Europe Books

As a high school drama teacher, I am always looking for edgy material that is age appropriate and can speak to my students. After reading the play adaptation of The Survivor (adapted by Susan Nanus) I was intrigued to read more. What the play covers (mainly the Warsaw Ghetto Uprising) is only a tenth of what this book manages to convey. I was entranced by the resilience of a teenager to cope through horrific times with great strength, intelligence, and courage. It reminded me of what my students are capable of when put to the test (very minor test compared to those of Jack Eisner). My students embraced this piece of literature both in the play format and the memoir. I can highly recommend both for anyone who is wanting to test their students to see of what they are truly made. It may surprise you how much more mature our teenagers are when dealing with important subject matter.

What a man! He is a real fighter and hero. At least people can see the truth about the Germans now, and can also admire such a hero whose hand of G-d made him a survivor.
This book is wonderful, it deserves to be the best book about the Holocaust. Very moving, well written, and a real story.

I read this first as a child and have recently re-read it. It is as intense as it was when I discovered it at 13. This one IMHO is THE holocaust memoir and I say this as a big fan of Anne Frank's Diary. I wish I could say never again, but Rwanda made it clear that this stage in history is not an aberration. Silence doesn't exist. Revisionism is easier than truth and unless truth is passed on there will be no alternative.

The Survivor of the Holocaust, by Jack Eisner, is not just a story of camp survival, although the book does deal with Mr. Eisner's time in various camps. More importantly, it is the story of one man's attempt to fight back, to make a difference, during a time when the life of a Jew was worth less than that of an animal. In that, Mr. Eisner succeeded. Although, as one review of this book stated, some of the events may, and I emphasis the word may, have been embellished with time, I find little fault with this based upon the fact that it was written well after the events occurred. Additionally, the subject matter is so horrific that it is only natural that, with time, some of his experiences might have taken on a different light. In my opinion, this in no way detracts from the quality or importance of the story. We owe it to Jack Eisner and all of the others like him to read his story. I recommend this book.

One of the leaders of the Jewish resistance in the Warsaw Ghetto said " We must fight them (the Germans) as a symbol for posterity to show that even in the face of certain death, with hardly any weapons, a handful of Jews had the guts to stand up to the mighty German Army."

At the end, the author wrote, "Everyone who had a chance to read the manuscript in progress expressed disbelief that all these experiences could have happened to one person and yet he survived." This is how I felt reading this book. His will to live and his resourcefulness were amazing. What guts he had, for example, to plot and to rescue his mother from the Nazi hospital! He came so close to being killed by the Nazis so many times and managed to escape so many times. It's hard to imagine that there really are people in the world with such courage. I didn't want to read another WWII book, but I picked this one up (my wife had bought it)while waiting for my next book to arrive, and once I started it I couldn't put it down. If you can stand to hear the horrible realities, read this book.

What a trip! This book gives you most of the details you need to get on the train and get an education. Time passes fast so take advantage of each moment. Four men just returned from Beijing to Moscow (August 2008), the trip of a lifetime. Very helpful guide into the cities and scenes along the way. It doesn't tell about all the great people riding the rails with you. Friends forever!

I am leaving soon for a two-week trip in Siberia. This book has been an exceellent primer. I'll know more about how to judge it when I return.

I have not been able to find any single travel book that covers as much useful information as this! I will be traveling the Trans-Siberian rail this summer, and this book has been a constant companion through my planning process. Detailed information on all of the towns and cities along the way along with maps to avoid getting lost while wandering. Definitely a bonus for the all of the information on smaller towns- it's very difficult to find a travel-worthy guide book that covers more than just St. Petersburg and Moscow, not to mention UB!

Can't recommend this book higher to anyone considering journeying the Trans-Siberian Railway!

Because I plan to trip on the Trans-Siberian Railway next year I bought this book hoping to read some advice and tips on how to travel the whole trip, where to stay, how much it costs, where to stay etc.

But his book absolutely surpassed all my expectations!! There are not only those tips on trans-siberian rail, but also "travel guides" for cities like Moscow, Irkutsk and even tips on how to get to Mongolia, where to stay in Ulan-Bator and so forth.

I have no idea how I would plan my trip without this book! It's really amazing how much information (and even with tips from other "ordinary" travellers!!) is in that, for instance bus-numbers from Moscow airport heading to the center of the city ...

The book absolutely worth the money.

