Europe Books

Kaddish for a Child Not born is not an easy read. For being less than 100 pages, it offers some of the most drastic and emotionally raw thoughts from a character I have ever read from any work of fiction. I highly recommend it.

Anyone who reads the poor first translation of Fateless and the shamefully bad translation of Kaddish cannot even get close to the true spirit of the original works.
Thanks to Tim Wilkinson English speakers can finally enjoy these excellent books.
Look for the titles "Fatelessness" and "Kaddish for an Unborn Child", both translated by Wilkinson. These new editions are at last worthy of the originals and the Nobel Prize.
(See also October 16, 2002 review by Marton Sass)
A movie based on the novel Fateless is also out with English subtitles; don't miss it, if you have a chance. Beautiful work.

Sometime, last year, an article appeared in local newspaper listing few of the most influential European intellectuals of the times to come. One of them was Kertész. I was rahter sceptic about it, but that scepticism came from the lack of knowledge of Kertész's work. Up to that time I only read his short story that was, in my country, published together with Peter Esterhazy's, under the title "Same Story" which didn't impressed me much, at least not in the ammount necessary to confirm newspaper writings.

Some time has passed and I finally got hold of Fateless, then Liquidation and now time came for Kaddish...Suffice it to say that with each reading of Fateless, my oppinion of Kertész as a writer and intellectual changed. And it only grew higher.

Continuing his tetralogy which began with "Fateless" Kertész introduced a character (much of his own resemblance) of a writer/translator who, for the first time, tried to explain to his wife, why he cannot make himself to be part of the creation of another human being, and be responsible for bringing him into this world, giving him, automatically, so painful stigmata of Jewishness.

You should be warned that there is no story line in this book, at least not in the manner of Fateless or Liquidation. Kertész wrote Proustian kind of monolouge, almost stream of consciousnes which flows and flows as the lamentation goes by. But, since the times of Camus and his Siziphus there has been no greater existentialist work, though Kertész wouldn't call it like that. Questioning possibilites of existance, what of individual, what of the collective, Kertész has written major work of art, corresponding with poetry, philosophy, and sad fates of Holocaust survivors.

Questions presented in this book are the questions of our generation, that should be answered before we should be allowed to venture further into field of rational understanding and emphatic social life.

My four stars aren't meant to detract from this novella's favorable reviews. Rather, I'd like to suggest that readers tackle this work after they read "Fateless." There's allusions to this more accessible novel in the novella; the latter seems to me more the interest of a philosophically inclined reader's group. While "Fateless" can be read on one's own and grasped, I believe that "Kaddish" would be better suited for collective study and discussion.

It offers few of the pleasures of fiction. Rather, with its considerations of Adorno, Hegel, and Bernhard, and with its nods to the prose of Beckett, Camus, Sartre, and perhaps Kafka, it's more a meditation/fulmination than a novel with an easy plot trajectory. It offers food for thought, but may be rather indigestible if gulped in one sitting. This is more the type of work that Nobel laureates get rewarded for late in their careers; the popular acclaim granted "Fearless" by contrast would first gain an audience for this author, in my estimation.

Again, this is not to detract from Kertesz' achievement, but simply to point out that (at least in English), this compressed, concentrated message may better be shared if taken in smaller, diluted portions among like-minded friends. (My impression is that in the original Hungarian, the agglutinative nature of that language would make this an even heavier, more weighty lump of prose.) It would serve as a fitting challenge after you've all read and discussed "Fateless." As I suggest, this novel can be contemplated with profit by one's self; this smaller work is best divided, nibbled, and ruminated over bite by bitter bite.

I just read this book by Imre Kertesz, he has an accent over the second "e" but be sure you don't count the "e" in his first name because then it would be wrong and you might misprounce it if you were speaking to other people and that could happen because I was just talking to a man this weekend who mentioned his name except that I didn't realize until later that it was Kertesz because I think the man mispronounced the name or at least I think he did or else I had been mispronouncing it which could happen if I wasn't using the accent properly. He mentioned something about Kertesz and I kept expecting to find what he was talking about in this book except that I never found it in this book so it must be in another one of his books except that I don't know if any others besides "Fateless" has been translated into English although I suppose my friend could have read it in Hungarian if he knows Hungarian which I doubt he does. Did I mention that the title of this book is "Kaddish for a Child Not Born" because, if I didn't, I should because it's important to do so, or so I think. Anyway, I started reading this book and I had some trouble with it because the author (Did I mention that his name is Imre Kertesz?) has an interesting yet challenging style that comes across like someone who drank five cups of coffee speaking into a tape recorder for several hours and then giving the tape to his publisher (skipping the editor in the process) who had the entire rant transcribed into print and published without review (except for spelling of course because I would have noticed that I'm sure, or I think I'm sure) and all of a sudden we pick it up and listen to this uninterupted self-conversation. It gets really hard to follow at times and then you come across pearls of wisdom that you just have to underline partly because you don't want to have to go back to the beginning again to try and find it later. I probably underlined as much in this book as I have is a good Shakespeaean play although I certainly not trying to compare this to a Shakeperean play or even a sonnet. Anyway, I kept coming across these gems and touching stories that I underlined for later reference and I was glad that I kept reading this book non-stop just as the author seemed to have written it (non-stop, that is). Much, but not all, of it was how his childhood experiences in Auschwitz had affected him and a lot, but not all, of it was about how it affected his relationship with his once and former wife who ended up becoming a prescription-writing dermatologist or something like that. I had a hard time getting started on this book because it was sometimes 10-12 pages before paragraphs came to an end and I like to come up for air occassionally which is probably why I keep putting off reading "The Autumn of the Patriarch" that is, because of the pages-long paragraphs. Anyway, that's what I think about "Kaddish for a Child Not Born" or did I say what I think about "Kaddish for a Child Not Born" (I'm not sure I have yet) so if I didn't say then I will say that I found much to enjoy in this book but even though it's under 100 pages it seems long because it doesn't give a reader a time to take a break because it never stops and a lot of the words meander all over the place and often make you wish you could go back and get the author to talk about what he was talking about which he sometimes (but not always) does and then it ends.

