Europe Books

This book beautifully illustrates the thought-control practiced by the Communists in the Stalin era. Although everyone who has studied Soviet history as come across references to people being "cut out" of photos or history being rewritten this book actually SHOWS the reader the process and, more important, the stories behind many of these edits.

Soviet books I had access to in the 1980s always seem to have grainy photographs... whether by design or by accident these types of photos were easier to doctor. People who were no longer in favor or whose presence in a photo put a lie to the politically-correct version of history then in vogue were taken out, sometimes in a way that made the change undetectable and in other cases quite crudely. Another shocking aspect of thought-control was that in many cases it was done by citizens themselves, inking out printed images of those known to be out of favor with the Party or cutting pictures from books because they contained "unpeople." This practice is what gave Orwell some of the ideas he used in 1984.

I shudder to think what Photoshop would have done for the Communist Party. It might have forestalled the Fall of the Wall for ten years!

A terrific historical document. Graphically captures the paranoia and retroactive history making that was Stalinism.

I saw this book just today, in History class. Like another reviewer, i had previously read 1984, and thought it was great, but a little far fetched. would they *really* go to all those lengths to distort history? Well, "The Commissar Vanishes" answered my question. I don't think i've ever seen something so... wow.

Splendid blending of text and photographs. I gave this book to my teenage son as he was reading "1984" for a school assignment. He was impressed with the book on its own merits. The pictures draw you in, and I think this is especially true for teens. I could also see that it helped my son understand that Orwell's fiction was everyday life for the people of the Soviet Union.

A true gem of a book, dealing with a subject that is much overlooked. As the inspiration for Orwell's 1984 revising history, it is a chilling look at early Soviet attempts to rewrite history by erasing people from photos. Watching a photo of 5 men dwindle down to a picture of one as the others are disgraced, imprisoned, killed and then erased is just mindblowing!

Whether you are a fan of Soviet history (i'm not) or not, the cold war touched us all and this book documents it in the entirety

Professor Richard L. Rubenstein introduced me to this book.

Documented meticulously.

Substantiated understanding of the process of mass murder.

Definitely one of those must read books.

I was reading a work by Christopher Browning recently and he stated how just as many historians were starting to realize the functionalist understanding of the Shoah, Hilberg refined it to a even more nuanced level. Always dilligent, deeper and a step ahead. I had read many books on the subject prior to this one, and frankly had put of buying it because of the price, yet don't regret the purchase one bit. Too many historians use the prhase "magnum opus" when refering to this work and frankly I agree 100%

Hilberg's brilliant and dispassionate treatment of attempts throughout history to destroy the Jews sets a new standard for scholarship and for the historical analysis of emotionally charge subjects. Through his own efficient analytic framework of precedents, antecedents, and scope of organization, Hilberg gives us a lucid formula for both understanding and explaining the subtext, context, and pretext of the 1500-year old continuously running saga of anti-Semitism. The effect is to place the reader in the cockpit of the planners of one of the worst disasters known to man, the holocaust of World War-II. But more importantly, he also provides us with all the necessary facts that go with, and that load his framework.

The context of the holocaust is 1500 years of progressive improvements in ways of addressing the so-called "Jewish problem (or threat)," and corresponding Jewish cultural adaptations to these improved attempts to annihilate them. The improvements have ranged from failed attempts by Catholics to convert Jews into Christians, to expelling them from Europe, to Hitler's creation of a bureaucracy of industrialized death to implement his "final solution." (The author summarizes this progression as conversion, expulsion, and annihilation.)

The subtext of anti-Semitism ostensibly has always been about the "predatory Jewish character" but in fact has been about fears, fears of cultural, religious and ethnic differences and about independence from ordinary orthodoxy. It is precisely these fears that are the most easily serviceable, and most easily ignited into action during times of stress. They are best facilitated through hatred -- especially when guided by a catalyst of evil, ignorance, demagoguery, or demented and corrupt leaders. Inexorably they pass through a process of condoned and sanctioned violence to collective murder. (Fear of Jewish independence and failure to accept the Christian Jesus as their religious messiah and savior have throughout history served as one of the key subtexts of anti-Semitism).

Just as the pattern that serves as the subtext for anti-Semitism is generalizable to other forms of chauvinism, racism and hatred, so too is the pretext: The target is first demonized, dehumanized and vilified; and then disenfranchised, hounded and spatially as well socially segregated. This process of dehumanization then leads logically to, and serves as justification and collective psychological cover for, committing criminal acts against the targeted groups -- including mass industrialized murder. (Jewish religious idolatry, and ethnic character flaws, i.e. their predatory business acumen and slipperiness, their fear of honest work, etc. has throughout history served as the pretext for justifying criminal acts against Jews).

This book puts to rest the popular "magic bullet theory" of the holocaust: that explaining Hitler explains everything anyone would ever need to know about the holocaust. It does not. The anti-Semitic pressures along fault lines leading up to the holocaust had been building up for more than 1500 years. It was these pressures and not Hitler that bear the primary responsibility for the holocaust. Hitler just happened to be the demented catalyst that sparked an anti-Semitic eruption at a time when a demoralized German people needed a tonic for restoring their national pride.

Five Stars.

One of the best books I have ever read about the holocaust. A serious research and it is indeed a great contribution for the studies on this horrible moment of the history of mankind!

The text I read (three volume hard cover) is the definitive work on the Holocaust. It profiles all aspects of a demonic criminal conspiracy, as well as the practical planning and ultimate consequences.

I urge all to read Hilberg. It is the standard work.

This is perhaps the best and most relevant book about aesthetics, and their potential to influence people and history.

One of the hardest things as historians is to try and get into someone's head. The Book Hitler and the Power of Aesthetics do this but in away that other people have not tried. The book looks at Hitler from artist view point and sees Hitler from a different view which people has not looked at before. The person who decides to read this book will also learn how Aesthesis and be a powerful tool used by man. The book is now being sold at a very good price and I give it my personal seal of approval!

