Hythei: May 2011

Thursday, 26 May 2011

[K782.Ebook] PDF Download Cautionary Tales for Children, by Hilaire Belloc

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Cautionary Tales for Children: Designed for the Admonition of Children between the ages of eight and fourteen years is a 1907 children’s book written by Hilaire Belloc. It is a parody of the cautionary tales that were popular in the 19th century. The work is in the public domain in the United States.

Sales Rank: #1853182 in eBooks
Published on: 2015-02-27
Released on: 2015-02-27
Format: Kindle eBook

From School Library Journal
Adult/High School-Tales is written in the style of a picture book, with sprightly little rhymes that speak of the foibles of children and the horrible consequences thereof. First penned nearly a century ago, the sort of story that Belloc parodies continues to be written today and read to youngsters, but readers who are more sophisticated will better appreciate these tales of disproportionate punishment. Children are whimsically eaten by lions or consigned to life as a bootblack for their sins-or, by contrast, a boy who fires a loaded gun at his sister is reprimanded sternly. Gorey's artfully antiquated style exactly fits Belloc's writing and brings this edition to life-a single pen-and-ink line shows the sister's satisfaction at hearing her brother called to task. The previously unpublished illustrations meticulously convey texture, such as the clothing of the myriad physicians called in to help poor Henry King who swallowed string, and the expressions of the self-satisfied adults seem so earnestly and seriously drawn as to make the whole that much more humorous. The art is refined and genteel-never gory. Teenagers will enjoy this quick and cathartic read.
Paul Brink, Fairfax County Public Library System, VA
Copyright 2003 Reed Business Information, Inc.

From Library Journal
Gorey didn't just illustrate these tales by major English literatus Belloc; he is credited with rediscovering them.
Copyright 2002 Reed Business Information, Inc.

Review
PRAISE FOR EDWARD GOREY

"Invaluable to Gorey-ites."--The New York Review of Books

"A marvelously entertaining volume . . . I came down on these pages like a wolf on the flock, and devoured them in an afternoon."--The Washington Post Book World

"A master of a genre of graphic storytelling and a brilliant draftsman."--The New York Times Book Review

"A man of enormous erudition . . . An artist and writer of genius."--The New Yorker

"An American original . . . One of this century's foremost eccentric geniuses."--Print Magazine

Most helpful customer reviews

46 of 48 people found the following review helpful.
Non Better a Belloc: Cautionary Tales for Children reviewed
By G.A. Emil
Edward Gorey's first major posthumous publication is like a newly forged work, with freshness and originality. Published several times since 1907, Harcourt's reprint of "Cautionary Tales for Children" contains sixty-one new illustrations enfolding the 95-year old verse, and the result is very satisfying.
Gorey created these illustrations several years ago, but for some reason, chose not publish them while he was alive. Gorey's Victorian style is a delightful fit for Belloc's verse. In fact, those already familiar with Belloc's Cautionary Tales or Cautionary Verses series may very well conclude that they were strong influences for Gorey's "The Beastly Baby", "The Gashlycrumb Tines", "The Epipleptic Bicycle" and others. Certainly, many of the verses in Cautionary Tales feel like they could have been written by Gorey: "Jim, Who ran away from his Nurse, and was eaten by a Lion", "Henry King, Who chewed on bits of String, and was early cut off in Dreadful Agonies", "Matilda, Who told Lies, and was Burned to Death", and so on. Unlike the original cartoonish illustrations by Blackwood, Gorey's illustrations simply set the stage - the big moment is then played out in the imagination. It is Edward Gorey's delightful magic, at work.
Glen Emil...

24 of 26 people found the following review helpful.
Kindle edition is awful
By Glen Campbell
This is a brilliant book, of course, which has been utterly destroyed by the Kindle edition. All the lines of verse have been lost and instead the text is wrapped to solid justification, which makes it terrible to read. Formatting is nonexistent; instead of italics, it uses _underscores around phrases_, which is annoying. I strongly recommend avoiding this issue.