I bought this book in a bookstore in Hollywood,(my friends said I was the only person they knew who could go to Hollywood and find a bookstore). "Land of The Firebird" is one of my all-time favorite books. Suzanne Massie, the wife of Russian historian Robert Massie, (Peter the Great, Nicholas and Alexandria), has a great love for Russia and its people and it glows from every page. As a historian, I hate to admit it but too many history textbooks can bore one to the point of tears. No one who reads this book can be bored. In its pages you meet characters from Russian fairy tales like Maryushka and the wicked sorcerer Kaschei the Immortal, Prince Vladimir of Kiev who became a Christian and changed the course of Rusian history forever, the tragic Ivan the Terrible, and the titanic Peter the Great who brought Russia kicking and screaming into the modern world.
But along with the history of the great rulers of Russia is the story of how they all added to the body of work that makes Russian art some of the most beautiful in the world. Russians loved to live on a grand scale, and their art was as lavish as the lives they led. Even the common people had a great love for vivid colors and rich peasants made their wooden homes into works of art. The book comes with beautiful illustrations and leaves the reader wishing for more. It is great as a textbook in art history and history classes or for anyone who wants or needs to know more about the Russians. My copy of the book is worn and falling apart. I am going to order a new copy from [...] so I can keep this treasure for years to come.

A comprehensive pursuit of pre-Revolutionary Russian history, well crafted and beautifully written. In my view, this is one of two distinctly outstanding single-volume histories of early Russia available. The other is Orlando Figes' "Natasha's Dance". The first six chapters proceed up to the first Romanovs, granting Ivan the Terrible a captivating revealing that is clearly informed by good scholarship. Chapter 10, "Catherine: A Mind Infinitely More Masculine", delivers a riveting, provocative look at Catherine and her Russia, with probably the finest chapter in the book. The VERY best thing about Land of the Firebird is the profusion of illustrations, all meticulously chosen. Photographs are plentiful (including an amazing snow-covered Church of the Transfiguration of the Saviour), but three ample sections of color plates pour out a stunning array of Russian paintings, which, if not unrivaled by other comparable single-volume efforts, is remarkable for an exquisite discretion. Land of the Firebird is a knowing work with respect to Russian art history. Here are Ryabushkin's "Russian Women of the Seventeenth Century in Church", Repin's "Ivan the Terrible at the Death of His Son", Serov ("Peter II and Princess Elizabeth Riding to Hounds"), Levitsky, Argunov, Kiprensky, Shibanov's "Celebration of a Marriage Agreement" (beautifully reproduced), Briullov, Venestianov, Chernetsov, and Sadovnikov (the darkly beautiful "View of the Winter Palace at Night"). Indeed, there are multiple paintings by Repin, F. de Haenen (five paintings c.1912, including the exuberant "Ice Slide"), Serov, Larionov, Malevich and Kustodiev (1916), including his bewitching "Moscow Tavern". The final plate is Serov's heartbreaking "Nicholas II". I mention these artists' names (and more are included) for those familiar with art history, to say to them this is a very worthwhile book. But the magic of pre-Revolutionary Russian art is unreservedly here for us all in a masterfully drawn Russian history primer. Useful bibliography in appendix. Absolutely recommended.

This is a very detailed book on Russian History by Suzanne Massie and I greatly admire it. It is certainly a must have for those who are interested in Kievan Rus, the Mongol Invasion, Ivan the Terrible, or any of the Russian composers like Glinka and Stravinsky and the Mighty Handful. Just don't expect any Soviet history. This is all about the times before the Revolution.

A+

I've had this book for years and it's one of my all time favorites- a must read, insightful. Beautiful- exquisite illustrations.

I first read this magnificent tome on Russian history and culture in 1997. As it was part of a history class in college, the first read was a bit of a drag...page after page of description concerning the minutia of Russian life: clothes, churches, meals, religious & superstitious rituals, architecture, commerce, political strife, and so on. Really, with the whirl of the Social Circus of that college year, trudging through all this obscure information brought me no end of grief and silent lamentation! To think of all that time I could have been out with friends looking to score whatever cheap release was on hand or burning inside...spent instead sludging through *detailed history*!

Cut to four years later...

I'm going to Russia. In two weeks. Like so many other unplanned affairs that seem to formulate out of nowhere and take one by the lapels, shoving one screaming into the storm of life, this reviewer took it in stride and decided to find some quick-but-informative text on the destination in mind--especially one with such contradictory reports as Mother Russia. Thus, I dug this out of my library and began anew, stifling a faint unpleasant feeling no doubt inspired by those long sleepless college nights. There had to be some merit here, yes?