For passengers on traveling on all or most of the Trans-Siberian Railway and visiting the cities along it, there are only two English-language travel guides. The Lonely Planet guide appeared in 2003 with a second edition in 2006, while Bryn Thomas updates his guide almost yearly and in 2007 it reached its seventh edition. I'm a two-time veteran of the Trans-Siberian, using the 1st edition of the Lonely Planet on the eastbound Trans-Manchurian route, and the 2nd edition on the eastbound Trans-Mongolian. When I recently discovered Bryn Thomas' guide in the local library, however, it struck me as the guide that I wish I had had on the trip.

The Lonely Planet guide and Thomas' have much in common. Both include a history of Russia in the Trans-Siberian era and general information about culture. They both give sightseeing guidance and lodging listings for the cities along the way. The LP sticks to the three traditional routes between Moscow and Beijing or Vladivostok, but Thomas has now added Yakutsk, soon to be accessible by rail) and other possible rail terminus cities like Prague and Hong Kong.

What makes Thomas' guide real special is his enthusiasm for the train journey itself. Unlike the LP guide, he gives timetables for the route, truly equipping the reader to prepare for the trip without having to look for too much information outside the book. Thomas discusses in detail the layout of carriages, specifics of what the carriage attendant can do for those under her charge, and things to look out for at kilometre markers along the way. The LP guide has little about the journey itself, and what little interesting information it did have in the first edition disappeared in the second.

Thomas' tone is also much more pleasant to read than in the common guidebooks for independent travelers. He doesn't try to sell you places you have already decided to visit with an overuse of words like "vibrant" and "spectacular". I also admire that he succeeds in writing for a general audience. While some of the accomodation listings are pricey, it doesn't feel like he is dismissing backpackers like certain sell-out guidebook lines.

I don't think I will ever travel the Trans-Siberian all the way again. While still fairly low considering the distance, fares are rising and I usually have the three free weeks needed to hitchhike from Europe to Ulan-Ude or Vladivostok. Nonetheless, I'd certainly recommend this to travelers planning a trip that is well-worth doing at least once.

Social anthroplogist, Kate Fox, has observed the English (she is one) in in all seasons and conditions, and particularly in the places where they are most comfortable. Her books include PUB WATCHING with Desmond Morris, and PASSPORT TO THE PUB; The Tourist's Guide to Pub Etiquette. The book is witty in its analysis of the ways of English conversation and behaviour with its unwritten codes, and of weather-speak, reflex apology, ironic-gnome, money talk, and panaroid-pantomime rules which belie the underlying scholarship and serious study. It can be taken up at random, however, to delight the reader with its anecdotes and many acute observations.

In defining the characteristics of Englishness the core appears to be the Social Dis-ease, the short-hand term for all their social inhibitions and hang-ups. They can be over-polite, buttoned up and awkwardly restrained, or loud, crude or generally obnoxious. Humor, however, is the the most effective built-in antedote to the SD. They do not have a global monopoly on humor but it is the sheer pervasiveness and supreme importance of humor in English every day life and culture which is distinctive. When in doubt, joke, particularly when earnestness is threatened. Response to earnestness is cynicism, ironic detachment and a squeamish distaste for sentimentality.

She has it right in my book, speaking as a fellow Brit who is fearsome of all forms of political correctness. You really must read this eloquent and funny book on human behaviour

A pleasure to read and to smile at some of the most British ways of seeing life and smelling the weather!

I've only just begun reading, but so far, it's been quite enjoyable. The author writes with humor. I've some British online friends. I've been able to use tidbits from the book when joking around with them.

Although international industry analyst firms aim to use similar methods when writing their research, winning sales recommendations still means connecting with the `go-to' analysts in national markets. I tend to recommend Kate Fox's book, Watching the English, to those trying to cross the cultural divide when briefing industry analysts here.

Fox is an Oxford-based anthopologist who is better known for her studies of English behavior at the race course and in the pub. It is popularly written, well structured and thoroughly researched. Fox goes deeper than the usual observations about Britain being, like Japan and France, a rather high context culture. She picks up three sets of attributes which might especially hamper those from low context cultures, like the US and Germany, who try to build rapport with analysts in the UK.

