These aren't fanatics, instead they are ordinary people, some of who still see their involvement in the Third Reich as being periphery.

The evil is there, it's just so banal, so integrated within the lives of those involved that it's hard for the reader to acknowledge and accept.

These people could be us.

A well crafted, historically accurate, behind the scenes look at life during the the rise of Nazi Germany. I felt it adressed a view that few talk about in this day and age. A thought provoking read!

What can i say about Otto Rahn and the Quest for the Grail.

This is the True story of the True Indiana Jones. An Amazing Journey through the Life of Otto Rahn who was a True Initiate of Secret Knowledge and had access to a web of Secret Societies having their origin in Fin De Siecle France. His involvement with the Nazis brought him attention and Money but his true Missions carried on regardless bringing him in contact with other Initiates like Marlene Dietrich. Mr Graddons book details these connections as no other Book has done before and one can branch off between the lines to many areas of research. This book is not a Novel to be read once but to be kept as a Reference for Nazi Occultism and Continental Esoterica of the last 2 Centuries.

I saw about 3 books simultaneously intertwined and i can see new spin offs
for further indepth research.

Tbis is a MUST BUY.

There is alot of information in this book that you can't get anywhere else. I only wish there was more. It not only gives you some insight into a man the world seems to know little or nothing about, but it gives you some insight into how the Nazis believed they could enforce world domination. It doesn't seem that Otto Rahn was sympathetic to the Nazi cause. And maybe, after reading the book, I am thinking that he did find something in the Pyranees in France. Read the book and see for yourself. You won't be able to put it down.

This book centers on the history of railroad development and expansion in Indiana and Illinois at the turn of the century as well as the lives and times of the movers and shakers that propelled this activity. I particularly enjoyed reading about where and why certain rail lines were built and then why some of them otlived their usefulness. It is interesting to see what exists in todays world and then read about how it started and occurred during the glory years of railroad construction in the Midwest. The insights on personalities, motivations and strategies of people like Wm. Riley McKeen, his supporters (Chauncey Rose) and detractors (Samuel Ives) were also extremely enlightening and entertaining. I grew up in Illinois and Indiana and always wanted to know more about the history of the Pennsylvania RR "Lines West". (Most PRR history books discuss the eastern portion of the railroad.) This book explains much about "Lines West" in an informative and entertaining fashion.

The extraordinary true story about a scrupulous midwestern entrepreneur who built a small local railroad into a strong regional system -- known as "The Vandalia" -- and resisted repeated efforts to be acquired for nearly 30 years or until he was ready to relinquish the reins. Belongs on the bookshelf of anyone interested in Indiana or Illinois history or the history of the Pennsylvania Railroad. A highly readable and entertainingly-written research masterpiece addressing an area of corporate history not often broached. Required exploration of corporate minutes, court files and private correspondence. "A railroad's history, telling it through the life of the man who made it what it was." Outstanding photos and diagrams. A keeper.

I read this book for a graduate seminar on Aristotle.

PHYSICS--Aristotle addresses the "why" questions. Aetia= causes, there are 4 causes. Only 1 cause actually sounds what like we call a cause today. A better translation is "explanation." 4 ways to explanations. Arche=origins/principles, something that is 1st, or rule, or, commanding, or beginning. Thus 1st thought that leads us to understand something and how we proceed. Begin how we think and rule or govern how we think. Phusis= "nature," like physics. He understands nature differently than we do today. For Aristotle the planets orbits never change so not part of nature. Everything below the moon, "lunar," is nature. Thus everything below lunar is not perfect and goes through change. Phusis root= to grow or bloom. Thus, emerging like birth. This term has to do with movement and change. Also connected to "coming to light." Also, connected to "being."

Physics (nature) is an arche (rule) of motion and change. Concept of physics (nature) has to do with motion and change. Paramedes denies change. Aristotle takes umbrage with this. Plato says change is a deficient condition; Aristotle is against both men's notion of change.
IMPORTANT--Aristotle talks about how we talk about how we talk about change all the time. Aristotle says no such things as "being" itself. For Aristotle there is change we always talk about it.

Potentiality and actuality- 2 terms that dominate Aristotle's thinking. Change is potentiality to actuality. Potentiality is a "not yet." He criticizes premises of philosophers for denying or denigrating change. His physics is his thought to explain change. Ousia can't mean something unchanging, it is always a changing phenomena. For Aristotle and the Greeks the "world" has no beginning or end it is always here. No God or creator. Big and small are opposites, but are only conceptual. Small things become big Aristotle sees this. Our language is the guide here. The fact that there is change doesn't mean it is chaotic, you plant a seed, and it grows from small to big, this is normal change.