Oh yes.

'Land of the Firebird' is a WONDERFUL and ENGAGING in-depth look of Russian history from 987-1917, spanning the ascension of Vlad and the Orthodox Church to right before the Revolution. With colorful prose Suzanne Massie details the variety of Russian existence--tsars and serfs and merchant-princes and babushkas--no stone is left uncovered as she cross-references nearly a thousands years, writing with equal consideration of art, poetry, country-life, court-life, politics and its myriad games, myths and legends, influence "outside the sphere." It would be impossible to truly set down the full range of Russia experience for this time in the 450 pages allotted the reader, but the author does an admirable job in covering the major shakers and movers and events while sparing a considerable amount of print for the minor peoples and patterns that set the foundation of this ancient, troubled country. It certainly put an interesting light on what I saw come the spring of '01.

Indispensable for the casual student of Russia.

The book provides an excellent source of the names and conversations that shaped the final 100 days.

Excellent book, it gives you a lot of information about the Yalta Conference, the last days of Hitler, the last days of Roosevelt, the Prussian exodus, the Oder ofensive, the VE day, and, of course, the last days of the War in Europe.

I am an avid reader of WWII history and must say that this is without a doubt the best book I have read on the period. This book manages to read like a novel in the majestic way in which it is written and at the same time it makes the war feel personal; the people throughout the pages are more than names, they are lives, maybe ones that could have been your own. Of all the books I have read on war this is the only one that has forced me to stop reading because some of the material in it actually made me want to cry, is this is not literature at its best, then I don't know what is.

In the end I must say that this is not only a classic read on WWII history but on the history of War itself and the major part it plays on the human experience. Trust me, you can't go wrong with this book; this is as close as you will get to feeling like you were in the middle of WWII.

This is a gripping look at the final months of World War II in Europe. Author John Toland covers many angles as the Allied armies advanced into Germany and squeezed what remained of the Nazi Empire. The author rotates between subjects, and keeps the reader's interest with vivid descriptions and many personal accounts of events. Readers learn of Yalta and the politics of Churchill, Stalin, Roosevelt (and then Truman), and note the seeds of the coming Cold War. We get a bird's eye view from inside the Fuhrer's bunker as his brutal empire collapsed. We also read about atrocities against both prisoners and civilians, hear of the plight of refugees, and learn about the views from the top Allied commanders in the west (Eisenhower, Montgomery, Patton, Bradley, etc.).

John Toland (1912-2004) was a master story teller, although not an academically trained historian. Judging by the sales figures, most readers seem to prefer his readable and well-researched approach. This is a vivid and gripping narrative.

The Last 100 Days is a monumental historical work. In it the author pieces together the story of the fall of the Third Reich at the end of the Second World War in Europe.

Although the book is generally described as a work of "popular history" it is more than that. It is in fact a work of history that has itself now become a part of the history of World War II. (Too many authors to count have relied upon this book in writing their own books on a variety of matters covering this period of the war.)

This is because in preparation for writing the book the author did much more than just review the then current literature on the subject by "real" historians (often written in a mind-numbingly boring and pedantic style, not to mention based on government records or reports by people who were not even directly involved in what they are reporting on), summarize it, and then rewrite it in a popular style. Instead, the author bases his book on (a) hundreds of personal interviews with persons actually participating in the acts described and (b) thousands of other primary sources, such as journals, monographs, and diaries.

From this vast treasure trove of information, the author brilliantly sifts through it to create a masterpiece. In so doing he discusses the end of the war in Europe on many different levels (e.g., politicians, generals, NCOs, front-line soldiers, and civilians) from many different vantage points (e.g., American, German, Russian, British, resistance).

The perspective of the last 100 days was also not chosen simply because it sounds good as a title. The significance of the last 100 days is that the beginning of this period (i.e., the first day of the last one hundred days) is roughly the time that both the American, British, etc., allies, coming from the West, and the Soviet forces, coming from the East, first breached the frontiers of the Fatherland, i.e., the pre-war boundaries of Germany. The Last 100 Days is thus an account of the counter-invasion and destruction of Germany against overwhelming forces of men and materiel that is told in an engaging, absorbing, thoughtful, and informative manner.

A must-read for anyone interested in the histories of Europe, Germany, or the Second World War.

This book makes fascinating reading. It helped me to appreciate more the musicians I was already familiar with, such as Jack Teagarden, and opened my eyes to a lot of people I knew little or nothing about. Be sure to pick up the companion CD, too.

This is the finest book about jazz that I have ever read. I own many of the records that the author dissects, as well as having seen several of these great jazz artists perform, and I find his judgment perceptive and unerring. But this is far more than just a book about jazz music. What makes these musicians tick, how did they happen to assemble together for a recording session, how did the record business impact their selection of pieces to perform? The author draws on a variety of academic disciplinces, including art, psychology, economics, and social history, to put his subjects in perspective. Most important, he is a fine storyteller who empathizes with the people he writes about. While many reviews focus on his overall thesis about race in jazz, this is but one theme he articulates, and it serves more as an organizing structure for the book than as its sole message.