There is an incomplete list of sources for photographs and sketches based on page numbers in the Acknowledgements section of this book. The photographs and sketches are not individually numbered. I also think the references are unsatisfactory. For example, the author makes a number of assertions about a boyhood friend of Hitler in the Introduction but there is no background material to support these 'facts'. The book is interesting for its shift in focus (aesthetics) but there is an impression of sloppiness that affects credibility in my opinion.

If there is any justice in the world, Spotts' book will go a long way toward eradicating from popular consciousness the facile descriptions of Hitler as not much more than a cross between a risible, Chaplin-esque, comic book character and an insane, incarnate demon.

Part of the first notion of Hitler includes the idea that he ought to be dismissed as a failed, lousy artist. As Spott points out, the truth is that Nazism, like all self-styled utopianisms, was something like a gigantic project in aesthetics using people rather than pigments or plastics, and control and murder rather than downstrokes and glazing - and Hitler was the artist behind that (very popular for some years in Germany) project; he therefore must be taken seriously as an artist in this sense (obviously a grotesque, genocidal one).

As Spotts notes, even his hatred of Jews emerges from this context: the Jews are "ruining all art" by embracing atonalism, cubism, jazz, dadaism, etc., as well as ruining all life by embracing "Bolshevism". But in his mind, there doesn't seem to be much difference there: Picasso, Marx, Alban Berg - all the same. Since, in Hitler's view, art can't be separated from culture, and culture can't be separated from the state, and the state can't be separated from life itself, the eradication of the Jews becomes, in Hitler's mind, nothing less than a matter of national survival, or, strangely, to say the same thing, the artistically appropriate choice.

Spotts does a good job of underscoring another aspect of all this by calling attention to the seeming homoeroticism in Hitler's taste, particularly as it expresses itself toward the human being: at bottom (pun intended), Hitler preferred, aesthetically, buff blond males with blue eyes, i.e., "Nordic" types. The Jews, in addition to being greedy, "Bolsheviks", destroyers of art/culture/life, etc., just...looked "wrong". And so in this sense, in Hitler's mind, ridding the proper-looking race of these improper-looking portions of it was as obviously a necessary decision as would be getting rid of a "wrong" piece of furniture cluttering up an otherwise beautiful living room. (Spotts even includes a contemporary German cartoon caricaturing the physical features of a "typical" Jew).

But what I started out to say was this. Spotts surveys how Hitler very consciously used colour, shape, rhetoric, size, proportion, angle, material, sound, light, symbol, rhythm, story, pageantry, texture, surprise, music, fire, sculpture, formation, etc., to, quite literally, achieve a truly terrifying degree of control over the minds of his subjects, even as a conversion tool over those who had resisted him. (Spotts describes how awed even American visitors were by the Nuremberg rallies.)

And page by page, one begins increasingly to get a sense of what it would have been like, to be a human being, subject to all the mental and emotional strengths and weaknesses we are, living in a country (our world, for all purposes) which only a year or two before had been totally chaotic and depressed...and then to be stirred, roused, when that world around us begins to change, prompted to feel different, pleasurable things, think different, exciting thoughts, and in the end, perform different - and ultimately - indescribably horrific actions. In every way, we are preyed upon by the mesmeric, sick genius of a man who was rejected by the art school in Vienna, and who sought his revenge for this affront by dominating human psychology through all those elements I mentioned above more totally than perhaps any other "artist" of the 20th century.

I saw a BBC documentary a couple of weeks ago, in which several elderly Germans candidly recalled with fondness Hitler's early years. What they said they missed most were the euphoric feelings they had, going to the pageants and rallies, seeing the flags, hearing the speeches and the music, those feelings of belonging, meaning, "specialness". And for the first time, reading Spotts' book, in a really disturbing way, I could imagine what that might have been like, imagine that I might have been just as susceptible to the manipulator as millions of Germans had been. For the first time, how the whole thing could have happened seemed imaginable. Scary.

Bravo to Spotts for his brilliant and disturbing book. I would love to see him now do a documentary on this, using real footage.

Highly recommended.

In "Hitler and the Power of Aesthetics," Frederic Spotts takes the pop-culture theme of "Hitler-as-frustrated-artist" and turns it into a learned and compelling narrative that goes a long way towards illuminating the intellectual background of many recurring themes in Hitler's thinking and in the growth of Nazism as a movement in general. Given that most works on Hitler understandably focus on political and military history, the importance of Hitler's background as an artist is often forgotten. For instance, as Spotts points out, Hitler dedicated an entire chapter of "Mein Kampf" to excoriating modernist trends in the visual arts and music, tying them in with what he perceived as an international conspiracy of cosmopolitan Jewish leftists. Spotts expertly traces out the ramifications of these preoccupations for Hitler's years in power, not just narrating such well-known incidents as the exhibitions of "degenerate art" staged by Joseph Goebels, in which modernist pictures were held up to public ridicule, but also detailing the politico-aesthetic ideals that Hitler proposed in opposition to modernism - in particular, an ultra-nationalist, "Aryan" art, whose main themes were the glorification of Germany, Germanic culture, and the so-called Thousand Year Reich. Showing the importance of these ideas to phenomena as diverse as Albert Speer's architecture, Leni Riefenstahl's films, and the carefully choreographed Nuremburg rallies, as well as the work of specific Nazi artists, photographers, and sculptors, Spotts makes a forceful and intelligent case for seeing the rise of Nazi ideology through the lens of aesthetics. This is a useful, well-written, and compelling book that could be read with interest by scholars and laypeople alike.

I recently ordered the 1965 paperback version of this book, even though a newer version exists. I vaguely remembered the cover of the book I read when I was maybe ten, and I want to read exactly the same one. It was a woman or maybe not, but it was someone's face coming at the camera, all misty around with aquamarine--vegetation? I decided I would recognize it when I saw it.

Amazon quoted this opening line: "I was born into a devout Roman Catholic family, and spent a great part of my first ten years among kindly Franciscan monks..." and it starts in Hungary, I believe. So wait, it happened in another country? Obviously, for as much as I remembered of this book, I might as well not have read it.

