2005, ISBN: 9782070351077

Gebundene Ausgabe

Anchor. Very Good. 5.2 x 0.7 x 8 inches. Paperback. 2003. 336 pages. <br>In 1857, at a place called Mountain Meadows in sou thern Utah, a band of Mormons and Indians massacred 120 e… Mehr…

Anchor. Very Good. 5.2 x 0.7 x 8 inches. Paperback. 2003. 336 pages. <br>In 1857, at a place called Mountain Meadows in sou thern Utah, a band of Mormons and Indians massacred 120 emigrants . Twenty years later, the slaughter was blamed on one man named J ohn D. Lee, previously a member of Brigham Young's inner circle. Red Water imagines Lee's extraordinary frontier life through the eyes of three of his nineteen wives. Emma is a vigorous and capab le Englishwoman who loves her husband unconditionally. Ann, a bri de at thirteen years old, is an independent adventurer. Rachel is exceedingly devout and married Lee to be with her sister, his fi rst wife. These spirited women describe their struggle to survive Utah's punishing landscape and the poisonous rivalries within th eir polygamous family, led by a magnetic, industrious, and consid erate husband, who was also unafraid of using his faith to justif y desire and ambition. Editorial Reviews From The New Yorker Un like most historical novels, this one, which opens with a man's e xecution, doesn't pander to contemporary values. The condemned is a charismatic Mormon leader who participated in the massacre of a hundred and twenty Gentile pioneers in 1857, and Freeman descri bes the crime through the reactions of three of his nineteen wive s. Rachel, the eldest, remains dislikably faithful to his memory. Emma, however, comes to see her husband as self-serving, and his youngest wife, Ann, who married him at the age of thirteen, beco mes Emma's unlikely emancipator. With Ann's story--that of a youn g woman living in the Utah wilderness with a profound sense of he r own worth--the narrative soars. Readers may want to shrug off a ll that makes these devout women endure their existence of farmwo rk, housework, repeated pregnancies, jealousies, and little to ca ll their own, but Freeman's novel makes astute points about the a lmost indistinguishable similarities between faith and love. Cop yright ® 2005 The New Yorker Review An unforgettable portrait o f the unceasing labor, passion and danger of frontier life, recal ling the best of Willa Cather. -Los Angeles Times Freeman presen ts ravishing visions of the land, which becomes as much a charact er in her drama as the people she so vividly conjures . . . Gorge ous and galvanizing. -Newsday [C]ompelling, vivid writing that i s both compassionate and unflinching; Freeman has gotten under th e skin of these three very different women and their milieu in a profoundly affecting way. -The Seattle Times [R]evelatory. . . . [C]reates a vivid, believable picture of the high religious ferv or and red-dust-covered hardships of the Utah frontier. -O, The O prah Magazine Freeman renders the terrible beauty of this land a nd the flinty resolve of these people with great skill. -The Wash ington Post Captures the mayhem of America's westward expansion . . . An evocative tale of religious brutality and pioneer hardsh ip set against an unforgiving landscape. -Chicago Tribune Intens e, charged with real feeling and electricity . . . Intelligent, c omplex prose will give readers a chance to reflect on the deeper meanings of love and faith and endurance. -The Oregonian Engross ing. . . . Freeman eschews the tributaries of contemporary domest ic life for the deeper and darker lake of the past. . . . Unforge ttable. -St. Louis Post-Dispatch The narrative soars . . . makes astute points about the almost indistinguishable similarities be tween faith and love. -The New Yorker A powerful novel whose thr ee narrators engage us so completely that we absorb their intrica te history effortlessly. -BookPage Review An unforgettable port rait of the unceasing labor, passion and danger of frontier life, recalling the best of Willa Cather. -Los Angeles Times Freeman presents ravishing visions of the land, which becomes as much a c haracter in her drama as the people she so vividly conjures . . . Gorgeous and galvanizing. -Newsday [C]ompelling, vivid writing that is both compassionate and unflinching; Freeman has gotten un der the skin of these three very different women and their milieu in a profoundly affecting way. -The Seattle Times [R]evelatory. . . . [C]reates a vivid, believable picture of the high religiou s fervor and red-dust-covered hardships of the Utah frontier. -O, The Oprah Magazine Freeman renders the terrible beauty of this land and the flinty resolve of these people with great skill. -Th e Washington Post Captures the mayhem of America's westward expa nsion . . . An evocative tale of religious brutality and pioneer hardship set against an unforgiving landscape. -Chicago Tribune Intense, charged with real feeling and electricity . . . Intellig ent, complex prose will give readers a chance to reflect on the d eeper meanings of love and faith and endurance. -The Oregonian E ngrossing. . . . Freeman eschews the tributaries of contemporary domestic life for the deeper and