Austria Books

Anyone with a serious interest in the late Habsburg Empire, Austria-Hungary, or Viennese culture should probably read this erudite, encyclopedic study. Johnston deserves praise for taking on a challenging subject. His extensive research and learning are obvious in the bibliography, notes, and the many names rescued from oblivion (many probably discussed here in English for the first time). Parts of this book are outstanding. That being said, I do not share the enthusiasm of other reviewers. In his search for overarching cultural forms or attitudes (such as "therapeutic nihilism"), Johnston makes too many sweeping generalizations, reducing individuals and their actions to sociological categories or cultural stereotypes. The people he describes often seem like caricatures. Not everyone in Vienna was neurotic, death-obsessed, or a dandy on the Ringstrasse. At one point he makes the far-fetched claim that the Hungarian language, by its very structure, causes Hungarians to become dreamers, disinclined to scrutinize reality. Johnston pigeonholes individuals by their ethnicity, religion, or nationality. He emphasizes conflicts among the different peoples and groups in the empire, but says little about the cultural cross-fertilization that also took place. He does recognize that the multilingual environment inspired reflection on the problems of language.

This is essentially a history of intellectual movements (who taught or influenced whom), not a social or cultural history, as the title might suggest. It does not say much about the politics of the era or the broader society (the section about Hungary is an exception). Johnston is at his best and most informative in discussing economists, legal theorists, and philosophers. The sections about philosophy and social theories are perhaps the most interesting, showing a range of thinkers, some of whom were very prescient concerning the future of Austria and Europe, and whose theories ranged from the utopian to the pessimistic to the sinister.

Johnston falters with literature and the arts. He treats Johann Strauss Jr. and his music in a rather dismissive way, seeming to overlook the fact that Strauss was a very good composer whose works quickly became popular all over the Western world and are still enjoyed more than a hundred years later. (For a better discussion of operetta as a cultural form, see Peter Hanak's book on Budapest and Vienna, "The Garden and the Workshop"). An artist as important as Oskar Kokoschka is quickly passed over in a few short paragraphs, conveying no sense at all of how Kokoschka's work developed and changed during his long productive lifetime. Other artists and works (Kolo Moser and the Wiener Werkstatte design studio, the operatic collaborations of Hofmannsthal and Richard Strauss, Ernst Krenek) are not mentioned at all. This is too bad, because the art and music of this period are perhaps its most lasting legacy. By contrast, the stature of psychoanalysis has declined since the 1960s, when this book was written, and the presentation of Freud in particular seems dated.

Some details: Johnston does not translate any of the many German titles he cites, a disadvantage for those who don't read German. He often refers to the "Herrenhaus," the Upper House of Parliament, without explaining the term. He mentions Marcionism many times, but defines it only after more than two hundred pages. Ditto for Herbartianism. Readers should have some background knowledge before starting, and be prepared to question some of the author's analysis and conclusions.

This book is packed with detailed information, and we learn a great deal from it, but somehow the full color and complexity of life have gone missing. Its strength is in the details, not the synthesis. We do not come closer to understanding the forces behind the unique cultural flowering of Central Europe, and of fin-de-siecle Vienna in particular. The prodigious creativity of that place and time remain as mysterious as before.

This is a wonderful book for all intellectual historians, and cultural historians interested in fin-de-siecle Austro-Hungary. It's a tour de force if ever there were one! But it manages to remain accecible at the same time.

Also, while many have written about Freud, Wittgenstein, Schiele etc., Johnston talkes about the lesser known figures of the era. That is this book's niche.

Johnston's book may not have everything that you ever wanted to know about the intellectual and cultural life of Austria-Hungary under the Hapsburgs, but if ever a single volume came close to having everything, then this is it. It has discussions of not only the "usual suspects" like Mach, Freud, Wittgenstein, but it also provides coverage of important figures in economics (i.e. Carl Menger, Schumpeter, Hayek), jurisprudence (i.e. Hans Kelsen, Karl Renner, Anton Menger), men of letters (i.e. Musil), philosophers (i.e. Schlick, Neurath, Lukacs, Buber, Ebner), music (i.e. Mahler, Schonberg), and many, many other important people. Johnston's book also covers other less well known but important figures too. For example, he covers Hans Gross, a pioneer in the development of scientific police detection.

Anyone who has already read such books as Allan Janik and Stephen Toulmins' *Wittgenstein's Vienna*, Malachi Hacohen's *Karl Popper: The Formative Years 1902-1945* or even, Edmonds & Eidinows'*Wittgenstein's Poker*, will appreciate this fascinating and well written book.

This book is worth every cent, an amazingly well written and concise history of the culture, from all angles. I can't recommend it highly enough.

For anyone interested in the artistic, philosophical and psychological impact of Viennese culture, this is a must. Freud, Wittgenstein, Schiele, etc. Prof. of History at U. Mass., Amherst, Johnston writes clearly and with enthusiasm. See also his illustrated _Vienna, Vienna_.

This book is an excellent resource for researching the life and works of Beethoven. The sections regarding compositions are broken down by ensemble and type, and provide important information such as performance dates, key signatures, time signatures, and movement headings. Almost all topics, including such things as Beethoven's handwriting, favorite literature, philosophies, thoughts on other composers, are covered. Very handy for reference, as well as a guide to starting Beethoven research. Well worth it at twice the price!