First of all, Dick Sudhalter is a gifted writer. He crafts his narratives like a well constructed solo or composition. Second, this book tells us about early white jazz musicians and correctly describes the interplay between vital African American innovations and the contributions of Caucasian jazzmen. Sudhalter in no way diminishes the seminal contributions of African American jazzmen. He simply talks about the contributions of other artists, and does a masterful job of helping us to see the interplay between musicians who have given us this wonderfully entertaining music. I thought I knew a fair amount about the history of jazz. After reading this book, I know more. Nothing is more American than Jazz music (just my opinion), and the more you understand it, the more you know about the USA in the 20's and 30's. I keep re-reading parts of this book because there's so much here.

While a brilliant documentary, Burns' "Jazz" also reinforced the notion that jazz is exclusively an African-American artform. Fortunately, "Lost Chords" does much to blow away that misperception. While never belittling or downplaying the role of those African-American giants in jazz, this book does an outstanding job of profiling all of the individuals and bands who received short shrift from Burns: Steve Brown, who pretty much invented jazz bass playing; the Jean Goldkette Orchestra; Miff Mole; Frank Trumbauer; and may more. And he does so in a way that is both interesting to the casual fan (with anecdotes and such) and the hardened muso (excerpts of scores abound). A scholarly tome, this is a worthy addition for any jazz fan's library. I look forward to Volume II.

Not a mere antidote to political correctness in jazz criticism; Lost Chords is a prewar cultural history, a lesson in music structure, a history of woodwind instruments, a guide to innovations in guitar tuning, AND MORE. It shows the musicians as human beings with all their failings, humor, drives, hard work, and talent. I especially loved the account of the bass sax --- an instrument that looks like it could double as a moonshine still --- and its usefulness in the early days of sound recording. Sudhalter admonishes us to listen to the music and to make up your own mind. Exactly right. A good place to start is Robert Parker's Bix Beiderbecke Great Original Performances 1924-1930 (available on Amazon) If you have ever heard an early 78 rpm record, you will be astonished at Parker's sound restoration.

Having served as a Lead B-17 Radar Navigator/Bombardier (Pathfinder) in the same outfit as Captain Alling, it brought back many memories of my tour in the 34th Bomb Group. I too served in the 4th Squadron on the Knockout Dropper, piloted by Jim Sain who was mentioned in this book. Many of the experiences of the author were similar to mine and I participated in several of the same missions. I would recommend this book to anyone interested in getting an exciting description of serving in a lead plane on many missions.

A matter of fact account of U.S. airraids over Germany in WWII. Not told with bravado or hyperbole, but just plain gripping accounts of hair-raising, almost suicidal bombing runs. You get a feel for conditions in the B-17, and the fear and trepidation the pilot (book's author) and his crew experienced, with the flight back to the States at the end of the European theatre one of the most nerve-wracking. I highly recommend this account, which is just one of several devoted to this part of the war.

Having been reading various WWII books this fall and winter, I rate this as one of the best. If you have any interest in what it was like to fight (and luckily survive) the US air war bombing offensive, grab this book today. You will not be disappointed.

A couple of days ago while I was in the middle of this book I mentioned I was reading it to a fellow across the table from me. He said: 'I flew in B-17's during the war.' He went on to say that he had been the radioman/dorsal gunner. I said something about the guys in this book flying 27 missions. He said that he had only flown seven.

I couldn't help but think that this was kind of puny compared to what these guys did. But then he went on.

On his seventh mission, somewhere over occupied France they were attacked and he was hit. Back in England he was hospitalized and told that it would be unlikely that he would ever walk again. He was still in the hospital when the plane went out on its 9th mission and didn't return.

I said that this sounded pretty rough.

'Everybody had it pretty rough in those days.'

This kind of 'aw shucks' attitude, from my lunch mate to the author of this book is why they are called 'The Greatest Generation.' Even though they would never admit it.

This is the story of one plane, one crew. It's told in a matter of fact way. Perhaps this is the only way that such a story can be told. Mr. Alling waited a lot of years to tell the story. Perhaps that too is the only way. Perhaps the time and the distance are necessary to get a realistic view. Thank you Mr. Alling for sharing the story.

Captain Chuck Alling masterfully recounts his experiences as pilot of the 34th Bomb Group's lead B17G bomber during the last two years of WW2. "A Mighty Fortress" should be required reading for every military officer and is a "must read" for anyone interested in the Mighty Eighth Army Air Force's operations against the Third Reich. As a retired officer and military historian myself, I believe "A Mighty Fortress" is most probably the most inspirational book about WW2 ever written.

This is a great book. The book is easy to read and has all the information on Monte from the day he was born all the way to his death. It tells us how Monte gave his life to the Armenian nation. After reading the book I sent a thank you later to his brother for writing the book. This is a must read for anybody who is intereted in Armenian Heroes.

The above title are three words that come to mind after reading My Brother's Road. Markar Melkonian puts a human face on an "American-Armenian" legend, noting not only his brother's amazing accomplishments, but also his failings. Never-the-less, this book confirmed the fact that Monte Melkonian deserves the title of a national hero. His selfless ways and unstoppable drive for a cause bigger than himself are deliniated in the context of historical events. In short, one cannot help but admire Monte Melkonian while reading this book.
I thank Makar Melkonian for producing this fitting text about his brother, a revered son of Armenia.