3 senses Aristotle uses phusis or nature. IMPORTANT- 1. "Always or for the most part." 2. Telos-end, purposes. 3. Movement is self-generated toward something. When a seed falls to the ground it grows and moves towards growing. Contrast Phusis with techne="produce something by humans." Both have to do with change and movement. 1 is self-moving, 1 is moved by us. Trees are not brought into being by themselves; beds out of trees are made by us. What is a bed? For Aristotle it has no nature or physics, it can have an essence. Everything other than Techne "things of production" are physics, nature. It is natural that humans have productive capacity and skills. Techne and physics are distinguished to understand change. Aristotle is important in philosophy and science because he uses language of science. He sees that change is internal within phusis in their own nature, not from myth or storytelling.

His phenomenology says our primary access to things is the "whole" like a dog, once we analyze them we can break them down. This is different from the premises of philosophers who believed in "inarticulate wholes." This is a dramatic difference from Platonists and atomists ideas. Atomist says all things made up of individual stuff like atoms. Aristotle is against atomist doesn't accept describing atoms as real. Like atomist the "whole" or dog is real for him. He isn't a Darwinist because the earth is always the way it was, is and will be. He talks about elements earth, fire, water, air.

IMPORTANT- For Aristotle, "being" of a thing comes 1st, knowledge 2nd. He says knowledge comes to rest in the soul. The soul is calmed by knowledge. When the soul or the mind comes to rest this is out of a natural turbulence of the mind. When he says "by nature" it is intrinsic in us we are by nature turbulent like children, this is part of us. Knowledge achieves calming it emerges out of the turbulence like "wonder."

Techne and physics are not opposites they are distinct different ways to explain movement. Both parts of our world can illuminate each other. He doesn't have idea of a creator God but understands if their were nature it would come by way of god. He says nature is self-manifesting. Techne completes nature (physics) Art doesn't quite imitate nature but talking about shapes like a bed or cave like a house. More like impersonates nature. Craft or Techne our natural capacity to make things, we are elated by being able to craft we do have to be taught to produce things. When we build houses, we are completing something nature can't do. Today, modern science rejects idea "nature" has a purpose. Thus, Aristotle doesn't see physics, nature and techne craft as that different.

Aitia=Causes better definition is "explanation."

1. Material Cause, answers question "out of what"
2. Formal Cause, answers question "into what"
3. Efficient Cause, answers question "from what"
4. Final Cause, answers question "for what, or toward what"

Qua= Latin for "as." We understand something by questions we ask. He uses ordinary language. This arms us with information to look at whatever phenomena by deduction. Fill in the 4 causes and categories and then you have knowledge.

IMPORTANT- Most important is #2 the Formal cause. Efficient and Final cause fall under it. Usually he uses artifacts crafted by man to explain this. Example of a house:

1.Material Cause, answers question "out of what" Wood
2.Formal Cause, answers question "into what" A certain shape of house
3.Efficient Cause, answers question "from what" the builder
4.Final Cause, answers question "for what, or toward what" to provide shelter

Things of phusis can be explained by 4 causes a little tricky. Form isn't just shape for Aristotle.
He uses different works for form, like logos = ordering, or pattern, or structure, in this case, organization in living things it is richer our bodies are our being cause. A corpse is no longer organized for a functioning body. Same with material cause. Aristotle distinguishes between wood or real matter and less tangible, he uses idea of material cause thus doesn't just mean stuff like matter. Thus, in his book Politics, what is the material of the polis? The citizens. Material is just a way to explain it. The word matter works like "What subject matter are you taking"? Thus, Aristotle uses matter in the rich and varied linguistic way. Thus, he provides guides and 4 categories and causes to gain knowledge. He thinks his approach is an improvement over Plato and pre-Socratics like materialists.

IMPORTANT- Everything is what it is in combination of matter and form in the world except God. There is a difference between dogs and beds, thus he is against the atomists. If you don't know what a cake is ahead of time you don't ever get to the molecular structure to get you there. To talk about matter without form is to miss something. Any 4 causes alone doesn't work, all together give an apt account of how things are. Modern science breaks with him on #4 the Final cause; scientists say this doesn't exist in nature.