But I know I did, repeatedly, and I passed it back and forth with my older sister, so she could read it and look at me, round-eyed and scandalized. We couldn't TALK about it, but we could share the unspoken, forbidden thrill of looking at the cover of this thin paperback on our parents' bookshelf and knowing what was in it, reveling in the fact that the other knew, too. We had free range on our parents' bookshelves, and I read some strange stuff. As I ordered the 1965 paperback, I prepared myself for the disappointment of finding it dated and quaint and silly... oh, but in 1970, when I first read it? It steamed. It glowed. It rocked.

The book arrived, and the cover was instantly familiar to me. A blonde woman reaching for a branch, not looking all that old but definitely incarnating the epitome of sexual beauty in 1965. I'm happy to report that this book lives up to and in places surpasses my memories of it. It has its moments of uncomfortably politically incorrect anachronism (he expresses a desire to rape a woman, and it is taken as a compliment) and there are turns of phrase I take to be clumsy translations (what is a twisting buttock?). But it's a paean to sexual awakening and the varied and maddening charms of experienced women. And it's such a portrait of the different kinds of love; romantic, obsessive, domestic, protective. And every type is viewed as ephemeral.

It's also distinctly European. It's refreshing to read of the older woman as an object of desire. In America, most sexually interested older women are seen as fearsome harpies of the Mrs. Roper/ Peg Bundy variety. And the author is a philosophy professor, so as part of his erotic memoirs, he offers some interesting insights. Here's a thought-provoking passage:

As love is an emotional glimpse of eternity, one can't help half-believing that genuine love will last forever. When it would not, as in my case it never did, I couldn't escape a sense of guilt about my inability to feel true and lasting emotions. This shame was surpassed in intensity only by my doubts as to whether my lover had ever really loved me, when she was the one who had ended the affair. In this I'm like most of my skeptical contemporaries: since we no longer reproach ourselves for failing to conform to absolute ethical precepts, we beat ourselves with the stick of psychological insight. When it comes to love, we reject the distinction between the moral and the immoral for the distinction between "genuine" and "superficial." We're too understanding to condemn our actions; we condemn our motives instead. Having freed ourselves from a code of behavior, we submit to a code of motivation to achieve the sense of shame and anxiety that our elders acquired through less sophisticated means. We rejected their religious morality because it set man against his instincts, weighed him down with a burden of sins which were in fact the workings of natural laws. Yet we still atone for the creation: we think of ourselves as failures, rather than renounce our belief in the possibility of perfection. We hang on to the hope of eternal love by denying even its temporary validity. It's less painful to think "I'm shallow" "She's self-centered" "We couldn't communicate" "It was all just physical" than to accept the simple fact that love is a passing sensation, for reasons beyond our control and even beyond our own personalities. But who can reassure himself with his own rationalizations? No argument can fill the void of a dead feeling--that reminder of the final void, our final inconstancy. We're untrue, even to life.

A code of motivation rather than a code of behavior--I find this a fascinating idea to consider. It's a good book, well worth the read. It holds up under the weight of its years, just like some older women.

This is a classic book, in the sense that it addresses one of the many topics forever dealt upon by humankind in all form and manner, but in a refreshing light. The style is elegant, the prose superb and the story itself is extremely charming and interesting. I read the book when I was barely 11, and to this day I keep a copy on my book shelf (albeit now in sight of grown ups!).

I read with amusement the comments about how Americans haven't picked up on this book. Hate to bust some Euro-cherries, but I read this in the Fifth Edition (1969) in high school in rural Colorado in about 1970.

In its time, it was a good book. I had my son read it, and discovered my old copy while cleaning out his room (he's off to University). That in turn, sparked my interest to see if it was still in print.

I liked Vizinczey style when I first read it. It would be interesting to pick up on Andras in his later years, just to see how the character evolved. It's one thing to be unattached and picking up what you can, it's quite another to have been in a sustained relationship for more than a few years.

After +30 years I have found his descriptions of women superficial. Most of the 'older' women I know today, post birth control pill, post mass access to University education, post establishment of career (and the subsequent disillusionment), would make quick hash of Andras.

My comment refers to the second FRENCH edition of this novel, paperback edition. I was curious to read comments of readers oversease and came to this site ...

I am a "post birth control pill, post university education, post career establishment and delusionment woman". Yet, I LOVED this novel and found these women so close to what we still are. Times have changed, life has become much easier for women - and maybe more difficult for men ? - but one thing has not changed : the relationship between men and women. When it comes to sexuality, men know exactly what they want, and from an early age, whereas women have to learn this gradually (if they are given a chance of course and are open to "learning" ...)This is why in 2006 you still find giggling silly teens like in S. Vicinzsey's book, adolescent older women (30 - 40, but also 40 - 50 ... Why should sexuality stop at ANY age ?), frigid younger women, and women of all ages who know what they want ! Nowadays most of the married women in the book Andras Vardas had a relationship with would get a divorce. However, they may first start with a lover and some will even chose to have a lover but not to divorce ... And of course this lover would look like Andras, a man who has learnt "not only to speak to women but also to listen to them." So have times changed? Hardly.

The book takes the form of a series of small adventures, one in each chapter on the background of Stalinistic and opressed but sexualy liberated Hungary in the 1950s and poltically free but puritan Canada. The anecdotes and the historical perspective enhance the interest of the stories.

This is why it is a wonderful little unpretentious book, not a milestone of the world literature (this is why I dump one star), yet a book to recommend for reading to anybody interested in men - women relationships, what erotism is all about.