I really dont know what else to say. This book details his constant resolve to better the Armenian cause. Though it involves conflicts with other Armenians, his focus is for the Armenian nation (past, during the cold war, present, and future).
He literally gave his life for the Armenian people. Though drawn into political conflicts, he was clearly an apolitical nationalist, and a true hero. May God bless his memory, and his brother, who wrote this book.
I thank Monte and Markar for teaching me so much about Armenian history. Like you, Monte, I am reborn and my spirit will rise up like a phoenix. I am more an Armenian, having learned of your life. You gave yourself for (our) my future, and I will always honor you for it.

In reading My Brother's Road, one can't help being made aware of the inevitable reciprocity of history. Monte, and others like him, were modern-day Maccabees, that cultural paradox of virtue and brutality, ideological fervor and compassion. To his added credit, Markar does not shy away from discussing the hard realities of the NKR conflict. In the end, that kind of honesty is the least his brother would have required.

Every Armenian and non-Armenian alike should pick up this book and read it.

The book is enlightening concerning some aspects of the culture.

Prof. Ginzburg outlines in detail the information we have concerning the transformation from ancient agrarian cult to the witchcraft scare. This is not your mother's Margeret Murrey, this is done right.

Whether or not Carlo Ginzburg actually discovered evidence of shamanism in sixteenth-century Italy, in this or later books, is in part a matter of how one defines shamanism. What he undeniably found, in the seemingly unpromising records of the Inquisition, was evidence of beliefs so remote from those of official European culture as to be flatly unintelligible to the churchmen who first encountered them. Eventually, the Church courts managed to impose something resembling officially acceptable doctrines on the local population, but the process took generations, as Ginzburg is able to show from trial records.

Briefly, Ginzburg found that, in the Friuli district, there was a widespread belief that certain men and women were marked at birth as defenders against witches and demons, these being regarded mainly as the enemies of the people, their livestock, and their crops. The chosen defenders, the "Benandanti," or "good walkers," ventured forth in their dreams to do battle with the forces of evil. Those born with the mark of the Benandanti regarded themselves as good Christians, the allies of the Church. To those outside the local culture, this position was clearly nonsense; unauthorized and unsanctified supernatural power could only be Satanic in origin, and those who claimed to exercise it were, at best, dangerously deluded. In the end, if the court records are to be trusted, they persuaded even the Benandanti themselves that this was the case. At least, the "absurd" and "outrageous" testimony of self-described Benandanti fades from the records, to be replaced with conventional witch-beliefs endorsed by the Holy Office.

The official tendency, Catholic and Protestant, to lump local witch-doctors together with the witches they claimed to counter had long been recognized by historians. Ginzburg, however, discovered, and offered to surprised historians (in the original Italian edition of 1966), a stratum of belief that, when first recorded, seems to have been entirely outside the mainstream of medieval European culture. There is scattered evidence for similar concepts in other parts of Europe, and abundant evidence from other continents, but the connections and age of the beliefs in and about the Benandanti remain subjects for controversy. The demonstration that diverse local beliefs had been rendered uniform by the judicial process, and by intensive indoctrination of the "lower classes," however, remains a landmark.

As described in the "Preface to the English Edition," the Italian version rather quickly received favorable -- and some unfavorable or uncomprehending -- notice from historians of European witchcraft. It was interpreted, or perhaps misunderstoond, by Mircea Eliade, the influential figure in "History of Religions" at the University of Chicago, one of the great authorities on shamanism (and much else). Although sections had been published in English earlier, the whole book became available in English in 1983, in the present translation, from Routledge & Kegan Paul in Britain, and Johns Hopkins University Press in the U.S. I first read it a few years later, and eventually acquired a copy of a Penguin Books re-issue of 1986. (All the English-language editions seem to differ only in cover art, besides the name of the publisher.) I have re-read it from time to time over the years. Although historical views of European witch-beliefs and popular culture have both been in flux, this book remains among the most fascinating in its crowded field.

This is by far my favorite historical account of a witch hunt. The book looks at a northern Italian area called Friulian and the fertility rituals people performed in the 1600s and 1700s. The benandanti, marked at birth by the sign of the caul, served Christ and their community by leaving their bodies at night to fight evil witches that had attempted to destroy or steal their harvest. The Catholic Church believed the benandanti were witches and conducted inquisitions and trials. If you've ever been fascinated by the witch trials and don't know where to begin, I suggest this book as a fun yet informative read.

In his book, The Night Battles, Carlo Ginzburg addresses the historical problem of why, during sixteenth and seventeenth centuries, did the Friulian fertility rituals of the benandanti, or "good-walkers", gradually assimilate into witchcraft. The benandanti, marked at birth by the sign of the caul, served Christ and their community by leaving their bodies at night to fight evil witches that had attempted to destroy or steal their harvest. Because of the ignorance of the Friuli language and benandanti rituals, the Church conducted incessant inquisitions and trials against the self-proclaimed benandanti, which in effect, pushed the benandanti toward witchcraft and participation in the sabbat.

In support of this argument, Ginzburg employs inquisitorial records that reveal an unmistakable gap between the beliefs and mentalities of the benandanti with those of the inquisitors. Brian P. Levak's review, published in the Journal of Interdisciplinary History, notes the significance of Ginzburg's exploration of the mentalities and culture of the Friuli. Levak writes, "The Night Battles is a milestone in the history of popular culture, for it was one of the first studies to use judicial records to gain direct access to popular beliefs." In addition, by skillfully using his primary source material, Ginzburg is able to discern between the "genuinely expressed popular ideas and those that reflect the more learned notions of [the] interrogators, especially when the accused was faced with either the threat or the reality of torture." To Ginzburg's credit, he allows the strength of the inquisitorial records to stand alone in support of his thesis and in exposing the popular culture of the Friuli. Furthermore, Ginzburg's use of comparative methodology demonstrates, not only the evolution of the benandanti fertility rituals under inquisitorial pressure, but also the vast cultural and spiritual gap between the Church and the peasantry.