For Aristotle, if it is evident and real in nature it must be real. The Telos shouldn't be understood as "push pull." Understanding can shift based on different issues and topics so Aristotle is a "pluralist." Never think of telos, or end, or purpose as "design." Not all forms of telos are "conscious design" for Aristotle. There is no intelligent design of nature for Aristotle. (No God). He rejects it, no beginning, or end of nature. However, he believes nature has purposeful elements to it, so it is mind like. Therefore, when we think purposefully we are not violating nature. We are rational animals. There is no mind before or behind nature. For Aristotle idea of telos is built into nature. Aristotle's idea of an unmoved, mover is archaic. He believes that movement in nature must ultimately come to stop, can't go to infinity, thus unmoved mover. This is his idea of God. Doesn't mean first cause or creator but more a "draw" not a "push" like draw of a lover. Thus, he doesn't believe in universal laws of motion. This is a limitation in his philosophy.

IMPORTANT-Basic distinction between matter and form, form has efficient and final cause as subsets. Matter and form are separable in analysis but not in reality. Two sides of the same coin, always present together. You can't have a sculpture without matter like clay. Aristotle criticizes Plato and others for delinking form and matter. Form isn't just shape, form is structure and organization. Corpse has same shape as a human but Aristotle says, "The form is gone in the corpse" so form is more than shape. Matter is unknowable; form gives us something that we can gain knowledge with, example a hunk of clay vs. a bowl.

Bottom line of modern physics and science is math, Newton, Kant, etc. said this. Thus, H2O is proportions of elements. A "towards which" is not a phenomena to examine. Here he is saying math is legitimate form of knowledge but it is not primary way or status of understanding how things are. Natural motion has nothing to do with line and math, etc. for Aristotle. One can't explain natural motion with math. We never come across geometric shapes in nature. Form is natural phenomena but different from mathematical form. Thus, you can't understand nature by math, as primary knowledge only secondary. For Plato, math is real for Aristotle they only help explain nature.

I recommend Aristotle's works to anyone interested in obtaining a classical education, and those interested in philosophy. Aristotle is one of the most important philosophers and the standard that all others must be judged by.

I found this translation easier to read than other translations of Aristotle. It is much easier to unpack and follow, only the content needs to be wrestled with, which is a project in and of itself. It includes the Becker numbers, which makes it easier to have a discussion with a group.

Amazingly comprehensive text, with objective, intelligent reviews of most of the works listed, written by the author and/or those who heard the music first-hand. I didn't find a listing for the composer Kjerwulf, but I found listings for many others, including many I never heard of. Every piano piece of importance, and many others, are listed here, along with publication histories for most all works, and suggested bibliographies. You don't know how much piano music has been written until this book informs you of it. Very interesting biographical sketches are included of the most important composers.

Maurice Hinson's _Guide to Pianist's Repertoire_ is now a standard fixture on the bookshelves of performers and teachers everywhere. The current volume is another staggeringly comprehensive repertoire guide, listing published chamber music written with the piano as an equal partner, in combinations of up to eight instruments, composed since 1700 (although a few works prior to that date are included). Hinson follows the format he has used before, grouping works by instrumentation, with the emphasis being on locating publishers. Other information is given as available, for example, movement titles, timings, no. of pages, level of difficulty, etc. (It may be noted that no discography is attempted.) Selected works are given descriptive annotations and evaluations. While a volume of this type will invariably require multiple editions to stay current, the information contained herein will be of value for many years to come.

I cannot imagine why any pianist would not want this book. Here, Goellerich provides a sort of window in time, allowing the reader to listen in on a master class of Franz Liszt. Liszt provides invaluable suggestions in interpretation, and suggests how the composer may have wanted his piece performed. Since he heard many pieces performed by the composers themselves (Chopin, Schumann, etc), his advice should be respected.

Further, this book provides a great way for the pianist to boost his or her repertoire. There is much music here that has fallen into disuse, and Liszt discusses these works and provides performance suggestions. For example, many of his students played music by Rubinstein, a composer who has, sadly, fallen out of fashion.

Also, since Liszt was taught by Czerny, who was taught by Beethoven, his suggestions for the performance of Beethoven's works are absolute gold.

There is very little technical advice in this book. If you were a student of Liszt, you had a good technique as a matter of course. He seems to focus more on expression, tempo, and clean playing. Technique is not the purpose of this book. Goellerich records Liszt's performance suggestions, and for that, this book should be read by all serious pianists.