I have just read In Praise of Older Women for the second time. Many reviewers have drawn attention to the wisdom contained in this little book, which slyly presents itself as a breviary for young men without lovers. I am reluctant to insist on its status as "an erotic classic," for fear that to do so would confine it to a very narrow context. Indeed, the erotic scenes do not constitute the heart and soul of the story, nor do they even take up very much room. Rather, the book brings some very subtle psychological observations to bear on human relationships. Note, for example, the analysis of the "rapport des forces" between the older women and the younger hero. Zsuzsa, a "small, colourless woman," struggles to overcome her pride. Her coyness turns to compliance only when Vajda snaps at her, showing his passion (one recalls a scene in The Red and the Black: playing for somewhat higher stakes that Vajda, Julien tears a sword from the wall, imprudently displaying his passion before Mathilde, who briefly sees that he loves her). Other women aim stinging remarks at the young man only to succumb to his advances; or else they are guarded and surly the morning after, suspicious (and, in many case, rightly so) of the young Don Juan's motives. In another case, it is Vajda who is prideful. In his efforts to keep up with an energetic violinist whose relentless athletic pursuits and strange sleeping habits he takes as a challenge, the poor Casanova wears himself down to the bone. Vajda also writes of the anonymous onanists, versions of Dostoevsky's "underground man," who keep to themselves and satiate their erotic cravings in solitude. These misanthropes belong to the category of men who have not opened themselves up to women, who want to seduce and dominate the opposite sex, unlike Vajda, who looks on women as "accomplices." The book is a very strong and subtle critique of pride. When I think back on its contents, I remember not only the pleasant watercolors of Hungary and Rome, the descriptions of bodies and faces, and the maxims worthy of La Rochefoucauld ("Whatever is sanctioned by society as a principal good also becomes a moral imperative"), but also the wry humor that examines human interaction with sympathy and insight. While desire plays a large role in the recollections of the hero, the extent to which the author soars above his past is quite remarkable. To be invited to partake of his calm gaze is a pleasure worth repeating. One can read this book again without tiring of it.

The book was very well received in France. "Un bain de bonheur" was how one reviewer described it. How to account for its popularity in Europe (the book has been a best-seller in Spain and elsewhere I believe)? It is true that eroticism has been raised to the level of a value in France, which deploys its Catholic moeurs like scud missiles against a monolithic (and not wholly imaginary) American puritanism. Ideology aside, the fact remains that France knows how to appreciate good literature.

I see that the author himself has posted a review translated from the French. Good for him. America should know about the European point of view.

A sympathetic portrayal of a very admirable young scientist, "Invention" also conveys a sense of the popularization of scientific culture at the beginning of the 18th century. Hamblyn touches on the effects of the emergence of periodicals, societies of (nongentry) scientists, and even the postal system on this new culture. Diverse facts (half-kg hail and volcanic eruptions) balance the overall somewhat romantic tone. Hamblyn was obviously acutely aware of the tension between instrumented science and romantic arts; that is an explicit theme of the book as well as modulating his writing. My only complaints: too many long unnecessary quotes (Goethe!), tables not adequately explained (were Smeaton's data calculated as I think or measured as Hamblyn elliptically suggests?), and the seminal article by Howard was never really systematically discussed (just rather disconnected dribs and drabs).

This book takes you to England of around 1800, when a young amateur scientist managed to come up with the nomenclature we use to this day to classify clouds. The life of Luke Howard is fascinating in and of itself as he goes about his scientific and business dealings. The author also notes why Mr. Howard's system became the system used today, even though it was only one of several major attempts to classify clouds as meteorology became more systematic. The book covers its topic well and would be of interest to anyone interested in the history of meteorology or scientific inquiry.

A young man, obsessed with clouds and their formation, makes a detailed study of them. All this has been done before, but never in such a concise, visionary way, nor with a naming convention as brilliant in its simplicity, expressiveness and utility as Luke Howard's.

His story is dealt with in a series of chapters that digress from the main thrust of the book to outline the history of the philosophical changes that were taking place, in Europe particularly. Almost any cockeyed idea found a ready audience, who were equally ready to dismiss ideas out-of-hand. The trick was presentation. Many of the famous names in science at the end of the 18th century were showmen, financing their researches by giving displays or private shows... getting your name known was half the battle.
Luke Howard was born into a world where being in the right place at the right time meant more than any social connections or political clout.
But, being a Dissenter, he had no formal education, no political clout and no social connections - not much chance for him to get his ideas aired, it seemed. Nor was he a showman - his Quaker upbringing saw to that - so luck, and dedication, came to his assistance.

Philosophical societies and journals were in their infancy, and were ready to embrace anyone who could increase membership or circulation. This was the chance, and in an hour-long presentation, young Howard captivated his audience and introduced a naming system for clouds, which is still in use today, 200 years on. This was what meteorology had been waiting for - a standard method of logging cloud formations. This was invaluable too for poets and writers, who suddenly found a new addition to their descriptive vocabulary. Small wonder that cirrus, cumulus and nimbus quickly entered everyday conversation (the Englishman's main topic being the weather).

The book is very well written, giving us a feel for the social, political and philosophical climate in the Napoleonic era. By various pertinent descriptions of people and events directly and indirectly connected with Howard, we are introduced to some of the greats of the Age of Enlightenment; but none of it feels contrived or beside the point, nor is it ever boring.

This is an enthralling read, illustrating how easily a single person or idea can change the direction and thrust of a science... Well worth reading.

Luke Howard was an amateur in the true sense of the word; Luke Howard named the clouds for the love of them. Richard Hamblyn does a fine job telling the story of Luke Howard's life, his naming of the clouds, and Howard's milieu in the book The Invention Of Clouds. Howard, a Quaker and a pharmacist, went from unknown working man to celebrity when he presented his paper "On The Modifications Of Clouds" to the Askesian Society in London on a night in December of 1802. The paper had the right combination of insights, poetry, and luck to insure that the terms cirrus, stratus, cumulus, and nimbus [or derivatives] are still being used by meteorologists today. Hamblyn's weave of biography, history, art, and science was enjoyable to read and held together most of the time [Chapter 10: The Beaufort Scale was not as well connected to book as the rest of the material]. The hardback is such a beautiful and unusual book, I shelved my copy, waited for the paperback to read it, and then donated the paperback to the high school library. I highly recommend The Invention Of Clouds to anyone with an interest in meteorology, history, Quakerism, or biography.