All the key facts about Ludwig at your fingertips, plus many more you probably never knew. This book is a terrific reference, an enjoyable read, a great collection of facts and essays, and a bargain to boot. For those who think you need to be a scholar to have this level of interest, you don't. But even a scholar will find handy having so many facts in one place.

The book covers not just Beethoven and his life and works, but Vienna in general, the musical climate of the time, history, politics, developments in musicology, the scholarship of Beethoven's music, musical instruments and practices of Beethoven's time, etc. It's all very well-organized, too, with many nice illustrations of everything from Beethoven's handwriting (how can anyone read it?) to portraits of his contemporaries. And after you finish this marvelous volume, get the one on Mozart, too! I only wish they'd make compendiums for Bach, Schubert, Liszt, Schumann, Haydn, Tchaikowsky, Rachmaninoff, Sibelius, Bartok, Wagner, etc., etc.

Undoubtedly thousands of books have been written about Beethoven, but what sets this one apart from the others is its well-organized and exhaustive structure. Perhaps the best way to highlight this for the prospective buyer is to list the actual sections contained in this book. 1. Calendar of Beethoven's life, works and related events 2. Beethoven's family tree 3. Who's who of Beethoven's contemporaries 4. Historical background 5. Musical background 6. Beethoven as an individual 7. Beethoven's beliefs and opinions. Following section 7 are several more sections dedicated solely to his music. As you can see, this book offers several aspects that many others neglect to include. This structure also affords one the opportunity to go directly to an area of interest without having to wade through myriad pages. Also included are eight pages of paintings, sculptures and sketches of the maestro. This book is equally at home in the bathroom, on the coffee table, or in the study. It is an invaluable source of information for anyone desiring to learn more about this amazing genius.

This book has the biography, the politics of the times, the pictures of, the letters of, the thoughts of others about him, deciphering of each piece of music, a list of his contemporaries, patrons, loves, friends, family tree... everything you could ever want to know about Beethoven's life and times! I love this book

This book offers chapter after chapter of information on every aspect of Beethoven. I find that every time I pick this book up, I can find something interesting to read about. Obviously the music as catalogued and described. Beyond that, details of the great composer's personality, writing style, health difficulties, as well as his known views on a variety of topics provide endless hours of fascinating reading. I am impressed by the thoroughness of this book. Listings of people who Beethoven knew or interacted with, his influences and those he influenced, pictures and descriptions of his handwriting and manuscripts, the historical perspective on the times he lived in, all clearly described. I would highly recommend this book to anyone interested in learning more about this great master, and to anyone who is interested in the life and times of one of the most influential artists to ever live. In summary I have found it accurate and complete and always interesting. It is an indispensable reference.

Alma Schindler - the goddess, the muse, the center of attention ... How did she manage that? How did she become an obsession of so many genial men, a thing of admiration of the Secessionist Vienna? But simply - she was a remarkable woman. And also, happened to be pretty and at the right place at the right time, born into an artistic family. It was said that she had a hearing defect. She would move closer to her companion in order to hear better. Men found that irresistible.

One would expect her to be vain and conceited. Through her diary, we entered her mind - she is none of that. At least, not more than any of us. She is an insecure girl. She has fears, doubts about herself, she loves passionately... Alas, her anti-Semitic feelings are shocking. At first, she is quite tolerant and objects anti-Semitic sentiments. Then she changes. One can only find the reason in propaganda being already pretty aggressive. She lives among Jewish families, loves Jewish men and marries two of them. Why then? And how did it happen that she married Mahler so quickly?

"Please God, give me some great mission, give me something great to do!" She could have been quite a good artist. Her drawings show certain talent that could have been developed into something much more. She could have taken drawing classes and maybe, her mission would have been even greater. But she pursued music even though it
seemed that she lacked the talent - not one of her opera impressions on the notepaper correspond to the real score. She never composed a great opera she dreamed of. But she left her mark in the history of arts and love.

This book is a great document. The correspondence between the authors just adds to the value. I only wish there were more photos of Alma as well as letters that she received. It would have been nice to read passionate words of her admirers. At the end, instead of an epilogue, there should have been a short biography. And a word of two about her sisters and mother would have been valuable. What happened to her sister Maria? I guess I need to start searching.