Grab this one! If you play classical piano and have an interest in Franz Liszt and his methodology with the students at Weimar, this is the one! I'll add for the record that the diary notes of August Göllerich which is the basis of this book also has the blessing of Lisztian authority and scholar Dr. Alan Walker who commented, " ... as much a record of the life of Liszt's mind as of the life of his fingers [...] an extraordinary bond of friendship and collegiality that existed between Liszt and his pupils ... they were members of an extended family ... Liszt was not a mere piano teacher, but rather a Guru who treated his acolytes like equals."

So too, the quips of Liszt himself are recorded in abundance and unlike the Amy Fay letters home tome when she herself was taught by Liszt [and others] , Göllerich names the student names who were on the 'hot seat' including those times that the "master" was not pleased. One learns quickly that Liszt references to the 'conservatory' or 'doing wash' or those Liszt termed 'uninvited guests' [read: clinkers] made the rounds with some frequency where the clear 'message' for much more practice was quite evident! Or worse!

Score examples abound in the book while Liszt's input on the various pieces is virtually on every page. So too, just as Liszt could be lavish with his "Bravo!" praise, he could likewise pull no punches whatsoever in his criticisms! Ohh yes! While it is quite true that Liszt never charged anything for these group master-classes, which I'll add at once was a distinct privilege, well, it's also true that this was the original, shall we say, 'many are called but few are chosen' kind of thing so students sent packing, urged or self-assessed therein, did happen! Frequently.

It was a given that 'before' the student sought out Liszt, they knew what they were doing on the piano and, if not, they were duly informed forthwith not to mention recorded cases of those who showed up, heard 'others' playing and beat a hasty retreat at the get-go to save themselves any further embarrassment. It was said that if one could not pass muster with the pupils of Liszt, the chance of ever 'impressing' [!] Liszt himself was a virtual impossibility.

What's that? In other words, if I could make with the magic wand thing and we could go back in time, what, are you quite confident to play for Liszt and be 'automatically' welcomed to the fold with open arms? Ahhh! Of course ... the Cage piece ... 4'33" ! Be prepared tho' for the famous Liszt 'stare' when you pull 'that' one on him in between those [alleged] "movements" ! You could always try the "prepared piano" gambit! ;-)

Switching: Get the book, it's a keeper! It's as if you were there simply observing but getting a good dose of the Liszt methodology in the process and the literal awe in which his students held him ... and for good reason therein! Franz Liszt! That says it all.

Doc Tony

[and then ... ]

Voice A: "What's all this business about John Cage and 4'33" ?"

Voice B: [--mute--]

Voice A: "Well, answer me! Tell me what it's all about!"

Voice B: "I just did!" [!]

Voice C: [a 'believer']: "There it is!"

;-)

A series of story-like pieces about life in the center of Illinois. Bradway is excellent at getting to the central truth of incidents and relationships. Particularly compelling are the pieces that deal with her family and their relationship to the rest of the human world. Also a compelling and dark story about the effect of industrial pollution on the river system. Pieces about rock and roll and experiences of the midwesterner outside of the midwest (LA, NYC). A beautiful stylist Bradway brings a caring perspective to her subjects. The essays are personal without that becoming the reason for the words.

This finely-wrought collection of personal essays poignantly renders life in the midwest that is not Chicago, not cornfields, not well-scrubbed, not Norman Rockwell. Bradway is neither nostalgic nor derisive but, rather, sympathetically honest, in the ways the best writers are of places they love and yet which often disappoint them. The essays, several of which originally appeared in such pinnacle magazines as The North American Review and Doubletake, mix memoir and journalism. She writes about herself, yes, but mainly about people and places sometimes out of sorts with each other and the world beyond. The Mellencamp echoes (and she devotes an essay to him) ring true, as does her lucid prose throughout. Interspersed among the essays are poignant and provocative photgraphs. Having grown up in an Iowa town myself, I recognize this place, these people, this voice. But my friends and my students, who have grown up in midwestern cities and cities beyond, recognize them, too. If you're seeking vapid romanticism or scathing contempt, skip this book. If you're wanting something authentically distanced, yet close enough to carry the tone of life as it is here and was, please read.

Since the previous reviewer wrote, Mr. Swink passed away. The publisher is working on a new edition, which is expected to be out in summer or fall of 2003. There are only a few copies left of the current reprint. I'm waiting anxiously for the new edition.

Probably the most authoritative guide to plants that grow in and around Chicago. The entry for each plant even contains a map showing where it was found. This is the capstone work for Chicago's foremost Horticulturist.