darker lake of the past. . . . U nforgettable. -St. Louis Post-Dispatch The narrative soars . . . makes astute points about the almost indistinguishable similarit ies between faith and love. -The New Yorker A powerful novel who se three narrators engage us so completely that we absorb their i ntricate history effortlessly. -BookPage From the Inside Flap I n 1857, at a place called Mountain Meadows in southern Utah, a ba nd of Mormons and Indians massacred 120 emigrants. Twenty years l ater, the slaughter was blamed on one man named John D. Lee, prev iously a member of Brigham Young?s inner circle. Red Water imagin es Lee?s extraordinary frontier life through the eyes of three of his nineteen wives. Emma is a vigorous and capable Englishwoman who loves her husband unconditionally. Ann, a bride at thirteen y ears old, is an independent adventurer. Rachel is exceedingly dev out and married Lee to be with her sister, his first wife. These spirited women describe their struggle to survive Utah?s punishin g landscape and the poisonous rivalries within their polygamous f amily, led by a magnetic, industrious, and considerate husband, w ho was also unafraid of using his faith to justify desire and amb ition. From the Back Cover In 1857, at a place called Mountain M eadows in southern Utah, a band of Mormons and Indians massacred 120 emigrants. Twenty years later, the slaughter was blamed on on e man named John D. Lee, previously a member of Brigham Young's i nner circle. Red Water imagines Lee's extraordinary frontier life through the eyes of three of his nineteen wives. Emma is a vigor ous and capable Englishwoman who loves her husband unconditionall y. Ann, a bride at thirteen years old, is an independent adventur er. Rachel is exceedingly devout and married Lee to be with her s ister, his first wife. These spirited women describe their strugg le to survive Utah's punishing landscape and the poisonous rivalr ies within their polygamous family, led by a magnetic, industriou s, and considerate husband, who was also unafraid of using his fa ith to justify desire and ambition. About the Author Judith Free man is the author of three novels-The Chinchilla Farm, Set for Li fe, and A Desert of Pure Feeling-and of Family Attractions, a col lection of stories. She lives in California. Excerpt. ® Reprinte d by permission. All rights reserved. The Execution One A wind was blowing that day, old and wintry and mean. It came up in the morning, arriving from the southeast, and by noon it had gained i n force and shook the heaviest branches of the trees and caused t hem to saw back and forth with a low groaning noise. Patches of s now still lay on the hills, old grainy slubs nestled in crevices on the north-facing slopes and thinner white lines running in sca llops along the northern ridges. When he sat on his coffin, the wind ruffled his hair and lifted the flaps of his jacket and they fluttered like the wings of some small black bird clinging to hi s breast. Meadowlarks broke into song occasionally, and the wind continued to blow in heavy gusts as more men arrived, riding sin gly down out of the hills, or coming in groups of two or three, l ike pale apparitions. He could hear the sound of the water in th e stream. Where the cows had trod the muddy ground they left hoo fprints the size of dinner plates and the earth had now dried and the path was left uneven and hard to walk. The wind made it unpl easant to be out of the shelter of the wagons and many of the men stood with their backs against the running boards or set their s houlders against the warmth of their horses. In spite of the col d, it felt like spring would soon arrive. All the signs were pres ent--the hopeful notes of the meadowlarks, the grass greening up in the meadow, and the patches of bare earth on the hillsides. Th ere was a feeling some corner had been turned and winter was behi nd them now, even though the wind still held such bitterness. The sky, though not really overcast, was covered with a white film o f clouds, thin and insubstantial, like a layer of gauze stretched over the palest blue eye, and this lent the day a muted feeling. It seemed like a time between seasons--not yet spring, though sp ring had officially arrived two days earlier, and no longer winte r, though something of its recent chill still carried on the air. He noticed the photographer standing downwind of his portable te nt and he also noticed how the tent billowed in the surging wind like a living breathing thing. He could hear a hammering sound o f a woodpecker working away at the trunk of a gnarled and misshap en cottonwood tree whose lower branches had grown so thick the ma in trunk had broken and the heavy limbs now bent to earth. All al ong the stream the spidery and tangled old cottonwoods had been s tunted from drought years and grown more horizontal than vertical , and yet they had managed to hang on to the stream bank, sending out new shoots and new growth each year, shedding the heaviest o f limbs to wind and the forces of gravity. All morning the birds called from the east and the west sides of the stream and the si lence seemed