Is it true that Alma claimed she was for decades the main authority of Mahler's works, values, character and his day-to-day actions and movements?
Is it true that, initially, and for many years, her various publications quickly became the central source of information and references for Mahler scholars and music-lovers alike?
Now we can know why, later, her accounts have been treated as unreliable, false, misleading and often impaired soundness? It is a fact that these imperfect accounts have nevertheless had a great influence upon several generations of music-lovers, hence the legend: " Alma's Problem""
How about what she wrote in her two books (memoirs) and their impact on Mahler studies'. (Why did she write two memoirs? - My Life, My Loves, and My Diaries 1898-1902) - Alma was a graceful, well-connected and influential woman who outlived her first husband by more than 50 years. (This reminds me of Cosima and Wagner. Cosima outlived Wagner by 47 years). How trustworthy is any story laid by women who outlive their notorious husbands for so long? Shouldn't they be given credence, though there may not have been full and final grain of truth in it?) - The greatest difficulty in writing one's memoirs is to keep a certain detachment at a time when passions were running high. True in her old age Alma wouldn't admit that her apprehensions with the past `'husband and wife"" days had been influenced with the benefit of hindsight when she now perceived the significance of events after they have occurred. Within 50 years Alma's reminiscences of past events couldn't pass without nostalgia or without an urging wistful desire to return, at least in written thoughts (modified and garbled), to a former time in one's life when young - I saw her picture, indeed she was very beautiful. Alma claims that Mahler 'feared women' and that their relationship was never really without danger, arguing that he had almost no sexual intercourse right up to his forties (he was 41 when they met). In fact, Mahler's long record of prior love affairs-- including a lengthy one with Anna von Mildenburg -- suggests that this was not the case. Whereas Alma's flirtation and first kiss was in her teens - as she boastfully said so. ".In her memoirs she must have been looking for an edge over Mahler. True?
Alma Mahler (then Schindler) played piano from childhood and in her memoirs reports that she first attempted composing at age 9. Was that false or true??(She knew that Mahler's parents had arranged piano lessons for him when he was six)
After Mahler's death, Alma did not immediately resume contact with the young architect Gropius. Between 1912 and 1914 she had a highly agitated affair with the artist Oskar Kokoschka, ((who created many works inspired by his relationship with Alma, including his famous painting: Bride of the Wind.)) Strangely enough, I read something like this: "" After Alma's departure from his life, Oskar Kokoschka notoriously ordered a custom life-size doll resembling her in details. Rumors say that he was seen at a local theater in Vienna holding the doll as his companion"" Could this have been true? Was he mentally insane? Was it plausible that Alma has had love affair with a mentally sick man that she did not recognize his flaws from the very beginning? Oscar must have been a most difficult partner, impetuous and mentally unbalanced. Such rumor must have made him the laughingstock for the intellectuals. How could Alma have been `attracted"" by such character? Gustav vs. Oscar (quite the opposite, yet she could sustain the dissimilarities! - Was she so eccentric?)
During the emotional instability in their marriage after Mahler's discovery of the affair (Alma's infatuation with Walter Gropius 1883-1969 - a German architect and founder of Bauhaus and is widely regarded as one of the pioneering masters of "modern" architecture) Mahler took a sincere interest in Alma's musical compositions; completely regretting his earlier attitude when he dropped her talents out. (Was Mahler a capricious person - dictating his authority - as when he dropped Alma's talents in the past?) (Controversial-no doubt!)
Upon Mahler's endeavoring, and under his coaching and assistance, Alma prepared five of her songs for publication (they were issued in 1910, by Mahler's own publisher, Universal Edition). During this time, Mahler had one and unique consultation with Dr. Sigmund Freud. Why? Backlog of hard feelings I believe; they had watched with apprehension the gradual encirclement of the Jews or was it the curse of the ninth - Mahler knew he would not live long after his composition of the Ninth symphony that he completed in 1908 (perhaps!) If it were to seek guidance from Freud on Mahler's unsatisfactory relationship with his wife, this would sound absurd to me. Okay, but what was the outcome of such consultation?? Did they discuss the behaviors of Mahler's wife' or the anti-Semitic backlog of hard feelings? (Mahler was Jewish, so was Freud- Sigmund Freud knew his compatriots only too well - they give in to moral pressure) At the Opera, Mahler stubbornness in artistic perfection had created enemies, and he was subject to perpetual attacks from anti-Semitic circles in the press. His resignation from the Opera, 1907, was hardly unexpected. (Incidentally: Dreyfus affair divided France from the 1890s to the early 1900s and its repercussion continued until well after WWI)
The hard feelings of anti-Semitism must have adversely impacted his marital relationship with Alma? Initially, under Austro-Hungarian laws, no imperial posts were to be filled by Jews!!! Hence, in 1897 when he was 37, Mahler could not occupy the Directorship post at the Vienna Opera.
Something else, Mahler has had a clash with Brahms (Didn't he?) While at the university, he worked as a music teacher and made his first major attempt at composition with the cantata Das klagende Lied. The work was entered in a competition where the jury was headed by Johannes Brahms, but failed to win a prize. (Did he feel the brunt of Jewish curse?? It could be!!)
(In later years, however, Brahms was greatly impressed by Mahler's conducting of Don Giovanni.)

Biographies can easily become subjective, as they rely upon the person telling the story. With diaries, we have almost a first-hand look at what the writer was thinking.

These diaries of Alma Mahler reveal the usual thoughts and feelings of a teenage girl and young woman. Alma desperately wishes to "be somebody," but she's not sure of how to achieve it. She spends years studying music, and practicing composition, but her works are simply fair or good, but not remarkable.

Then, she finds out what she's really outstanding at: attracting brilliant artists from all fields. This includes men such as Gustav Mahler, the composer, Walter Gropius, the Bauhaus architect, Franz Werfel, the novelist, Alexander von Zemlinsky, the composer, Gustav Klimt, the painter, Oskar Kokoschka, another painter, and many others.

Although her own art never achieved for her the fame she would have liked, perhaps she inspired all these other greats to go beyond what might have been their own limitations. There is a tendency, as you will see from photographs of Alma, to believe that men were attracted to her because of her spectacular beauty. But as you will see from these diaries, her personality must have also played a large role. She is coquettish, yet honest, and vacillates between between overestimating her successes, yet feeling humble about how much more she wishes she could be.