While Ginzburg's work is an example of ground-breaking historical writing, there are several critiques that can be made of The Night Battles. First, Ginzburg's book makes way for more questions regarding the experiences and participation of the benandanti in the fertility rituals. For example, Ginzburg admittedly does not address why the benandanti, spread out over a vast region, testify to similar experiences and physical participation in their night gatherings. How is it that these people all testified to a common experience during the inquisitions? Ginzburg would be well-served to investigate the parallels in testimonies, if only to further personify the popular culture and mentalities of the Fruili. Secondly, as Alby Stone noted in her Folklore review, "the book would be improved by making the index more comprehensive and, alas, there is no bibliography." The Table of Contents page is too simplistic, almost juvenile, and does not reflect Ginzburg's reputation as a consummate and seasoned historian. Ginzburg does offer a comprehensive appendix and notes section. However, he fails to include a bibliography - a necessity with historical writing. While the Contents and the Bibliography do not impact the overall significance of his work, these are areas that should be improved.

When I picked this book up from the library I was not sure it would be one that I would enjoy,but I was surprised how into the story I got and could not put it down! I am not going to tell all the details of the book but I will just say that if you want a book that will not only capture you mind but your heart as well than you will enjoy this book and even be sad when it ends cause you just want to keep reading!

Maurine F. Dahlberg.... wow can you ever write. This is one of my very favorite books of all time and I swear that I have read WAY to many books. Right now I am doing an Independant Novel studu on it and have to do a bibliography on you. I can't seem to find information but kids and/or Adults if you ever need a good book to read, I suggest you pick up a Play to the Angel and dig in!

" Austria 1938. War is coming. But Greta only cares about her music." What if suddenly you were practicing in your piano professor's apartment. When a loud banging comes from the door. You open it to see starched uniforms, shiny boots, pistols, swastikas, and lightning bolts. The Nazis are at the door.
This was just one of the many scenes from Pay to the Angel. Where words of cheerfulness and depression burn a seeping image in your mind. This author really sets the scene. Maurine Dahlberg wrote the magnificent and extraordinary novel.
Greta Radky loves to play the piano. But her mother does not want her to play. She threatens to sell the piano. But luckily, a piano teacher moved into the apartment not far away. Se learns how to play the piano from a Herr Hummel. But while at a party with her friends Mutti (the mother) finds out! But in a last desperate attempt by Herr Hummel and Greta, she decides... to keep the piano. So Greta plays better and better and eventually she is invited, by Herr Hummel, to a Recital at a huge musical academy, in front of a large audience! She had never done this before. And more than anything she wants Mutti to come. But at the end of the recital she is not there. When she leaves the academy, she why Mutti had not come. The Nazis had taken over Austria! But that's all I'm going to tell (I hate Spoilers).
One day, Greta was practicing on Herr Hummel's piano Sunday morning. Herr Hummel was never at his apartment room come Sunday morning. So he had given Greta a spare key to the room. Then a knocking came from the door. Too loud to be Mutti, Herr Hummel, or any of the neighbors. She opened the door, and the hall was filled with Nazis. Then they swarmed the room, tearing it apart, looking for signs of the unidentified Herr Hummel.
The theme to the book is that things aren't what they seem. Like cold- hearted Mutti, turns out to be, happy, loving, caring Mutti. And like Herr Hummel's identity. And how no one seemed to think that the Nazis would invade Austria.
I would recommend this book to anyone who likes books with mystifying people. And anyone who loves to read about history. This is a very creative story. If you wish to find out about Herr Hummel's secret past, Mutti's true feelings, and the story of Greta Radky, you will have to read Play to the Angel.

When I started to read this book, I was captivated. It is interesting and provides a good insight to musical life to someone who is musically challenged. I thought Herr Hummel, or Karl Von Engelhart, was very well-done and interesting. When I finished this book I suddenly wanted to go to Austria and see what it was like. The only thing I didn't like was it ended on a cliff-hanger, and I really tortured myself thinking about if Greta ever saw Lore or Erika or Karl von Engelhart (Herr Hummel) again.

One thing I disagree with in the review above: they say that Doris Ogel's The Devil in Vienna is better than Play to the Angel. It is not! I read about half of TDIV and I was totally bored and disinterested, although I finished it. It was shallow and the emotions of Inge were very undeveloped. Though I'm getting off the subject. Read Play to the Angel and you won't be disappointed!