magnified by the pale and colorless sky, the dry bro wn hills, the ridges and north-facing canyons scalloped with the thinning snow. In another month the sedges would green up along t he banks of the creek and the snow would be gone and the deer tha t bedded down here now would leave the meadow and begin working t heir way back up among the cedar-covered hills. By June it would be so hot and dry the grasses would begin to dry out and the cre ek would fall, the once deep water lowering and eddying in pools deep enough to hold fish in the shadows. They killed him before noon. The wind was still blowing. Both spring and winter were o n the air. He had been brought to this spot by the marshal who h ad befriended him during his long incarceration and who had been helping him maintain his spirits during his first trial, as well as his second. He arrived about an hour before the actual execut ion and he appeared to be tired yet calm. The firing squad was n ot visible. The five men were hidden behind the canvas cover in t he back of a wagon drawn up before the man sitting on his coffin, and they fired their shots through an opening in the canvas. Be fore that, however, before the shots were fired, he was allowed t o converse with several men who had come to witness the execution . His photograph was taken by the man who had been pacing near h is tent and he asked the photographer to deliver a copy of his li keness to his remaining wives. When that request had been made an d agreed to, he rose and said a few last words to the crowd that had assembled to witness his execution. His voice broke only onc e and that was when he mentioned his wives and his children who, he said, would be left unprotected in this world. A minister kne lt with him and prayed. He sat again on his coffin. He took off his coat and handed it to a young man standing nearby with the re quest that it be given to one of his sons. He said he could see n o use in destroying a perfectly good jacket. He was blindfolded but, at his request, his hands remained unbound. When the blindf old was in place, he called out to his executioners in a strong a nd steady voice: Center my heart, boys. Don't mangle my limbs. F ive shots rang out, and then another five coming so close togethe r they sounded like one slightly drawn-out explosion. He fell ba ck upon his coffin, dead. Before his death and after, the birds fell silent. The sun was the same metallic white as the sky, onl y brighter, far brighter. The shots had pierced his heart and th e blood flowed freely from the wounds in his chest and back. They laid him on the ground and removed the blindfold and someone tho ught to close his eyes. After a while the blood slowed and it no longer pulsed and gurgled but rather it came in sporadic and weak trickles. He was placed in his coffin. His hands were crossed o ver his chest, the big work-reddened knuckles sticking up in hard ened knobs. The photographer took one last picture of the dead ma n lying in the pine box and then the lid was nailed on and the co ffin was loaded in a wagon. The wagon, pulled by a pair of white mules and driven by the marshal, lost no time in setting off, muc h to the disappointment of those in the crowd who would have pref erred a longer look at the deceased. The photographer was the la st to leave the meadow. When the others had gone he stayed behind and developed his plates and then he packed up his camera and hi s Carbutt's Portable Developing Box, strapping everything onto hi s mule with an ease born of much practice. By then the light was falling, raking across the meadow in slatted bands of light and d ark, and the wind had almost ceased. He took one last look around him before heading up the trail. Nothing good ever happened her e, he thought. And nothing good ever will again. It is a place forever now of death. He knew that the man had died for his own sins, and he had taken on the sins of those around him and he had died for those too. He had died for a whole people: he had been made the goat, and there wasn't anyone the photographer knew who didn't believe that. The marshal drove the body to Cedar City an d delivered it to the sons, who set out the following morning for Panguitch, where they intended to bury their father. The woman w ho accompanied them could have been their mother, but she was not , though she had nurtured them often enough in the course of thei r short lives. They drove an open wagon, the two boys sitting up front on the wagon seat and the woman nestled in back next to the coffin. The wagon was drawn by two red mules that were related b y blood as well as temperament. The wor, Anchor, 2003, 3, London England: Zomba Books , 1986. Paperback.The Cinema of Robert De Niro light crease on cover illustrated throughout with B&W stills from his films Robert De Niro is an enigma. A box office superstar, his face known to millions, De Niro manages to keep his personal life out of the news. An intensely private man, he is dedicated to his art. So dedicated that he will put on sixty pounds to portray an ageing boxer (Raging Bull), teach himself to play the saxophone (New York, New