But what I believe you will find the best feature of this book, is seeing geniuses like Gustav Mahler and Walter Gropius, through the eyes of a young woman, who saw them up-close, as real, live men. It's like traveling back in time, for a close-up, personal look at these famous artists.

As a long-term diary writer myself I was interested in Mahler-Werfel's diary and the manner in which the voice of the nineteen-year old woman is expressed (and the next two years of her life). Often when I reread my own writings I cringe at my ideas and philosophies when I was young and it takes some time for me to empathise with myself and regain a feeling for the person I was. One of the great features of these diaries is that they truly express the voice of the nineteen-year old, they have not been edited to provide a more sophisticated voice. Perhaps Mahler-Werfel cringed a bit at herself in the way I do, perhaps that is why she never published these diaries during her lifetime, although we do know she gave it some consideration. But I think it is important that we heed the voice expressed in youthful writings because it reassociates us with the people we once were, and hopefully gives us greater empathy with the youth of today.
The most challenging aspect of these diaries is Mahler-Werfel's revelations of her growing sexual awareness with its contradictions, rapid changes of view, hesitancies, self criticism, and intemperate admissions. This is emotional and at times erotic writing. While we can allow Mahler-Werfel the licence to say what she wants about herself, it is less readily acceptable that she describes the behaviour of her partners - some of them quite historic figures. But this is the voice of youth going through very tumultuous personal times. Most people move through these times with varying degrees of ease and distress. Mahler-Werfel's writing reminded me of Wedekind's play `Springtime Awakening'. The awakening is not satisfactory for all - and is sometimes disastrous. For Mahler-Werfel we can only speculate.
Mahler-Werfel associated with many great artistic figures - in the times of these diaries there are Gustav Klimt, Alexander Zemlinsky and Gustav Mahler. Her reflections on these figures make them more alive than many histories. For her, they were living pulsing human beings and we see them in that way.
But was Mahler-Werfel extraordinary herself? I find it hard to decide. She obviously was not your average woman of the time, and yet it is possible to see her as just a spoilt rich girl who happened to have a pretty face. In her diaries she speaks of writing a song (lied) in a day, playing the whole of Tristan on the piano in an evening. And yet her musical examples noted in the diary are so poorly notated and often so inaccurate that it is hard not to think she had little genuine talent. Perhaps someone else completed the lieder from her tenuous musical ideas. But equally possible is that she was a real talent and, as popular history tells us, was suppressed by Mahler in their marriage. To me, however, there is another reading in that marriage to Mahler enabled her to renounce her musical ambitions, which she knew would never match those of Mahler no matter how hard she worked. To be fair about her musical notation however, we need to remember that all her writings border on the unreadable (perhaps that was deliberate - a sort of code?) although the single-minded line drawings she included are quite fine in a limited way (are they all of pretty Alma herself?).
Another way to judge her musical astuteness is her reviews and critiques of the many concerts she attended. At first look they seem to match the views of the day - wildly supportive of Wagner, dismissive of Bach, Saint-Saens and even Mozart. Was she just copying the view of the day? But then there are the changes of view - suddenly the opinion on Mozart changes, she starts to see some flat spots in Wagner. This does seem to suggest self-awareness in her musical views and even if it is selective acceptance of different critical opinion she shows a capability to make the change. There is one final thought that came to me as I read the diaries - perhaps her influence was so great (it certainly wasn't trivial) that she went some way to actually forming the critical view of the day.
I was immensely fascinated by these writings. If you are interested in human development and artistic creativity I recommend you do not overlook them. One thing is certain - Mahler-Werfel was an impassioned writer as a young woman.

Alma Mahler was a fascinating woman and this diary gives an unique insight into her personality and those she knew. Her growing years, developing both emotionally and in personality come through as does her determination and zest for life. Her time with Gustav Mahler is fascinating and sheds an interesting light into his character and fears at this time. A fascinating read.

I am not surprised that this book has unanimous 5 star reviews. John Treadway is a legendary figure in Balkan studies, and is quite rightly regarded as the world authority on the Montenegrin history of this period. He is uniquely able to make the study of Montenegro in the run up to World War One both scholarly and accessible, an all too rare feat in historical writing these days. Buy 10 copies of this book and give them to any historians you know to teach them how to write history properly. Christopher Catherwood, author of THE BALKANS IN WORLD WAR TWO (Palgrave, 2003)

John Treadway has been the most authoratative, brilliant and generally outstanding scholar of Balkan history in recent years, and this is the wonderful book that made his well deserved reputation. You simply cannot understand the Balkans without reading this magnificent book.

Brilliant study about Montenegro and its relationship with Austria-Hungary but also with Russia and Balkan countries, especially Serbia. This excelent book is based on critically confirmed facts and scientific knowledge. Professor Treadway stresses eternal wish of Montenegrins and their king Nicholas I Petrovic Njegos to restore medieval Serb Empire of Dusan Nemanjic: "Ambitious for his dynasty as well as his country and incited by the nationalism of his people, Nicholas dreamed of uniting all Serbs under his aegis and sitting upon Dusan's throne in Prizren" [page 201] I recommend this book to everybody who cares for knowledge.