1. Reflexes in British culture include humor, moderation and hypocrisy. The first two are easier to work around. Humor is always on, even in rather formal business settings, and most interactions will be peppered with tepid humorous gambits: it's quite unlike most other cultures. Moderation is also an obstacle: paradigm changes are seen as risky rather than bold; what is new is often untested. Hypocrisy is a key element of our `negative politeness', in which not making the other person uncomfortable is often more important than being honest.
2. The general outlook is empirical, and therefore seeks facts, proof and experience. Eeyore, Winnie the Pooh's downcast friend, is a role model when it comes to the pessimistic and doom-laden scepticism of many English folks: perfectly confident projections of the future tend to be discounted. Class consciousness pervades organisations. Especially in London, many cosmopolitian organisations might be staffed largely, or even principally, by foreigners. Even in those businesses, an invisible pecking order will exist the classify the English (and a few French, who meritocracy provides metadata for mapping on to British class structures).
3. The English value fair play, courtesy and modesty. Aggressive, winner-take-all, attitudes are often seen as blinkered, comic and dangerous. Courtesy is a major flaw of many visiting business people, especially in their assumption of hierarchies in analyst firms: I often see spokesmen ignoring women and younger analysts and addressing their comments to only the analyst they feel is most senior. Modesty is also likely to give rise to misunderstandings: because no-one likes a show off, the tendency here is to underplay one's hand with irony. One might say that one `knows a little about semiconductors', which could easily mean that the person is a leading authority on the subject. In the US, business people often open conversations by dropping names and terms to locate each other on a pecking order; because English analysts will often not spar in this way, and do not feel obliged to show what they know, US spokespeople might leave a meeting with a highly able analyst still unaware of that analyst's knowledge and perceptions.

I had read Barzini's well known works on the Europeans and thoroughly enjoyed this book on the English.

The approach is academic yet palatable, laden with insightful observations and well deserves consideration as a work of anthropological interest. The author maintains an objective distance and professional methodology which impart a delicious irony; we are conditioned to primitive cultures as the provenance of these studies, she turns the focus upon what some may argue as the bastion of civilization.

As a guidebook to a cultural understanding of the English this work is invaluable. The expose on class is penetrating and amuses as there are unexpected twists; such as decorating your home or garden with a modicum of lower class objects, the inside joke apparent only to the cognoscienti.

Whoever appreciates Peter Drucker als author of 39 books focusing predominantly on the various subjects of management should also read his "Adventures of a Bystander". This book is a very important key to Peter Drucker's development and personality. Add his two novels "The Temptation to Do Good" AND "The Last of all Possible Worlds" and you
will discover Peter Drucker's qualities as excellent novelist. There you will find very important additions to his management thinking and practice in terms of profiles of psychological dynamics of people in action.

Instead of the usual self-focused auto-biography, Drucker introduces us to the people that have shaped him. Some are famous (Bucky Fuller, Marshal Mcluhan) some are not (his elementary school teacher). Some are good, some evil, but they are are worth meeting, especially through Drucker's eyes. A good read.

Drucker clearly explains how rampant inflation in post WW I Germany influenced the rise of the Nazi party and Hitler. This discussion should be required reading for every 14 year old child! I particularly liked his stories of Willem Paarboom, a sort of Dutch hedge-fund/investment manager who appeared to be a cross between a man and a raven. In his day, Herr Drucker was exposed to some truly elegant and unorthodox thinkers. He adds his own illuminating interpretations and is not afraid to engage in contrary thinking. (Especially when to do so is out of vogue) Read about Dr. Mordecai Johnson and his views on the "American Negro Problem" and you will never contemplate African slavery the same way again. I consider Drucker to be one of the brightest minds of the 20th century, and his genius is on full display here. Certainly, this is one of the most provocative and influential books that I have ever read!

(Drucker particularly liked the "sqwoosh, sqwoosh" sound when jumping in puddles.)

Not really an autobiography, not quite a memoir, part biography, of the people he has known in his life, some famous, some not. And Drucker is still alive, now 95 years old. It was a dense, fact-filled book, but always fascinating. He is an amazingly prolific, gifted, engaging writer. And what he has to say about America and The American Dream in the last pages of the book is no less true today than it was in the late 70's when it was written. He writes of Sigmund Freud (things you haven't read before), Henry Luce, Alfred Sloan, John L. Lewis, and Buckminster Fuller among a host of other characters. A very rewarding, thought-provoking read. Highly recommended. Especially for those of us who want to read history by the people who lived it.

Drucker's most captivating book, Adventures of a Bystander, is a dynamic memoir of the singular Americans and Europeans of Drucker's life. They include Fritz Kraemer, the historian who "invented" Henry Kissinger; Reinhold Hensch, a newspaper editor so mediocre his only career path was to become the "monster" of the Third Reich; John L. Lewis, Marshall McLuhan, and the visionary early chiefs of General Motors. (Yes, General Motors.) Most importantly, you meet Peter Drucker, whose offhand insights into the world surrounding his characters make every page of this book reward rereading. ....