York), acquire a perfect Sicilian accent (The Godfather, Part II), learn the Catholic Mass by heart (True Confessions), or spend two weeks driving a yellow cab around New York's seediest districts (Taxi Driver). De Niro is perhaps the most respected and versatile actor of our age, an actors' actor as well as a favourite amongst the fans. His involvement in his art is total and his policy of turning down the 'big bucks' in order to make films which interest him personally has resulted in some of the most critically acclaimed films of recent cinema history, including 1900, Once Upon A Time In America, and The Mission. But, as author James Cameron-Wilson describes in this book, De Niro's films are not merely a success from the critic's point of view. He has also participated in some of the biggest money-spinners of all time, such as The Godfather, Part II and The Deer Hunter. De Niro is both cult figure and box office success; a consummate actor and a screen idol. Yet this double Oscar winner is perhaps the best known and least understood actor of our time. So who is Robert De Niro? As Cameron-Wilson investigates and examines the career of De Niro, through meticulous research and candid interviews with De Niro's colleagues, what emerges is the first in-depth profile on De Niro, the Man. THE CINEMA OF ROBERT DE NIRO, fully illustrated with over seventy photographs, provides a fascinating and revealing insight into one of the contemporary cinema's most ambitious and charismatic performers. 156 pages. (We carry a wide selection of titles in The Arts, Theology, History, Politics, Social and Physical Sciences. academic and scholarly books and Modern First Editions ,and all types of Academic Literature.) . 1st Paperback Printing. Soft Cover. Very Good. 8vo - over 7¾" - 9¾" tall. Paperback., Zomba Books, 1986, 3, Simon & Schuster. Very Good. Paperback. 1992. 432 pages. <br>From the author of The Atlantic Campaign comes a h istoric account of the greatest naval conflict: the Pacific campa ign of World War II. Dan van der Vat's naval histories have bee n acclaimed on both sides of the Atlantic as definitive, extraord inary, and vivid and harrowing.Now he turns to the greatest naval conflict in history: the Pacific campaign of World War II. Drawi ng on neglected archives of firsthand accounts from both sides, v an der Vat interweaves eyewitness testimony with sharp, analytica l narration to provide a penetrating reappraisal of the strategic and political background of both the Japanese and American force s, as well as a major reassessment of the role of intelligence on both sides. A comprehensive evaluation of all aspects of the war in the Pacific, The Pacific Campaign promises to be the standard work on the U.S.-Japanese war for years to come. Editorial Revi ews Review The Philadelphia Inquirer Fast-paced, meticulously re serarched...has all the elements of a spy thriller. The New York Times Book Review Belongs on the bookshelf of every American who contemplates the meaning of the greatest sea war in history. St ephen E. Ambrose author of Eisenhower A vivid account of the grea test naval battles ever fought and a thoughtful analysis of why w ar came...marked by fresh insights and new material. The Chicago Tribune An unsparing indictment of Japan's culpability in bringi ng about the Second World War....It blows away the rubbish....Van Der Vat writes with clarity and understanding. About the Author Dan van der Vat is the author of The Atlantic Campaign, The Ship That Changed the World, Gentlemen of War, and The Grand Scuttle. He lives in London, England. Excerpt. ® Reprinted by permission . All rights reserved. Chapter One THE VIEW FROM THE EAST Japan 's southward advance, even though it was in the opposite directio n from all its previous expansion, derived directly from its mili tary adventures, political scheming and economic ambitions on the Asian mainland. This is not to say that the move south was immut able fate, either for Japan or for its victims: the Japanese were and are as responsible for their own actions and choices as ever yone else, regardless of foreign provocations and errors. Neverth eless, the short but brutish and nasty story of Japanese imperial expansion has features only too familiar to the students of past empires, whether the ancient Roman or the modern Russian. A powe r on the make begins to expand by absorbing its immediate neighbo r (in Japan's case, Korea in 1910); to protect its acquisition, i t conquers its neighbor's neighbor (Manchuria), sets up a buffer state (Manchukuo), creates another buffer (northern China), and u ses that as a base to move against its next victim (China), and p ossibly its most deadly rival (the Soviet Union). We see imperial ism imitating scientific principles such as Newton's first law of motion whereby movement continues unless halted (imperial inerti a); the abhorrence of nature for a vacuum is parodied by imperial ist opportunism, which drew Japan first into China, then down upo n the Asiatic empires of the European powers involved in the war with Hitler's Germany. It is not customary to refer, in the cont ext of the Second