28 of 32 people found the following review helpful.
do not buy!
By M. Mccalla
I was expecting a nice simple edition that included Edward Goreys illustrations as the review of the book stated. Why they would include a review for the hardcover edition with this soft cover version is beyond me, as they are COMPETELY different in quality. this edition looks like someone printed it out (poorly) from an 80s style printer and slapped a cheap plastic cover from walmart on it. it looks NOTHING like the "look inside" example at the top of the page. the justification in the print is screwed up, where once there were pictures is now a label "(illustration)" showing where the picture used to be, and the print itself is incredibly light. it really looks like someone just printed out a poorly edited kindle version. I cant believe they are selling this for 10 bucks when you can get the hardcover for $10.88 right now. it is such poor quality i am actually stunned its being offered on amazon; i think someone is printing this out of their garage. i will try to post pictures of this 10 dollar piece of junk soon. i have never had to return anything to amazon but i guess there is a first time for everything....

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Tuesday, 24 May 2011

[T813.Ebook] Ebook Free The Art of Contrary Thinking, by Humphrey B. Neill

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Invest successfully! Live fruitfully! Humphrey B. Neill, America s #1 contrarian, helps get your thinking out of a rut and gives the rules for winning especially when investing.

Sales Rank: #348789 in Books
Published on: 1954-01-01
Original language: English
Number of items: 1
Dimensions: 8.26" h x .64" w x 5.61" l, .70 pounds
Binding: Paperback
201 pages

About the Author
Years of observation and analysis of economic trends from the vantage point of Wall Street did not rub his Vermont heritage out of his face, or speech, or heart. Since 1828, generations of Neills have occupied their homestead in Saxtons River, Vermont. A book-lined room off the kitchen of the venerable house served Humphrey Neill as his editorial workshop, while the former harness room in the big barn housed his research library and his newspaper and bulletin files. From these sanctums he wrote his well-known Letters of Contrary Opinion.

After a decade of apprenticeship with such organizations as the Brookmire Economic Service, Humphrey Neill established himself as a business writer whose lively, human approach to a "dusty" facts-and-figures science brought him nationwide attention. His many published books include Tape Reading and Market Tactics (1931), Understanding American Business (1939), and The Inside Story of the Stock Exchange (1950).

Throughout his active business life Humphrey B. Neill observed, researched, and recorded data from which he developed the theory of Contrary Opinion.

Most helpful customer reviews

68 of 70 people found the following review helpful.
Excellent book for budding contrarians
By Robert Stoll
Mr Neill lays out in short, specific chapters, his arguments for why popular opinions often times turn out to be wrong, while the opposite, contrary opinion, would turn out to be corrrect. The historical examples he uses make one wonder if the "New Economy" of the 1990's is really just a precursor to the types of events seen in the late 1920's/early 1930's and the early 1950's, when prominent economists touted a New Era of prosperity (we all know what the happened afterwards).
Mr. Neill also cites past writers who analyzed the behavior of man, and how he gets caught up in the "herd". While sometimes getting off the subject, Mr. Neill lays out a clear framwork of how one assesses what the "popular" opinion is, and how to teach yourself not to get caught up in the herd and to think independantly.
A highly recommended book for those who wish to understand how contrary minds think, or for those who need a "refresher" (getting your mind out of a rut according to Neill).

18 of 20 people found the following review helpful.
One of the Best of Its Kind
By A. C. Bradford
Often, less experienced investors overlook the big picture topics such as macroeconmics and behavioral finance and focus on the investment book of the month which is invariably trash. This book was originally written many decades ago and the fact that it is still selling is a testiment to its quality.

When you look at al of the current investment books out in print, how many do you think will still be selling 40 years from now? Of course, back then, the publishing world was selective. Today, it focuses on publishing books about investing by big name preachers and sports legends or psychopaths with useless TV shows because they know people will buy them.

If you cannot appreciate this book then you have a very long way to go towards becoming a good investor. And if you are a good investor, this book is just another step towards your progression into a great investor.

17 of 19 people found the following review helpful.
Ancient Wall Street Classic.
By BigCityChicken
A collection of old essays by Neill who followed the market steadily from the depression days to his death in 1977. Neill is from a long gone generation of men and his words don't always translate well to today's Nintendo generation. Neill's sometimes odd writing style doesn't help the flow any. It took me multiple reading to grasp his style and some points. He's mature, seasoned, a real American original. I think it's a Vermont thing.

But the genius of this book lies within the valuable insights and nuggets of wisdom spread out randomly within. That said, some essays are of questionable relevance or downright archaic. But many are golden and relate to all generations. If you have ever REALLY put some skin-in-the-game, you'll relate to his views on patience, risk, and learning to think from both sides of the coin. Find these easter eggs and you will become a better investor.