"The Invention of Clouds" is an endearing little book about a generally forgotten moment in the history of science. It seems obvious to us today but until Englishman Luke Howard, a chemist with an interest in the then-young science of meteorology, gave a public lecture on cloud classification in London in 1802, nobody had been able to categorize cloud formations in an easily-understood and consistent manner. The terms we take for granted-cumulus, cirrus, stratus and so forth-were applied by the 30 year-old Howard for the first time. He drew upon his classical education to find suitable Latin names for what he termed "the modifications of clouds." He understood that clouds pass through stages and in his lecture he described the changes they underwent. His audience understood immediately the importance of his lecture and it was published soon afterwards to great acclaim.

Luke Howard became famous throughout the world. It is clear that he must have viewed this with mixed feelings. As a modest Quaker, he did not seek celebrity but as a scientist he was undoubtedly proud of his accomplishment. It is a beautiful achievement. By naming that which was ever-present but unnamed, Luke Howard helped forge the language of meteorology and provided some of the most important tools for weather observation and forecasting. His Latin names speak to the universality of climate and his detractors, who felt that the classifications should have been in English, were soon silenced. The book describes the reaction of artists as well. On the one hand, there were those who believed that clouds, as objects of great natural beauty and a symbol of freedom, would lose something by being systematically classified, as if they were species of beetles, but others, including the painter Constable, used the classification of the clouds as a basis for their art. The great genius of the period, Johann Wolfgang von Goethe, completely enchanted by Luke Howard's work and personality, dedicated a series of marvellous poems to him, with each stanza based on one of the new cloud-forms.

But even having poetry dedicated to you by Goethe is not enough to claim enduring fame. Luke Howard seems to have lived a quiet existence, marked by some success in business and a happy family life. He died at the age of 91, remembered fondly by only his relatives. Richard Hamblyn, in writing this book, must have struggled to develop enough material as it appears that the lecture of 1802 was the high point of Luke Howard's scientific life and his attention was then taken up more by commerce and religious issues. Mr. Hamblyn gives us a history of the earlier attempts to define clouds, reaching back to Aristotle. He throws in the story of the Beaufort Wind Scale, which was inspired by but not as readily-accepted as Luke Howard's cloud system. He deals with the subsequent amendments to the cloud classifications and we learn of the International Meterological Conference and its winsomely-named Cloud Committee, which was to produce the International Cloud Atlas.

All very interesting, but it is in the sections about Luke Howard and his contemporaries, fascinated by the rapid progress in science at the end of the 18th Century, where the book is most alive. Richard Hamblyn ably paints a picture of London's crowded lecture halls where science was popular culture, of dangerous experiments and fantastic personalities. Men of brilliant and adventurous minds, often denied higher education due to their religion, could look into the future and stake a claim. The author, in sharing Luke Howard's triumph with us, has written an elegant work brimming with enthusiasm.

I've read the whole Jacky Faber series. I am an avid reader. That said I've found that a good writer is a good writer; but this series of books goes beyond that. It's a clever, it's imaginative, it's fun. Very few authors surprize me, cudos to Mr. L. A. Meyer. The Jacky Faber Books to my mind, uplift a persons morals. Parents your teens get a glimpse into past history without being bored.
I highly recommend the whole series
Lastly I've contacted the author the next is due out 8/09, I can't wait.

Once again, Meyer's delivers a masterpiece in MY BONNY LIGHT HORSEMAN. If it's even possible, Jacky finds herself in even more action-packed trouble in the newest BLOODY JACK book of the series, which left me on the edge of my seat throughout the entire novel. I particularly loved the new characters and setting that Meyer's introduced to us in the newest adventures of Jacky Faber, where I could see exactly what was going on throughout the novel. He left me being able to picture parts of Europe that I one day want to visit myself, and I got to know so many new characters so well, and revisit some of my favorites from previous books.

I would recommend this book to anyone that loves to read a good action-packed, adventurous book that also enjoys learning about history. This is a must read for the entire family. Go out and buy it today!

Wonderful, exciting, funny series for teens and adults as well. The whole Bloody Jack series is wonderful! Sure hope there is more coming.

As with some other reviewers, I was also baffled at some parts of the book.

*SPOILERS:Do Not Read Unless You Have Finished the Book*

For example, the part when she went off and made friends with her superior Baronet (I don't think it's spelt right), and then as their friendship progressed he became her protector and great friend. What confused me a lot was why the title of the book was dedicated to him. He was her Bonny Light Horseman. I suppose in a way it could be used interchangeably for her as she is also light and bonny and a horseman in this series. However it was clear that the title was meant for him, so was this book in dedication for this departed friend? It would be odd as Jacky has had a lot of adventures and has lost a lot of dear friends.
Another thing that just boggled my mind...her love affair with Jean Paul. She had so many other little flings here and there...the one with Randall (which was pretty dam steamy if I do say so myself) and alll those other ones too. I just sat there, four hours after reading the book and, still now, wondering why out of all the men she has ever met and kissed, did she finally lose her emotional faithfulness to Jaimy over to Jean Paul? I mean Jaimy has always always been The One for Jacky, despite whatever happened. You read about her kissing him and that, but this is really and truly the first time her emotions have ever been swayed by any other guy.
And then I realized maybe it was because Jean Paul was the only other man who was able to see Jaimy at a very vulnerable time and fully commit to her and love her for it. I suppose being tied to a chair and being tortured can also be incredibly vulnerable (if you don't remember that's where she and Randall have that steamy scene). Randall seemed to have respected and envied Jacky a lot, but I don't think he was ready to love her. He was more of an admirer. Oh and I just remembered...Jared was also there to hold her as she laid in a dark, wasteland of a prison...screaming out from nightmares. So what gives? If I were Jacky, I would've picked Jared pfft. :T. I guess Jared was more of a big brother and friend? They had too much past history? That one miffs me.
There also aren't a lot of things that can knock Jacky down. Threatening her life is one thing, threatening her family, friends, and everything else she holds important...that is a completely different story. So there she was as a threatened spy and sort of hooker and there this french dude was. Young love with Jaimy versus new and mature love with Oolala Jean Paul.
And if Jacky was like any other girl, after having learning her boyfriend Jaimy has given himself to another girl...I think that's enough to sway a little of her own feelings for him. I suppose this is just the point where their relationship is developing/maturing.