When I was told in an e-mail that I might have the same appreciation for this as "The Great Divorce," my eyebrows immediately were raised. And yes, they were raised in suspicion. I wasn't too sure if I wanted to see what "The Ancient Path" was all about. Seriously, what does Joshua Jost really have to offer, right? Hey, what can I say? It isn't that bad. OK, it isn't bad! This book boldly declares that it represents a ten year journey from Genesis to Jesus. So, how do you start down a particular path? You take your first steps, of course!

With a Lewis-like heir, the author begins the journey. He begins with creation. He brings along Adam and Eve. He exposes the selfish indulgence they choose to pursue! He exposes you, and he exposes me! That stinks. Are you calling me selfish? Ok, look at some of the other lives in scripture. Abraham, Isaiah, David, what will we learn through these lives and more? Eventually you'll find that we were commanded, and still are commanded, to stop pursuing self, and start pursuing God. As small as it may sound, we need to take seriously His standard of love. We also need to take our journey more seriously.

A small book that packs a huge punch! Quite frankly, I thought more could've been said. That's my only gripe. Joshua Jost did some homework, and he made me think. I wasn't afraid to crack open the first page. If you venture down this path, don't expect it all to be easy. It isn't. But it is ancient! And it is something to be desired to live an abundant life. That's what makes the Christian life beyond special. Do you have the guts to take it on?

This is a beautifully written book. The author wanders at leisure through the Old Testatement from Genesis to Revelations painting simple and clear pictures in words to show the amazing nature of God's creation and the love of God for his children. - Well worh reading!

Let me start from the end. When I finished reading the final paragraph of The Ancient Path, I sat and clapped my hands. I kept saying over and over, "very clever, very, very clever". Jost masterfully weaves you through time, stopping only to let you change your clothes according to the time period. Starting in heaven, watching the Creator create. Then, through the Garden of Eden, to the pivotal chapter of Abraham making covenant with God. Next we find ourselves in the desert with Moses, and if you close your eyes, you might just feel the searing sun, and sand in your shoes, so vivid the picture Jost casts in our mind.

Chapter five finds you running down dusty streets, fearing for your life, with Rahab the prostitute. Many times as a child you hear the story of Joshua, marching around Jericho. But Jost starts out by looking at the story through Rahab's eyes. I wept as I read this chapter, and looking over it now, I fight back tears. The power lies in this authors ability to bring the emotion of a four thousand year old story, right up to present day. Rahab saw the grace of God, the same grace that saves us today.

In the next two chapters you get to meet great men of God, like David, Isaiah, and Jeremiah. I felt like I was watching them, walking along side them, as they struggled as we do, to obey God with all their hearts, yet willing to make the sacrifices to do so. But not until the last chapter, do you see what tapestry Jost has been weaving in your mind all along.

The book finishes with Jesus. He is on His way to be crucified. And as Jesus makes His way to the cross, Jost flashbacks through all the previous chapters and you start to see what it has all been about. Why did the father not just bring Jesus, straight after the fall? Why wait four thousand years? The last chapter shows us the master plan of the Father, one that cannot be shaken. It is about covenant, and grace. I have been greatly challenged by this book, and inspired. This is not a book about me, or how I can become great. It is a book focused, as we should be, on the Word of God, and the mighty and powerful God we serve. Well done Joshua Jost, I applaud your bravery, in this world of self, for giving God the glory, and honour that He deserves. I eagerly wait for the next instalment, and highly recommend this book. Five gleaming stars.

. . . which defies easy explanation.

Joshua Jost is on to something here. His book "The Ancient Path" describes in a very unique, deeply personal manner, the love of the Father for His creation -- in good times and in bad, through sin, disobedience, and rebellion on through to the gift of the Son. His storytelling methodology is unconventional, but "works" in this particular format. The particular Old Testament examples Jost uses are solid -- and going through the book, my mind was drawn to other Old Testament stories he could have used to good effect as well.

The format of the book might not appeal to everyone, and I thought that the author's "apology" for lack of specific Scriptural references was unnecessary. Jost makes his points without the need to quote Scripture "word for word" -- indeed, in the mind of this reviewer, such would have detracted, not added to the writing. Coming as I do from a different theological perspective as Jost, I was uncomfortable with what I perceived as a "penal substitution" view of the Atonement -- but this doesn't really detract from the value of the book.