World War, to Tojo's Japan, or even Hirohito's; nor do we equate the Imperial Rule Assistance Association, forme d in 1940 to absorb all Japanese political parties, with the Nati onal Socialist party, the only legal one in Hitler's Germany, eve n though the former was in some respects a conscious imitation of the latter. The truth is that the Japan which took on the world at war and lost was run by a military junta of no fixed compositi on -- a shifting, authoritarian oligarchy rather than a totalitar ian dictatorship. It came to the fore in Manchuria in 1928, when the Kwantung Army, as the Japanese garrison was called, killed a n intractable local warlord by causing an explosion on the Japane se-controlled South Manchurian Railway (SMR). The junta won the s upport of most Japanese admirals in 1930, after the perceived hum iliation of Japan at the London Naval Conference, about which mor e later. Japan was easily humiliated: rejection of any of its dem ands was enough. Aggravated by Japan's severe suffering in the Sl ump, which helped to undermine moderate, civilian influence in go vernment, the rising junta's Kwantung branch staged another explo sion on the SMR at Mukden in September 1931 as an excuse for conq uering the rest of Manchuria in a few months. This euphemisticall y named Manchuria Incident led to the establishment of the puppet state of Manchukuo under the Emperor Pu-yi, scion of the deposed Manchu dynasty, which had ruled China until 1911. Encouraged by this cheap success and undeterred by international condemnation, which merely provoked Japan to flounce out of the tottering Leagu e of Nations in 1933, the junta ran off the rails altogether in 1 937. At the Marco Polo Bridge outside Peking, the Japanese China Garrison Force, in place since the international suppression of t he xenophobic Boxer Rebellion of 1900, engineered a clash with a Chinese Army patrol. This was then used as an excuse to attack no rthern China -- all without consulting civilian or military super iors in Tokyo. The latter managed, however, to do what was expect ed of them: they sent reinforcements. The ensuing war, unwinnable for either side, spread across China; to the Japanese it always remained simply the China Incident. It is not unreasonable to see in the manufactured clash of July 7, 1937, so similar to Hitler' s ploy against Poland two years later, the true start of the Seco nd World War, because these two participants fought each other co ntinuously from then until 1945. In its bid to become the USA of the western Pacific (a strictly economic ambition), Japan classe d itself as a have-not nation with a legitimate grievance. What i t really had not, like Germany and Italy among the larger powers, was territorial acquisitions to exploit -- the only contemporary yardstick of greatness, even more important than a big navy. The rest of the world soon came to see Japan as an acquisitive aggre ssor, inordinately ambitious and completely ruthless. Japan came late -- indeed, last -- to old-style colonialism, but chose to le arn nothing from its predecessors in this pursuit. Like them, it cared little for the feelings of the colonized; unlike them, it w as never deterred by the views of the other powers, which it eith er ignored or used as grounds for more aggression while it built up its own empire. In this outlook it was very similar to Germany under Kaiser Wilhelm II, and even more under Hitler: unable or u nwilling to distinguish between its needs and its wants, Japan he lped itself to what it fancied and was quite often genuinely perp lexed by the hostile reaction. Like Germany, where almost everyon e who could walk and talk hated the Treaty of Versailles, Japan h ad an almighty bone to pick with the rest of the world. Most Japa nese people regarded anyone who questioned their country's ambiti on as hostile and did not try to understand any other party's poi nt of view. Where the rest of the world went wrong was in foolish ly underestimating the unique capacity for self-sacrifice with wh ich ordinary Japanese supported their country's aim to be a first -rate power. There was much less disagreement among the Japanese (or in Germany) on the end than on the means of achieving the fu lfillment of their country's just demands. Hitler came to power o n the back of the German national sense of grievance, and was as conscious as the Japanese military of the lessons of 1918. Like t he Japanese, he thought his country was overcrowded and needed mo re territory, a rationalization of imperial ambition throughout t he ages. The Nazis, like the Italian fascists, were a mass moveme nt that rose to power from the grass roots under a populist leade r, whereas the Japanese junta manipulated a complaisant emperor t o impose its will from the top. But each Axis regime drew the sam e conclusion from Germany's defeat in 1918: the next war would be long, and therefore autarky, economic self-sufficiency, was the key to national security, military success and world domination. That was the only way to avoid a repetition of the blockade by se a and land which defeated Germany in 1918. So, while Hitler