Greta was a piano player in Vienna, Austria in 1938. Her brother Kurt died about a year before and her mother is starting to get insane migraines. But those wont stop Greta from dreaming of becoming a famous pianist. She is different from all the girls in school. And now that her best friend Erica has moved to America, she truly feels alone sometimes. Even her neighbor Frau Vogel can't help her that is until she tells Greta about a piano teacher that lives in the apartment next door. She goes to the apartment one day but no one is there. She walks in to find a beautiful grand piano. She takes out some music and begins to play when Herr Hummel startles her. They eat and start to talk. By the time Greta leaves she has agreed to take piano lessons from him for free. She keeps this a secret from her mother for a while but when Herr Hummel brings up that he wants Greta to play at the Academy of Music and Performing Arts. Greta begins to practice music from Scarlatti and Mendelssohn for her recital. Finally the day of her performance comes. Her and her mother had gotten in a fight earlier that day but Greta had hoped that she could still make it. To her surprise her mother didn't arrive. When the recital was over Greta and Herr Hummel were rushed back to Herr Hummel's apartment where they found Frau Vogel and Greta's mother with an injured ankle. Apparently the Nazi's had invaded Austria and while Greta's mother was running out of the shop where she works she sprained her ankle. Soon one of Herr Hummel's old students Rudolf Beck, who Greta and Herr Hummel had seen while they were in the city, has sent the SS for Herr Hummel. Greta is in Herr Hummel's apartment when the SS came in tearing the place up looking for things. That is when she finds out that Herr Hummel is actually famous pianist Karl von Englehart, and that he is wanted for helping Jews escape the Nazi's. When the SS men leave Greta remembers the money and passports in Herr Hummel's desk and takes them across town to the Academy where he is with one of the directors. He tells Greta that he is going to Prague and that he will contact her when he is safe. Later Greta receives a letter from him saying that he is on his way to America. Greta and her mother escape the Nazi's by going to live with family in Switzerland. This book is good for students who like to learn about the affects of WW2 and who study music. This book shows students that no matter what they can always make their dreams come true.

In the beginning of the book Greta has suffered a great lose in her life, her brother Kurt, who also played piano, died and her mother is becoming very irritable. Her mother used to always have fun with them and enjoy listening to Kurt play the piano but now every time Greta touches it she says she has a headache and wants to rest. Also her mother almost sold the piano and Greta began to greatly doubt she could ever become a concert pianist.

Greta also doesn't fit in with many girls in her school. For one of her papers she has to write about the best day of her life and she writes about one where she spends it alone playing the piano but her fear of being made fun of lowers her self esteem and makes her nervous about her upcoming recital.

After her recital Greta realizes that many people believe in her and that she can accomplish anything she wants to. Her mother risked dying to see her play at the Academy and Herr Hummel risked being captured by the Nazi's to help her succeed with her playing. And she even makes a new friend, Lore, who likes her for who she is and what she does. Greta realizes she has nothing to be shy about and that her brother would be proud that she is accomplishing what he couldn't.

This book can truly teach students many things about the world around them and themselves. I recommend this book to students of all ages that would like to learn more about the piano or more about the affects of war on people.


T.Shene

Dr. Nathan Stotzfus' "Resistance of the Heart" is one of the most authentic studies of the persecution of Jews during W.W.II by the younger generation of American scholars. It reminds me of Toland's book on Hitler and the Nazi movement in its insistance on direct sources to come as close to the "reality" of history as possible.

Dr. Nathan Stotzfus' "Resistance of the Heart" is one of the most authentic studies of the persecution of Jews during W.W.II by the younger generation of American scholars. It reminds me of Toland's book on Hitler and the Nazi movement in its insistance on direct sources to come as close to the "reality" of history as possible and avoid the deplorable illusions of "Hindsight Histiography". See my review on Marchione's "Consensus".
Rainulf A. Stelzmann, Pofessor emeritus, Univ. of South Florida

Dr. Nathan Stotzfus' "Resistance of the Heart" is one of the most authentic studies of the persecution of Jews during W.W.II by the younger generation of American scholars. It reminds me of Toland's book on Hitler and the Nazi movement in its insistance on direct sources to come as close to the "reality" of history as possible and to avoid the deplorable illusions of "Hindsight Histiography". See my review on Marchione's "Consensus".
Rainulf A. Stelzmann, Pofessor emeritus, Univ. of South Florida

Dr. Nathan Stoltzfus' "Resistance of the Heart" is one of the most authentic studies of the persecution of Jews during W.W.II by the younger generation of American scholars. It reminds me of Toland's book on Hitler and the Nazi movement in its insistance on direct sources to come as close to the "reality" of history as possible and avoid the deplorable illusions of "Hindsight Histiography". See my review on Marchione's "Consensus".
Rainulf A. Stelzmann, Pofessor emeritus, Univ. of South Florida

Resistance of the Heart : Intermarriage and the Rosenstrasse Protest in Nazi Germany by Nathan Stoltzfus is a well written book about the unsuccessful attempt by the Nazi's to exterminate Jews who married Germans of the Christian faith. The fact that the attempt was unsuccessful and that the overwhelming majority of the intermarried Jews were never sent to the death camps and survived the war leaves one with a withering feeling of "what if."

The central thesis of the book is that Hitler and Goebbels worry about the reaction of the Christian spouses led them to refuse to forcibly remove the Jewish spouse. They instead resorted to social pressure to force a divorce, so that the Jewish spouse could then easily be sent to the death camps. The social pressure was unsuccessful not because it was not intense, but because the Nazi's failed to give sufficient consideration to the bond between the spouses and the German antipathy toward divorce.

A central part of the story focuses on the attempt to round up the intermarried Jews in Berlin for transport to the camps. After the round up, but before their transport, they were housed in a building on Rosenstrasse. When word of this got back to the Christian spouses they surrounded the building and refused to leave until their husband or wife was freed. Amazingly, the Nazi's who murdered millions of Jews, Poles, Gypsies and others let thier prisoners go free. Goebbels reasoned that it was better to not force a confrontation with Christian Germans.