In short, I think that Jost is onto something here . . . a concept I would very much like to see him expand greatly. The journey would certainly be worth the effort!

Four very solid stars.

"The Ancient Path" is exquisitely written, with insights into biblical truths that go deep into your heart. The poetic flow of this work, and the sheer beauty of it, makes the passages moving as well as memorable. Joshua Jost's description of creation and of how God brought life into being is masterful, as is every chapter from "In the Beginning" to "The Son." There is a wise, discerning mind, a life devoted to the Lord, and a child's wonder coming together on each page. I found Chapter 2, "Forbidden Fruit," very illuminating, with reasons why Eve added "touch" to God's commandment of not eating from the tree of good and evil, as "the serpent laid before them the ultimate temptation of sin: the pursuit of knowledge for power" (page 35), and Chapter 3, "The Father," is enthralling, as Abraham waits...and waits...for the destiny God said was his to come. "If hope were our destination, and faith the feet that carry us there, covenant is our path, laid straight before us" (page 52).

Only in his early 30's, but with the wisdom of the ancients, truth shines brightly in the cottage Jost shares with his family in northeast Scotland. "...only those who listen with ears of faith will see with their eyes the promises they hope for" (page 135). There is an intimacy with the Lord, and a passion for His Word in the pages of this slim but mighty book, that can only be written by someone who knows Him well. With the overwhelming love that comes from this knowing, and by yielding one's life to Him, we see the good fruit that ensues. This book is the good fruit Jost shares with us; we are enlightened and lifted up, and very much rewarded in the reading of it.

This is the first book I read my six year old about the holocaust and World War II. It gave a sense of the times, the difficulty, the hatred of the Jews by the Germans, without being too explicit about the type of horrors the "boots" inflicted on those they "took away." It motivated a great deal of discussion and acting out of the story. I could not imagine a better introduction.

"Rechtes... verlassen des links..., Recht, link" said the German commander as he and his men walked down the streets of France. The book The Butterfly a great book about a French girl named Monique who finds out about a secret her mother was harboring for many months. One night she wakes up. She doesn't know why she did. She sees a ghostly girl who is petting her cat when Monique said something. The girl gets up and runs. Monique doesn't know what to do. So, she tells her mom her mother gets very angry but not at her daughter. I think this book is unbelievable. I like how the author does a good job showing how they reacted to all the problems.

My wife selected this book, for our 5 year old daughter, in the primary school library, before the Christmas break. Last night, when I picked it up to read to my daughter, I had no idea what it was about. It is a gentle introduction to World War 2 and the German Nazi's. It does not mention concentration camps or gas chambers. It is about a wonderful family in France that sheltered Jews hiding from the Nazi's, during the German occupation. This morning, my daughter asked me to read the book to her again.

The book The Butterfly By patricia polacco is a story about a little girl during the 1940's, but her mom was hiding people in the basement.When all the people have to leave, even her best friend.But they will always have a gift from eachother to remember them.
I would recommend this book to whoever picks up this book.It has a little bit of everything a memior,a little bit of went on in history,it also has a lot of friendship.
In this book you will have a lot of vizualization,question,and a lot of craft. These will help you understand.

I found "The Butterfly" a very interesting book because it not only shows how Jews, but how non-Jews lived in fear in World War II. It tells how the little girl, Monique, is afraid of the "tall black boots" in her small French village. The "tall black boots" refer to the Nazi officers. It is not until Monique's friend, Monsieur Marc, is beaten and taken away by the officers when Monique finds out why the Nazis are in her village. One night Monique encounters a little "ghost girl" in her room that teaches Monique that she is not the only one afraid of the War. The little "ghost girl" turns out to be a Jewish girl named Severine hiding with her parents in Monique's unknown basement. It turns out that Monique's mother was hiding this secret from her. One night when Monique and Severine are playing in Monique's room when a neighbor sees them. The girls tell Monique's mother that someone had saw Severine and that Monique and her mother will be in trouble if they continue to harbor Severine and her family. That night, Monique and her mother take Severine and her parents to safety and Monique ends up in trouble. Will she ever be safe?

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

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

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

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

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

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

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

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

Professor Richard L. Rubenstein introduced me to this book.

Documented meticulously.

Substantiated understanding of the process of mass murder.

Definitely one of those must read books.

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

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

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

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

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

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

Five Stars.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Highly recommended.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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