Treadway has been extremely succesful in writing the dramatic history of Montenegro, its smart king and its brave people. After reading this fine historybook on the "black mountains" the reader will better understand the current trouble on the Balkans. Treadway describes in a detailed way why the two Balkan wars have taken place and what has been the political and geographical outcome of it. The Austrian-Hungarian influence on the European continent at that time as well as the Russian influence makes one see how history repeats itself today. For the current student on Balkan history, for the student on politics in the Balkan and for people who are interested in Montenegrin history this book is an absolute must! Highly recommended

I was lucky enough to have been a student of Dr. Treadway at the University of Richmond. This book was on the reading list for his class European Diplomacy from Bismarck to Hitler. Treadway's intense teaching style as well as his insightful sense of humor are seen in this work. The events leading up to World War I were both complicated, and filled with lots of "what if's..." Treadway concerns himself with the "Powder Keg" of Europe, the Balkans, and presents a unique and facinating overview of the events surrounding the Annexation Crisis, the Scutari Crisis, the two Balkan Wars, as well as the history of Montenegrin relations with Austria-Hungary, Russia, Turkey, and other Great Powers. How did this small country with virtually no resources come to play such a large role in European diplomacy and politics? Treadway answers this question, making his way to June 28th, 1914 and the assassination of Francis Ferdinand in Sarajevo at the hand of Mlada Bosnia. Anyone interested in the causes of World War I would be interested in this book, moreso because it is written from the perspective of "the mouse that roared," the small country of Montenegro.

For most presses, East European studies is a dying breed, consigned to the periphery by Europe's metamorphoses and other global challenges. However, Granville (history, Stanford Univ.) examines an event that retains stinging memories almost 50 years later--the 1956 Hungarian Revolution. The author explored archives accessible only after the Cold War, and had extraordinary cooperation from archivists in Moscow, Budapest, and elsewhere. Kadar, Nagy, Rakosi, Tito, Khrushchev, Eisenhower, Dulles, and other personalities, as well as arcane communist and democratic bureaucracies, are revealed through countless archival fragments. Granville is at her best telling the interwoven story of 1956. Ultimately, Granville's analysis leads to a no-fault conclusion, suggesting that misperceptions and misconceptions among all actors led to the disastrous outcome. Recommended for graduate students and above.-- D.N. Nelson, University of New Haven

Johanna Granville is one of the most industrious and talented of the scholars who have seized upon new archival opportunities to deepen our understanding of the Cold War. For _The First Domino_, the author has scoured archives in Europe and the United States in an effort to find out how the principal actors arrived at decisions regarding the Hungarian Revolution of 1956. Matters, as she writes, were not as simple as they once appeared. Nikita Khrushchev and other Soviet leaders bad difficulty, for example, deciding whether or not to suppress the uprising by force. In fact, they voted not to intervene one day (October 28)before they ordered decisive military action (October 31). Some of what she has uncovered is already known: that Imre Nagy denounced some of his countrymen during his years in Soviet Russia (1930-44) and that he did not invite the initial Soviet invasion of October 23-24. But thanks to Granville's linguistic abilities, she has shed new light on the seemingly inexplicable conduct of Poland's Wladyslaw Gomulka and Yugoslavia's Josip Broz Tito. Moreover, she has helped to clarify Janos Kadar's decision to betray Nagy and the revolution. In a particularly compelling chapter, Granville examines the role the United States played before and during the revolution. She concludes that the Eisenhower Administration's talk of "rollback" and "liberation," when combined with U.S. intelligence operations and psychological warfare, may have led Soviet leaders to fear a U.S. intervention and, thus, to opt for a harder line. Above all, however, Granville reminds us of historical contingency. Those who have studied the revolution have sometimes taken the view that Hungarians and Soviets acted out of necessity. Granville herself thinks that given Hungarians' historic detestation of Russia and communism, revolution was bound to erupt; and Nagy's "trial and probably ... execution were inevitable." She should have written "were very likely," because elsewhere she observes that if the Soviets had removed Stalinist dictator Matyas Rakosi sooner, there might not have been a revolution; and that had there been no Polish crisis of October 19-20, Budapest's students might not have demonstrated on October 23. "No event," she wisely concludes, "is ever predestined; individuals can make rational choices to change the course of history at any given moment." ---Lee Congdon, Professor of History, James Madison University._History: Review of New Books_ (Summer 2004),v 32, i4: p 147.

Dr. Granville's book is without question a first-rate, well-researched monograph. She uses Hungarian documents that even Hungarians have not read, sometimes presenting them in dialogue form (Chapter 3). The books reads like a novel in some places. (...)

This long-awaited review of archival records dealing with the Hungarian uprising of 1956 is destined to appear on numerous Cold War historians' bibliographies. It is a meticulously researched study, a grand example of erudite scholarship in its truest sense. Dr. Granville's examination of declassified documents is exhaustively and exhaustingly thorough.