In the end, she never doubted that Jaimy was still The One for her. She also never doubted that she also now shared a piece of herself with Jean Paul. Oh yeah and when Jean Paul thanked her for letting him love her and that marriage for him was possible because he now knew what love was, and when even though they were to part, he would remember those days spent in the Paris cafe...that good bye just broke my own heart.

There were a lot of things I didn't understand in this book, but maybe it's because I need to read it twice or maybe even three times. I like to think that it's because as Jacky and the characters are maturing, so is the book. But no matter what happens, I will be the loyal reader that I am and follow the series to the end , because I'm very sure the author is capable enough :D. Thank you L.A. Meyer!

I finished reading MY BONNY LIGHT HORSEMAN, the sixth book in the "Bloody Jack" series, a few weeks ago and am just now getting around to commenting on it. The other reviewers here have basically written about the plot and characters, so I won't repeat what has already been said.

In this tale of the further adventures and misadventures of our dear Miss Jacky, she finds herself again at the mercy of the Royal Navy's Intelligence Department. She is to be sent to spy on the Grand Army of Napoleon in France. Posing as Mademoiselle Jacqueline Ophelia Bouvier (Jacqui O.? H'mmm That sounds familiar for some reason.) a dancer/seductress/spy with Madame Pelletier's troupe "Les Petites Gamines" in Paris, and then as a Cadet courier with Napoleon's Grand Army in France and Germany, charged with training a squad of raw enlistees knicknamed "The Clodhoppers," since they are all clumsy farmboys. She again involves herself in many dangers and narrow escapes...all exciting and great fun. Jacqui/Jacky still dreams about her true love Jaimy Fletcher back in London, but is also interested in a handsome young French officer named Jean-Paul de Valdon. One reviewer here was disappointed that Jacky was being unfaithful to Jaimy. Au contraire...Jacky was just being herself, a young lady who happens to like the company of handsome young men who are attracted to her. She was and always will be a fun-loving flirt. But, as always, she retains her virtue and deep love for Jaimy.

I've already given away some of the story and will leave it up to the reader of this excellent novel to enjoy the whole book for himself. This is a wonderful novel in a marvelous series and I recommend it highly. Vive Jacky! Vive L. A. Meyer!

David Downie's recent memoire on Paris is a diminutive delight, a series of "thought prose" on different and unusual aspects of La Ville Lumière. There are countless books following a similar approach, but Downie's stands out due to the unusual information and presentation of somewhat obscure and arcane information that he has collected over the decades in which he has lived near the Place des Vosges in the Marais district of Paris. The result is an insider's point of view of the city that is quite unlike other tourist books, and perhaps implies that those who might most greatly enjoy the book are those who have actually visited and explored the city to some extent. Without having experienced the city itself first hand, the information presented here is a bit decontextualized and a little abstract.

For those who have visited the city and even perhaps stayed or lived there for any length of time, Downie's book opens up a world of insights that is often hidden from common view. This makes it now possible to explain why Downie has selected the name, "Paris, Paris" for the text, where the second "Paris" is written in italics. Downie explains that the meaning of this structure indicates that there are two simultaneous, yet nevertheless distinct, "Parises," the first being the "Paris" that the typical English-speaking, non-French national sees and experiences, and the second (the "Paris" in italics) is the one that native Parisians and Frenchmen know, a reality removed from the more cursory visitors of the city.

Downie chooses an interesting example drawn from the Paris metro system to illustrate the title's metaphor. For anyone who has used metro line 14, the fully automated and state-of-the-art Parisian metro line, the sound of the automatic station announcement will come to mind. As we approach Chatelet Station, for example, the system announces "Chatelet" in a springy, almost stylish manner. As the train begins braking and stops at the station, the automatic system again states "Chatelet," but in a much more terse, low-key manner. This interesting announcement technique that all riders of metro line 14 have doubtless noticed (whether consciously or unconsciously), serves as a gentle reminder that there are two Parises, and few people ever get to know them both.

The book is composed of a series of short, targeted essays on a wide variety of locations, personages, and historical events related to the city. Each section runs only six to eight pages, which is a perfect length not only to convey the topic, but also for targeted reading day after day. The writing style is clear and engaging, and as mentioned before, filled with tidbits of information about the city that anyone interested in Paris would enjoy learning. We get to read about such famous "Parisians" as Coco Chanel, the engineer who is in charge of nighttime lighting for all of Paris, and a host of others in addition to interesting historical aspects of the city itself.

An enjoyable book with a memorable set of stories, anecdotes, and "mysteries" of the city, "Paris, Paris" is a welcome addition to any Parisphile's library.

Thank you, David and Alison, for sharing your Paris with me. Soon I will have the pleasure of spending a month in Paris, and the joy of being able to introduce my 16-year-old grandson to the greatest-of-all-cities. Your book deepened my knowledge of Paris, and will allow me to share more of its history with my grandson. I will be taking your book along, reading it in Paris, and looking for all those pieces of the city that you so beautifully described. Again, merci!

Downie's essays offers a quirky sense of humor and a wonderful eye for the details behind the details that at once demystify Paris and add to her mystery. Although the book is not a guide per se, the essays make me want to follow Downie's trails. As such, the book would have been better served with an index and some neighborhood maps. After all, give us a few more clues.

This just couldn't get any better. It is full of interesting tidbits and numerous places to visit accompanied by stories of people and places you normally don't hear told. I couldn't put it down, and I have recommended it to several people.

A wonderfully ill-tempered, sentimental, and informed account of nooks and crannies in the most interesting of cities. If I could arrange it, I would introduce Downie to the venerable Guy Grangeret, a visite-conference guide to Paris who is nothing less than Downie's spiritual twin. Neither man's dicta are suitable for beginners: all that irony and allusion would be wasted. Both provide insights and make connections that enrich the experience as well as thinking of the seasoned visitor.