sche med to acquire Lebensraum and Mussolini concentrated on empire-bu ilding in northeastern Africa, the Japanese were busy inventing t he New Order in East Asia (1938) and the Greater East Asia Co-Pro sperity Sphere (1940), both designed to subordinate the region to the perpetual benefit and glory of a self-sustaining, greater Ja pan. Tokyo had some success at first in presenting this as a crus ade against Euro-American domination of Asia. It won over many in digenous nationalists in British, French and Dutch colonies -- at least until the Japanese Army arrived and lent new vigor to the old military customs of rape and pillage. The Germans made exactl y the same error in the Soviet Union: each army behaved as the ma ster race in arms; each used the stratagem of surprise attack wit hout declaration of war, and then Blitzkrieg tactics, to get its way. But whereas Hitler dominated his generals and admirals the J apanese general staffs dominated Japan. The consequences for thei r victims were remarkably similar. There was, for example, not mu ch to choose, except in such matters as climate and language, for the doubly unfortunate Dutch between life in the Netherlands und er Nazi rule and in the East Indies under the Japanese. Small wo nder that Reich and Empire were to become allies regardless of re ciprocal racial disdain. The first concrete sign of things to com e was Japan's decision to sign the Anti-Comintern Pact with Germa ny in November 1936 (the Comintern -- Communist International -- was the Soviet mechanism for controlling foreign communist partie s). A secret provision required each signatory not to help the So viet Union if the other went to war against it; the published tex t was a vague commitment to oppose communism and all its works wh erever they might be found. The future Axis partners had identifi ed their overwhelming common interest: the Soviet Union, principa l potential enemy of each. For Japan this was just one of many f ateful decisions that led to its disastrous war with the United S tates. The Slump became a time for taking tough measures at home -- and taking sides abroad. The Pacific Campaign cannot be proper ly understood unless it is seen in the context of Japan's prewar domestic and foreign policies and the links between the two, as s ummarized below. Foreigners had (and have) great difficulty in u nderstanding how Japan worked as a state and who was really in ch arge. The Japanese had gone so far as to imitate the West in havi ng a symbolic head of state and an executive, a legislature, a ju diciary, an army, and a navy all formally answerable to him. The fact that the Army and the Navy were, as centers of power in the state, at least equal to the civilian organs of government rather than subject to their authority was not outside Western experien ce. In making this ultimately disastrous arrangement in the const itutional changes of 1889, the Japanese were only copying the Pru ssians who dominated Europe as the world's strongest military pow er for more than half a century, until 1918, on just such a basis (the Japanese chose to copy the British in establishing a House of Lords and a battle fleet and imitated the French in such areas as law and education). The independence of the military dated fr om the creation, in 1878, of general staffs for Army and Navy dir ectly under the emperor and outside the control of the Diet (parl iament) or even the Cabinet. The paradox was that the emperor, un like the Kaiser, did not feel free to intervene in government. He exercised his influence through his personal advisers or in priv ate meetings with those, such as key ministers and chiefs of staf f, who had the right of access to the throne. Thus his divine sta tus was protected by noninvolvement in day-to-day policy with all its disputes, errors, and corruption; by the same token, those w ith real power could hide behind the façade of imperial rule when ever convenient, an excellent incentive for irresponsibility on a ll sides. This gave very broad latitude indeed to leaders whose actions were rendered immune from challenge by the simple device of being declared as done in the name of the emperor. A general c ould tell Hirohito, with the customary groveling and outward resp ect, what he was planning; the emperor had no power to stop him, so the general could then inform the Cabinet of what he was about to do, overriding any objections by laying claim to imperial san ction. From the turn of the century, the ministers responsible fo r the Army and the Navy had to be officers from the relevant serv ice. After 1936 they had to be on the active list, to prevent the appointment of men from the retired list as a means of getting r ound the wishes of the serving generals and admirals. This gave t he general staffs not only the decisive say (or veto) on individu al appointments to these posts but also the power to prevent the formation of a new government, simply by refusing to supply servi ng officers to fill them. If they did not like a prime-ministeria l nominee, they would decline to provide a general (as the Army d id in 1940, for example) or an admiral