What is clear is that the Nazis were extremely concerned about German public opinion and were willing even to ignore their plans for the final solution where it ran counter to the public opinion of even a small part of Germany's populace. The "what if" relates to what would have happened if the greater part of Germany populace had taken the lessons of the Rosenstrasse Protest and attempted to stop the final solution. Certainly the conventional wisdom that they would have been ignored, or worse, must be rethought. In fact, the Rosenstrasse Protest was not an isolated incident, and numerous successful protests altered Nazi behavior. If more Germans, or the Vatican, had learned this simple lesson maybe millions of person would not have perished in the gas chambers of the death camps. It certainly puts to rest the excuse that there was nothing that cold have been done.

The book is very well researched and written. It is well worth reading.

Richard Pipes does a good job at laying out the workings of Russia's Tsarist Regime. What I found to be most interesting and persuasive is Pipes' frequent contrasts between Russia and Western Europe. For instance, he looks at the status of the nobility and the strength of the church. In both instances, Pipes draws a clear path as to how, in Tsarist Russia, these institutions became virtual extensions of the state bureaucracy (in sharp contrast to Western Europe, where they often served as brakes on royal power). In addition, Pipes places Russia squarely in the sphere of Asian (specifically Mongol) influence. As evidence, he points to close similarities between the Khanate and Tsarist "patrimonialism." In doing so, he de-emphasizes the oft-stated argument that Russia was the close heir to Byzantium. Finally, Pipes continally demonstrates how Tsarist policies laid the groundwork for the Soviet system (though the latter took those policies to a far bloodier and more extreme conclusion). My only criticism of the book is that Pipes does not deal directly with the issue of Russia's "national minorities" (beyond a quick mention of the Jewish Pale of Settlement and several Polish rebellions against Russian rule) and the attempts by the Tsarist regime to "Russify" those groups. I think that this would have been quite relevant to look at in Russia during this period. I am looking forward to reading Pipes' writings on later events in Russia.

I think this is the best of what I guess you would call Pipes' "Revolutionary Trilogy." "The Russian Revolution," perhaps two or three times the length, is impaired a bit by Pipes' sometimes tedious moral-pointing. "Russia Under the Bolshevik Regime" seems a bit less ambitious than the other two, and in any event it is surely the one least likely to survive the torrent of new material that is becoming available after the fall.

What distinguishes Russia in Pipes' eye is the tradition of "patrimonialism" -- as a political category, a coinage of Pipes' own, though with its roots in Weber, in Hobbes and Bodin, even in Aristotle. Pipes means to denote "a regime where the rights of sovereignty and those of ownership blend to the point of becoming indistinguishable, and political power is exercised in the same manner as economic power."

"Despotism," Pipes continues, "has much the same etymological origins, but over time it has acquired the meaning of a deviation or corruption of genuine kingship, the latter being understood to respect the property rights of subjects. The patrimonial regime, on the other hand, is a regime in its own right, not a corruption of something else."

This is a brave assertion, and Pipes remains faithful to it. Indeed, the core of the book is perhaps his chapter entitled "The Anatomy of the Patrimonial Regime," where Pipes tries to show how utterly different is the tradition of governance in Russia from the tradition in the West -- even in Western nations that we might think of as "reactionary."

There are other virtues to this book. His introductory chapter on the environment is perhaps worth the price of admission, as he retails the grim arithmetic of topsoil and grain production. His discussion of serfdom provokes all kinds of questions about the relationship between serfdom in Russia and slavery in the West.

A work of just 318 pages can hardly pretend to be the last word on the history of a great nation, and Pipes maintains no such pretention. I take it as given that much more could be said to inform, expand upon, or criticize, Pipes' perspective. But as a framework for approaching the study of Russia, it is hard for me to see how it could be bettered. As a provative contribution to the literature of political analysis generally, I should think its claim is equally strong.

This book is an absolute must-read! Before I read this book the history of Russia was a weakly connected sequence of contradictory events to me - that I wasn't able to organize in my mind in any comprehensible way. After reading this book I see a clear picture of my country's history. I suddenly understand what is going on. Every historical event, every action of a historic person suddenly falls into place, I see their meaning. This book provides you with an understanding of the real issues that have been troubling Russia for the past 1200 years. You will understand Russia and you will understand its people. The mext time Russia is on the news, and you have some Russians making a statement or conducting some action - you will understand where they are coming from when they are doing that.

This is indeed a brilliant book. Any one who wants to understand Russia should read it. I can not praise it highly enough. Please get a copy and learn and enjoy.

When I purchased this title in a used bookstore for two dollars, I was somewhat apprehensive about its scholarly quality, author biography not withstanding. Upon reading, however, I must say that I felt Pipes admirably illumined what is a very complex economic, social, and cultural subject. Specifically, his thesis concerns the manner in which the Russian state, under various formative influences, developed an essentially proprietary attitude towards land and subject alike. In Pipes' view this has been the primary determinant of all Russian history following Mongol domination. I myself make no pretenses to be an authority on the subject, but Pipes' use of evidence generally convinced me of the credibility of his claim. I would recommend this title to anyone interested in a general account of the pre-revolutionary Russian state apparatus.