I had wanted to read something about Jewish assimilation in Europe after snippets and references from Goethe's biography by Nicholas Boyle, a musical essay on Mendelssohn that touched briefly on his grandfather, Moses, and the liner notes on several classical music CDs of composers who lived in the 19th century. When I saw this book at my neighborhood bookstore, I grabbed it and stayed up all night reading it. Since I want information when I read a history, I don't require great writing, and prose that's merely adequate can be forgiven if the research is thorough (and the author doesn't have an axe to grind). Elon is a good enough writer that I will seek out his other works. This book shed light on the ambivalence that must have been unbearable for so many. And as another reviewer mentioned, its nice to have a chapter of German/Jewish history that doesn't begin with Weimar. As one of the best histories I've read, I can't recommend it highly enough. Hopefully high-school and college courses on Europe in the World War years will use this book as a prelude.

"The Pity of It All" is a masterful accomplishment of scholarship, insight and tone. It describes the world and history of German Jews before the Holocaust in ways that illuminate the catastrophe that follwed, but with a wise restraint that holds back from glib or pat theories. For instance, Elon is careful to insist that the outcome for Germany's Jews was not inevitable, and that although virulent, persistent anti-semitism was widespread in German culture, Hitler's and Nazism's rise also benefitted from the blunders and complacency of competing politics, and from other random hazards. In focusing on and describing the preceding two centuries of rapid development of a German Jewish community of prosperity and accomplishment, Elon gives these people back their identity and dignity as something other than doomed or pathetic foreshadows of predestination. While the book provides valuable food for thought about the Holocaust, it also, and predominantly, honors and rewardingly brings to our awareness the rich and fascinating parade of Jewish life and individuals in Germany from the mid-18th century forward.

There are many strengths to this book- one of the main strengths is the variety of uses that it has. It's obvious purpose is to relate the history of German Jews from the rise of the Enlightenment to the rise to power of the Nazi party. But it serves other purposes as well. I came to it for an understanding of the intellectual background of both Leo Strauss and Hannah Arendt. It could serve as background reading for anyone interested in Einstein, Benjamin, Adorno, Horkheimer, Freud, Adler, Fromm, Marcuse, Mannheim, Popper, Bernstein, Cassirer, Schoenberg, Husserl, Weill, among other German-Jewish intellectuals to numerous to mention. Which brings me to my third purpose. I have never read anything that made me realize just how badly Germany damaged itself intellectually during the rise of the Nazis. It serves as the primary example of politically ripping your heart out because your brain commands it. Who knows what the country could have become if it had embraced it Jewish citizens? Finally, for me, this book makes me understand why Zionism became such a political force. At some point, when you are treated like the Jewish citizens of Germany were, what else can you do? Elon makes it clear that their suffering began long before the twentieth century.
I want to talk about Elon's methodology. His book is basically a series of well chosen capsule biographies of prominent German Jews whose lives and struggles for emancipation and assimilation serve as to tell the stories of all German Jews. His focuses on people like Moses Mendelssohn, Rahel Varnhagen, Heinrich Heine, Ludwig Borne, Ludwig Bamberger, Gershon Bleichroder and Walter Rathenau. Along with this main biographies are several dozens of shorter ones. Elon then surrounds these stories with a certain amount of sociological history (two of his favorite statistics are to look at the rate of conversions from Judaism to Christianity and the rate of intermarriage). He tries to relate those stats to larger historical events. Finally, he also uses a bit of cultural history,e.g., he sees Goethe's idea of Bildung as having an even larger impact on German Jews than on the rest of the German population.
This methodological approach to his story has some drawbacks. Non-intellectual and/or lower class German Jews remain in the background in Elon's book. I am not sure how this could be avoided. There may be some sort of historical record that would tell us more about this part of the population but it is hard to imagine what that record would be. It is also easy to imagine that life for the poorer and less literate parts of the German Jewish population would have been even worse. Most careers were closed to them, all civil and political rights were denied to them and many times, entire cities or districts were closed to them. In most cities they lived in ghettos and were not allowed to go out into the rest of the city on Sundays or Christian holidays.
Elon also makes it clear that in many ways, Germany was one of the most liberal countries toward its Jewish citizens. I found myself sometimes reading this book wondering when the revolution was going to start. As I said earlier, reading this book makes the appeal of Zionism easy to understand.
I have a few other minor laments about Elon's book. I would have appreciated much more of a history of both Zionism and reform Judaism within the context of his history. I would also have learned from a history of how the understanding of the galut changed over time. But this is a minor quibble. Elon's books fulfills its own purpose and many other purposes magnificantly. There are other books that can tell the story of the missing pieces.
I came to this book from my reading of Strauss. It makes me appreciate Strauss's ideas about the theological-political problem so much more. Strauss basically used the place of the Jewish citizen within a liberal polity as his basic metaphor for the challenge of the other to a community/state. He also saw it as a metaphor for the role of the philosopher in the community/state. In both cases, it stands for an outsider who can never be other than an outsider. Strauss felt that this issue tears at the core of the liberal state. It is one that we can never run from and must always face with all our wisdom and humanity. Reading Elon argues strongly that Strauss may have been right. But mostly, reading Elon leave you with a sense of how much all of us have lost from what happened to the Jewish population of Europe during the thirties and forties. The Pity of It All is right.

This is one of the best books I have read in a long time. It combines history with interesting narrative. It tells of the heartbreaking saga of the relationship between Jews and Germans for the 200 years preceding WW II. It spoke of histories of people and how devoted they were to the Fatherland....especially sad were the thousands of conversions, forced and voluntary, which in the end did the Jews no good. It is an enlightening read and not very flattering about the Germans and their anti semetic history of thought.

The author describes the history of German Jewry in such an eloquent, informed and story-telling way that is just fascinating. Easy to read too. Excellent buy.

The progress of Jews toward full acceptance in the society of Germany and Austria--or at least Vienna--is traced thoroughly and at length. Writers, politicians, artists and industrialists, all are met here. Of some figures--those of peculiar importance or eccentricity--a whole biography is written. Others are mentioned almost in passing, never to be heard of again. The unique role of the **HofJude** (court Jew) and the **KaiserJude** (Emperor's Jew), these being close to power without actually wielding it, is well explained for readers in democratic America.