Johanna Granville's The First Domino: International Decision Making during the Hungarian Crisis of 1956 (...), a pioneering work on East European Cold War history, confirms that when President Eisenhower had his chance to redeem the Republican campaign pledge to "roll back" the Soviet occupation of Hungary, he failed and thus perpetuated that occupation for three more decades.
This is a remarkable study of Cold War history because the author, at home in Russian and other languages, has availed herself of recently opened Soviet and other archives to describe how Hungary became the first "domino" in a process that "resulted ultimately in the Soviet Union's loss of hegemony over Eastern Europe in 1989."
The Hungarian revolt resulted in more than 2,000 deaths and the flight of over 200,000 refugees to the West. It is worth noting that a far smaller group of earlier Hungarian refugees, who fled to America from a Nazi-endangered Europe, helped build the first atomic bomb during World War II.
Chapter 6 of "The First Domino" is the most fascinating, since it explores U.S. psychological warfare and covert activities in Eastern Europe during the 1950s, including broadcasts by Radio Free Europe.---Washington Times, March 21, 2004 by Arnold Beichman, Research Fellow at the Hoover Institution, Stanford University

The ideas in this book expolore the relationship of manmade structures to nature. Hundertwasser displays many of his creative solutions to keeping green spaces while still making spaces for people to live. He addresses the human side of sustainability by forming spaces that "make the whole person vibrate" with life.

I spent much of the 60s and 70s with posters of Hundertwasser's paintings on my walls. It was always clear that he was an architect, but one without any commissions. So when I came across this book, I was ecstatic. He's actually building! He is freeing us from the tyranny of straight lines, 90 degree angles, and an architecture divorced from nature. Some of his buildings are like something out of Willa Wonka and the Chocolate Factory!

I'd love to live in a city filled with Hundertwassers rather than the neo-prison building that passes for architecture these days. And so would others -- rents at Hundertwasser buildings in Vienna fetch a huge premium. And he is regreening cities at the same time. I can't wait to go visit!

This book is also wonderful for preteens -- it will stretch their minds about what is possible -- and give new reason to study the math and physics necessary to realize the cities of our dreams.

This book was my Christmas present to myself (I also gave it to others), and it was the best present I got! Every time I open it, I want to sing!

I fell in love with the work of Antoni Gaudi during a visit to Barcelona in the 1990's, and frankly wondered why his delightful ideas were never widely emulated. During a recent visit to the design studio of Metal Artist Brett Goldstone, Brett showed me a copy of "Hundertwasser Architecture" and I was immediately hooked! His revolutionary ideas on "human architecture" should be compulsory reading at every school of architecture and every city planning department! It's time we brought more life into our living and working environments; Hundertwasser's design and architectural concepts should at the very least be considered.

Michael Locke, Editor "The Silver Lake News"
Silver Lake Correspondent, "The Los Feliz Ledger"

Hundertwasser Architecture: For a More Human Architecture in Harmony With Nature Is an amazing look at Hundertwasser's structures and ideas about structure. For builders, designers, architects who believe in building structures which flow with both their environment and their function, this book is nothing short of inspirational. Many ideas for not only building and designing from the raw ground but also for retrofitting and improving existing structures. Hundertwasser's ideas that the buildings should "belong" to the users: trees, people's interactions with the space, allowing those who inhabit the building to have a bit of control of the building so they are committed to the structure and not just passing through are all expressed here. Designers of stucco boxes could benefit from his ideas.

This book about this extravagant architect is a very nice edition, including beautiful images and clearly explained background information. I regret not having bought this book from Amazon, though; I purchased it in Belgium, at a much, much higher price, and still I think it was worth it. Certainly a great addition to your personal art library. Buy it and enjoy!

Eva Ibbotson has done it again! Just when I think I may be disappointed in her, because you never know when an author will exhaust their repertoire, I'm pleasantly surprised. Yet another story of pure devotion, history, twists and turns, and another reason to burn the midnight oil. I love her ability to describe a place so that I can say I've been to Vienna and England. My only disappointment is that I can't meet her and beg her to write more, plus I have so many questions. I highly recommend this book!

I thought this was a great, lovable book. I didn't want it to end. Quin and Ruth were great characters. And the secondary characters were endearing. The only problem I had was how every character automatically fell in love with Ruth.

I loved this book!! So cute and romantic. If you are looking for one of those feel good romances, this is it.

Ruth Berger lives in Austria during the onset of Nazi-takeover. Because she is Jewish, thought not orthodox, she and her family decide to flee to England. Ruth goes ahead of her family, but is unable to leave Austria, unbeknownst to her family who have successfully arrived in England.

Alone and bewildered, separated from family and fiance, Ruth meets her father's friend and colleague, Quin Sommerville, a British paleontologist. He feels sorry for Ruth, and suggests a civil wedding as the solution to their problems. By marrying Quin, Ruth will become an English citizen, and so be able to leave Austria. They agree that the marriage will be annulled as soon as they reach England. There are no feelings between them: just pity on Quin's part and dependency on Ruth's part. Of course. The annulment is not as easily gained as Quin had planned, and there is an added difficulty in the appearance of Ruth's fiance and Quin's would-be-soul-mate.

Ruth is a sweet character, but a little too consciously naive. I was able to overlook it because her faults reminded me that she is human, like everyone else. The front cover is a bit incongruous, because Ruth's musical talent (if it can be called such) is not a big part of the story.

Ms. Ibbotson's writing is excellent. She writes with humor and a great deal of intelligence. She is capable of writing of music, literature, history, paleontology and whatever else comes up. Not only does she speak of such things, she proves that she actually knows what she is talking about! There are musical and literature references throughout, but any ignorance the reader might have on those subjects will not affect the comprehension of the story. This is a lovely romance, and I highly recommend it.