as Army or Navy minister - - even if the would-be premier had found favor with palace advise rs and been recommended by them to the emperor. The three key men in each service -- minister, chief of staff, and inspector-gener al of education and training -- were thus free to pick their own successors without consulting any outsider, whether emperor, prim e minister or the rival service. The two armed forces were not r equired to inform the Cabinet of their strength and dispositions, in peace or even in wartime. Thus the claims by such as ex-Prime Minister Tojo and ex-Foreign Minister Togo at the Tokyo war-crim es trial that they were not told in advance of the Pearl Harbor p lan (or of the great American victory at Midway for weeks after t he event) are not as ludicrous as they seemed when they were firs t made. With this kind of contemptuous conduct as the norm in the highest ranks, it is hardly surprising that the Japanese forces were more Prussian than the Prussians, not to say medieval, in th eir approach to discipline. Brutality was institutionalized to a degree probably unparalleled, Simon & Schuster, 1992, 3, Northvale, New Jersey, U.S.A.: Jason Aronson Inc, 1996. Book. Very Good. Hardcover. Very slight shelfwear to dust jacket. Nice, clean, tight, unmarked copy. From inner dust jacket flap: "Wherever contemporary therapists offer treatment, whether in social agencies or clinics, in outpatient or inpatient services, or even in private practice, they are likely to find themselves increasingly working with people whose histories are characterized by deprivation and repeated trauma-experiences that have left them feeling damaged, often short of basic trust in others, and lacking confidence in themselves. These people have tended to be seen as beyond the pale for psychoanalytically oriented treatment. The contributors to this volume would disabuse us of such a prejudiced opinion. They proceed to demonstrate the enormous value of psychodynamic perspectives with a varied clientele, many of whom in the past might have been deemed "untreatable." And they do this by sharing with readers the stories of their attempts to work with persons of diverse cultural, ethnic, and racial groups who come with complaints that point to severe psychopathologies. In each of the twenty-three stories, we are afforded a glimpse of the two actors in the drama as they meet and size up one another, negotiate and renegotiate their agreement to collaborate, work through and play through the shifting positive and negative transferences and countertransferences toward a working relationship, experience both frustrations and triumphs as they persevere in attempts to promote healing and growth. These are exciting narratives, documenting the ethic that underlies the psychoanalytic vision and the animation that it affords both participants."., Jason Aronson Inc, 1996, 3, Paris, France Editions Gallimard: Collection Idees, 1966. Paperback Fine in Wraps: The pages have tanned just slightly, due to aging; else flawless: binding square and secure; text clean. Virtually 'As New'. NOT a Remainder, Book-Club, or Ex-Library. 12mo. 373pp. Mass Market Paperback. Eugène Ionesco (1909 – 1994) was a Romanian playwright who wrote mostly in French, and one of the foremost figures of the French Avant-garde theatre. Beyond ridiculing the most banal situations, Ionesco's plays depict the solitude and insignificance of human existence in a tangible way. Like Shaw and Brecht, Ionesco also contributed to the theatre with his theoretical writings. Ionesco wrote mainly in attempts to correct critics whom he felt misunderstood his work and therefore wrongly influenced his audience. In doing so, Ionesco articulated ways in which he thought contemporary theatre should be reformed. Notes and Counter Notes is a collection of Ionesco's writings, including musings on why he chose to write for the theatre and direct responses to his contemporary critics. In the first section, titled "Experience of the Theatre", Ionesco claimed to have hated going to the theatre as a child because it gave him "no pleasure or feeling of participation". He wrote that the problem with realistic theatre is that it is less interesting than theatre that invokes an "imaginative truth", which he found to be much more interesting and freeing than the "narrow" truth presented by strict realism. He claimed that "drama that relies on simple effects is not necessarily drama simplified". Notes and Counter Notes also reprints a heated war of words between Ionesco and Kenneth Tynan based on Ionesco's above stated beliefs and Ionesco's hatred for Brecht and Brechtian theatre., Editions Gallimard: Collection Idees, 1966., 0<

1966, ISBN: 2070351076

[EAN: 9782070351077], Gebraucht, guter Zustand, [PU: GALLIMARD], édition Gallimard collection Idées. Photo non contractuelle. Envoi rapide et soigné., Books

1970, ISBN: 2070351076

[EAN: 9782070351077], Near Fine, [SC: 5.99], [PU: Gallimard], Merci, votre achat aide à financer des programmes de lutte contre l'illettrisme., Books

ISBN: 9782070351077

Notes et contre-notes Eugène Ionesco Gallimard livre RecycLivre Bon