The one weakness in the book lies in its failure adequately to explain how things went from sugar to s--t so quickly. It's an account of steady gains, almost a mutual love affair between the Jews who contributed so much and the society that valued them like none other, then suddenly, in the final chapter, it's all taken away and the Jews must flee for their lives as Hitler and the Nazis come to power.

There is a bit more to the story but you will read little of it here. Even the most sympathetic chronicler has acknowledged that along with the flowering of art, literature and theater during the Weimar Republic came a fair amount of decadence and depravity. Many sectors of German society, those from the rural areas especially, were deeply offended by what went on in smart-set Berlin in the twenties, and by the alienated political commentary of some Jewish writers of the time which was intended to wound and did so.

Perhaps little of this was perceived at the time. Elon seems hardly to perceive it in retrospect, devoting all of two sentences on the second to last page to the excesses of the Weimar period.

This is one of the finest books I have read in a long time. Believe it or not, I heard about it from a Q and A with the actress Natalie Portman who recommended the book. The writer tells the history of the relationship between the Jewish population and their neighbors and German governnment. It ends in 1933, and points out ways in which the Jews tried to assimilate but were never able to please their government enough. It opened my eyes to 200 years of life before Hitler and how he was a cog in the machinery of the sickness of anti semitism. There are many personal examples of characters, their brilliance and fortitude to always try to "make things work" between them and their government. It is a heartbreaking book but one which should be read for Jews and Christians alike.

Amos Elon opens this book describing Moses Mendelsohn, a German philosopher's entry as an impoverished and uneducated teen into Berlin through a gate reserved for "swine, oxen and Jews," and ends it by describing how a famous Jewish writer left Berlin by train just hours ahead of the Gestapo.

Between these bookends you'll find the history of the German Enlightenment, the general acceptance and tolerance that Jews came to enjoy in Germany, of the significant role that Jews played in Germany's cultural, scientific, political and business worlds, and of the assimilation process that led to the specific identity of being a German Jew, and of most tragic suffering. What a pity!

It is the privilige of the victor to write history; most English-language histories of Germany's Jews to a greater or lesser degree approach their story through the prism of Anglo-American history, and adopt some of the prejudices and justifications of Anglo-American historians sometimes becoming but recitations of trusims. Not so this book, which is far more sophisticated. Without excusing that which ought never have happened, Elon clearly symapathisizes with the German people, and does not, for example, only describe the depths of the racial hatred to which they sunk, but also describes how barely 30 years before, they were far and away the most tolerant and least racist nation in history. Would that this were better known.

Not only is it a (brief) history of German Jewry, but also a brief history of German culture, politics and science. Elon believes that the Social-Democrats were far too weak, disorganized, and confused to have been able to maintain law and order during the Weimar Republic, and that the more conservative parties, which largely were extensions of churches, were too tied down by their religious affiliations to have been able to provide effective government. This, he believes, meant that the only form of government that could have saved Germany from the horrors that came to be would have been a military dictatorship. Expecting the Germans to smoothly transition from centuries of monarchic rule to a democracy during the depths of the Great Depression was not realistic. Democracies cannot exist without citizens who think for themselves, monarchies often raise people to follow orders without question. This is an interesting idea, and not what one hears from the sort of historians who write that the horrors arose because people weren't nice enough.

This is a hugely informative and highly moving book that is history sine ira et studio, history at its very best. I heartily recommend this book.

This book is truly one of a kind. It's detail and clarity is unprecedented and its topic very engaging as Elon does an amazing job in taking his readers through the 200-year journey and labyrinth of a mostly unexplored period of Jewish history. Awesome! Truly the best thing since sliced bread. Besides being a fabulous historical treatise, it answers many questions.......many many questions and problems and does it so wholesomely and so didactically and flawlessly.

My hat is off to you, Mr. Elon. I am silenced by the great amount of awe and respect I now harbor toward you. Thank You!

One of the best history books I read (and I read quite a few):
Well written, the past comes to life and what's more important you start to live it as if you don't know the future. One of the biggest problems in reading history is the fact you know "the answers" a privilege people don't have when they actually live and take decisions. This book gives you the feeling as if you almost are there with out knowing how things will eventually turn out.
Side bonus: a look in to the best of European culture of the 19th century.
A key for understanding lots of current issues, it will also help to understand the desires and nightmares of Jews in Israel today.

The Red Balloon is a wonderful story with an adorable little boy as the star character. I bought both the book and the DVD to give as a present to younger children (4 yrs old). I think they will enjoy if only for the visuals. The film is produced in French language but there is so little dialogue that not understanding the script doesn't affect the enjoyment of watching the film. Overall, it is a fun story with a good feel to it. There were only a couple of situations in the story that I thought might be a little sensitive or a bit scary to younger kids .. one being a group of boys chasing the little boy trying to take the balloon away from him. The other a very quick scene where a school headmaster is upset with the chaos going on and he puts the little boy in a room and locks the door. These are minor to the overall upbeat feel of the story but parents may want to review first to consider their own fast forward editing or explanations. In my case, the quality of the DVD was not great. It's an old film so perhaps the age is showing a bit in the reproductions.

Great story....grew up watching the short film and checking this same book out from our local library. Now that I'm a mom, I have introduced this video and book to my kids, and they're infatuated with everything about it. Great, well-made books with lively photos and storyline that holds little ones' attentions.

this book was written some decades ago but the excellence of the writing and the very skilful, thoughtful & sensitive photography which integrates very successfully with the story, are such that I believe this book will be deservedly popular with very many generations of children in the future. I believe that it is a masterpiece of children's literature and I strongly recommend it as a gift to be given by any parent - or grandparent.

I must have checked this book out a hundred times when I was in Elementary school as it was such a favorite. What a joy it was to find it still in print and telling it's charming story to future generations. This is a classic, and a book that I would recommend to all children and adults that want to hold a piece of their treasured childhood memories. This story was told in film on the International Children's Film Festival, hosted by Kookla, Fran and Olie, and further helps to bring this story to life.
Treat yourself and your children to the story of a boy and his friend, the red balloon.

The photographs, the text and presentation are remarkable. A piece that makes a good complement of the movie.