I was not very impressed with the publishers. As with the other recent re-prints of Eva Ibbotson's books by Speak (A Song for Summer, The Countess Below Stairs, A Company of Swans), there are numerous typos that I hardly think were Ms. Ibbotson's. Not to mention erroneous summaries on the back covers (especially in the case of A Song for Summer).
However, this did not detract from my enjoyment of The Morning Gift, or any of the other aforementioned books.

Lastly, amazon states that the age group is 9-12. Not so. This is intended for adult readers, though perfectly acceptable for young adult as well. There is enough sexual content (though very little and mostly implied or behind closed doors) to make it unsuitable for ages 9-12.

After reading Eva Ibbotson's 4 adult books, I want to say that I love her writing. It's like having a bit of a chill and her books are like the blanket fresh from the dryer you cuddle in. Descriptive, endearing and comforting. Thank you for these stories, they are truly beautiful

I read another books about the 1809 campaign but this exceeds in the analisis of the all around campaign fronts , including a detailled italian campaign point of view Eugene versus John both " minor " generals in the official history , and the austrian corp army evolution . A brief but essential study . If you likes Napoleonic strategy , you must have it !!!

Epstein believes it was greater combat effectiveness of Napoleon's adversaries and not the decline of the French army that led to the fall of Napoleon. In his book, Epstein writes about how the Austrians copied the French corps system that allowed greater personal intiative on the battlefield. This also permitted the Austrian army to retreat in detail rather than being surrounded in whole. As a result, unlike Austerlitz, Napoleon was unable to destroy the Austrain army at Wargam in 1809. I would reccomend this book to anyone who wants a new perspective of the closing phases of the Napoleonic Wars.

If you are interested in the development of war, this is an excellent read, otherwise turn away. The author shows how Napoleon's decline began as his enemies fought like he did, in a modern fashion. He makes the case that war as we understand it today began in 1809. The maps are wonderful, although the level of operational detail was a bit much.

Epstein's thesis is thought-provoking and admirably supported. He convincingly argues that the start of modern warfare occurred in 1809 during the Franco-Austrian War when, for the first time in history, two armies met in battle, each utilizing the new doctrine of independent army corps at the new operational level of war. His research sheds new light on the military history of the nineteenth century by challenging the popular wisdom that Napoleon won battles through tactical genius and force of personality alone. Rather, the author demonstrates that Napoleon's genius was primarily manifested in his creation of a new system of warfare based on interdependent action of individual army corps at the operational level of war to achieve strategic objectives. This was a major shift from the tactical-strategic paradigm of eighteenth century warfare (i.e. the ancien regime). Although Napoleon's ideas were based on those of prior theorists, he was the first commander to fully implement this new style of warfare. The result was a doctrinal asymmetry between Napoleon's army and those of his enemies that enabled him to achieve his astounding victories at Ulm, Austerlizt, and Jena-Auerstadt in 1805-1806.

After 1806, however, the other European powers began to organize their own armies according to this corps system. Although they generally lacked Napoleon's mastery of command and control at the operational level, this development ended Napoleon's doctrinal monopoly and restored operational balance to the battlefields of Europe. It was this restoration of doctrinal symmetry at the operational levels of war that account for Napoleon's inability to achieve another Austerlizt in 1809 or thereafter. He strongly suggests that Napoleon himself was unaware of the dynamics of this doctrinal paradigm. Epstein's thesis argues against the possibility of a Lee or Jackson, or for that matter Napoleon himself, capitalizing on this imbalance again. He also argues against the idea that Napoleon had lost his personal edge and was in decline starting in 1809. Rather, the decline of Napoleon's battlefield fortunes resulted from his enemies learning the lessons he himself had taught them in 1805-1806.

While the book is essentially about the developement of the corps system and the emergence of the operational level of war, it is also an excellent operational history of the Franco-Austrian War of 1809. His descriptions of the significant battles, especially Wagram, are thorough, detailed, and readable. The uninitiated reader in the field of military history may suffer from information overload when reading his descriptions and maps, but the detail is greatly appreciated by serious students of the subject. Nonetheless, the general reader will still greatly benefit from learning how warfare fundamentally and irreversably changed in the year 1809. Students of the U.S. Civil War will also benefit from his thesis in that it greatly effects how one weighs the roles of doctrine, technology, and personality during that war as it relates to Napoleon's development of the corps system and the operational level of war.

This book offers a refreshing and revolutionary new view of the history of warfare and emergence of modern war, one based on the history of military organization and structure rather than the traditional technology based analysis. The thesis is well made and well argued and will certainly be a guiding force in the future of military studies, especially now that are beginning to give greater value to decentralization of military operations in the 21st century. Not only is this work revolutionary and foundational in the field of military studies, it is also an excellent analysis of the 1809 War of the Fifth Coalition with many valuable insights into the relationship between Napoleon, his Marshals, and Prince Eugene.

The only reason I gave this book a 4, rather than a 5, is because of the maps. There are many large detailed maps included in the books, unfortunately the generally span two pages with the centre being unreadable between the pages, the difficulity with this is compounded because the deployments and action is generally towards the centre of the map and, therefore, unreadable. I am rather surprised that problem was not caught before publication. Because of this I often found myself having to resort to other sources for maps while reading the book. However, in spite of the maps, the book is more than worth the time and cost for the revolutionary new look at Napoleonic warfare.

Simply better than the first... and it's on my bookshelf now.

I got this book from a local bookstore. Only one was available and the cover was not in a very good condition. But I find the content stunning... the combination of photographs and no faults with the manipulations/modifications done could have easily fooled many in earlier days. Today we know such mastery is possible powerful computer software.

This book eye candy to me.

Paintbox No.1 shows the power of image manipulation. With a simple digital pen these artists blend together images that will amaze your eyes. Pages upon pages of eyecandy!

This book is chocked of photographic pictures that are skillfully modififed to blend seamlessly. Some of these may be done by using plug-ins, but others require more effort, skill and thought. For example, you cannot just mask an object and paste it on another photo; need to consider shadow, lighting, etc. and I think the pictures here involved such considerations. Great work. When I look at the pictures, I think, "That's great..." and a great challenge to me to produce similar results.

I am also intending to get "Paintbox No. 2" !!

Sometimes we come across advertisements (eg. posters) that catch our attention and make us wonder---"How REAL!!" and amaze us. This book is filled with wonderful pictures, carefully designed, composited, etc. with consideration of details such as shadows to make things realistic. Everything in the pictures blends well with other elements in the pictures. With the power of today's photo editing software, some of these may not be difficult to produce but for the rest, they seem like wonders to me. Imagination and skills are essential.

If you are in advertising and designing, it would be a great challenge to yourself to try to produce similar effects in the book. Or if you are just looking for a book that shows you great pictures in advertising, you will find this book to be an eye-candy. However, this book does not teach you how to produce the effects; which, I think is not the aim of the book.

I am happy to have a copy of this book.

David Weiss has written a profound memoir of a difficult encounter with people and his past. It is eloquent, brilliant, deeply moving and eminently readable.

This is the sad story of the Jewish community in wartime Nazi Austria and the return of surviving victims to Wiener Neustadt. A gripping tale told by the son of the former chief Rabbi of the town.

This is an astonishing work -- deeply revealing, personal, and yet universal in its message. David Weiss uses language with precision, describing complex emotions and internal conflicts with grace and originality. This book, regardless of our associations to the Holocaust, is one that we can all learn from. It reminds us that each human being must be judged as an individual, even when circumstances make it difficult for us to do so. For those of us who search within to overcome old biases and hatred, this book can be an epiphany. For any thoughtful person, it can illuminate a black period in history and inform our responses to it.

"Reluctant Return" by David Weiss presents the intricate emotional landscape of a Holocaust survivor compelled by the sincerity and heart of a new Christian sect to return to his Austrian hometown of Wiener Neustadt on a mission of reconciliation. Ichthyus, a new Christian sect devoted to repairing the deep wounds caused by Christian anti-Judaism and anti-semitism, begins from the dreams and visions of a minister's wife, Uli Eiwen, who feels led by God to uncover the truth of 1000 years of Jew-hatred in her hometown, and to work to forge a reconciliation. Uli's visionary experiences lead her to the belief that God has abandoned Christianity because of two thousand years of Christian anti-Judaism. Recognizing her God as the God of the Jews, she feels that God's covenant with Abraham speaks directly about Christians in particular in the statement, "your enemies shall be my enemies." She convinces her husband, Helmuth, of the power of her beliefs after a chilling vision of the Nazi swastika during a mass he leads drives her from church screaming. He discovers the horrible history of Lutheran complicity with the SS in his hometown, resigns his ministry, and starts Ichthyus. Weiss and other Jews from Wiener Neustadt are convinced to return by the simplicity and honesty of the Eiwens, much to their own surprise. Weiss's mapping of the intricate and complex emotions he feels during his return has much to say about the destructiveness of prejudice and hatred, and the difficulty and beauty of forgiveness. Weiss writes with a pained lyricism in this profoundly moving book. I have used this recently in a course on religious autobiography (college level), and it has been a powerful source of knowledge and reflection for my students. Very highly recommended.

David Weiss opened his heart and soul with "Reluctant Return" and I was drawn into his life and experience so deeply that I finished the book in one sitting (with a dinner break). We all have our ghosts and parts of our past we have buried or refuse to acknowledge and we live our lives fully, successfully and quite happily. David Weiss lived like that until he was forced to take another look at his feelings about Austrians and growing up in antisemitic Austria. He shares his own survival experiences during the 1930-45 period and his feelings about pre- and postwar Germany, Germans, Austria and Austrians. He points out that Germany and many German people have openly acknowledged their role in the holocaust whereas Austria and the Austrian people are barely beginning this process. He describes his experiences and deepest feelings when he is returned to the town of his youth. Then how he shared his life and these feelings with groups of Austrian school children whose history books have deliberately omitted their country's role in the holocaust. The children start to realize and accept that their elders committed terrible crimes against other humans whose only error was to try to live peacefully in this small town in Austria.

If this book were published by a BIG NAME publisher, it would be an instant best seller. I believe that "Reluctant Return" will take a path similar to "Under the Tuscan Sun" and "The Perfect Storm" and grow to be a classic.