The book is inexpensive and a must-buy for anyone seeking to invest their own money.

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Thursday, 19 May 2011

[X177.Ebook] Download Nigel Calder's Cruising Handbook: A Compendium for Coastal and Offshore Sailors, by Nigel Calder

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The most comprehensive and helpful guide ever written for selecting and equipping a cruising sailboat

Whether you’re a coastal or offshore cruiser, you’ll find your most pressing concerns treated with the know-how that makes for skillful, confident cruising in Nigel Calder’s Cruising Handbook. The author -- one of the most respected marine how-to authors on either side of the Atlantic, and author of the universally admired Boatowner's Mechanical and Electrical Manual, -- walks you through all key technical and practical aspects of modern cruising systems and equipment, providing you with a summary of the skills necessary for safe, enjoyable sailing.

The first half of the book includes an easy-to-use tabular method for evaluating a boat's suitability for cruising; ideas for workable deck and interior lay-outs and organization; how to choose and configure suitable boat systems for cruising; and how to install gear for trouble free operation.

The book's second half teaches you boat handling skills; core navigational expertise; anchoring techniques; weather understanding; heavy weather expertise; and specific skills for long-term and long-distance cruising.

Sales Rank: #134675 in Books
Published on: 2001-05-28
Original language: English
Number of items: 1
Dimensions: 11.00" h x 1.10" w x 8.30" l, 3.20 pounds
Binding: Hardcover
608 pages

From the Back Cover

"The indispensable crew. No boat should sail without Calder aboard."--Paul Gelder, Yachting Monthly

This handbook shows you not only how to select and equip a boat for coastal and offshore cruising, but also how to sail and navigate it. Covering all this in one volume is a monumental task, one not attempted since the pioneers of blue-water voyaging wrote the first generation of cruising bibles decades ago. Since that simpler, more spartan era, the typical cruising sailboat has become faster and more comfortable, but also more complex. Even as they've made distant horizons more reachable, the marvels of modern technology have paradoxically raised the ante on the entry-level skills required for cruising. Small wonder then that books about boat handling and seamanship have little to say about the special demands of cruising, while books about cruising presuppose a mastery of the fundamentals of seamanship and navigation.

Nigel Calder's Cruising Handbookpresupposes nothing. It sifts through, organizes, and makes sense of the hundred disciplines of the cruising avocation. It will help you through your first coastal hop or your umpteenth offshore passage. Here you will find

Comprehensive coverage of cruising sailboat design
The elements of a comfortable interior and a workable deck presented in depth
The background you need to decide which of today's technological advancements may detract from rather than add to your cruising enjoyment
Thorough coverage of cruising skills, from boat handling to transoceanic voyaging
Fresh wrinkles for even the most experienced sailors

Compiling in one volume all the knowledge needed for successful cruising under sail, Nigel Calder's Cruising Handbook provides an inestimable service for sailors. There is nothing else like it.

"If you were shipwrecked on a desert island and could choose only one book to help get you off, this is the book."--Patience Wales, Editor, SAIL

About the Author
Nigel Calder has decades of sailing and cruising behind him. He is widely acknowledged as the world's foremost writer on boat systems maintenance, and writes regularly for SAIL, Cruising World, Ocean Navigator, Professional Boatbuilder, and Yachting Monthly, among other magazines. He is the author of six books, including Boatowner's Mechanical and Electrical Manual, Marine Diesel Engines, Refrigeration for Pleasureboats, The Cruising Guide to the Northwest Caribbean, and Cuba: A Cruising Guide.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Helped me decide on features and systems for my next boat
By Amazon Customer
Great for outlining the many considerations and options when buying a boat. Helps you think about features you may and may not want in your next boat. The cruising portion is complete and well organized as well.

0 of 0 people found the following review helpful.
A must have for sailing cruisers
By B. Bridges
I wish I had bought this book before I bought my newest old boat - my personal survey would have been much more effective.

This book covers so much, so well. Mr. Calder obviously not only has the knowledge but the motivation to really think about what should go into each area. He covers choosing, maintaining, upgrading, and cruising a boat to just the right degree that if you had no other resources, this book would usually suffice. And he does this in such a relatively small book.

0 of 0 people found the following review helpful.
Classic Knowledge
By Wayne C. Cole
I've been sailing for twenty-five years. Nigel Calder has been writing and publishing for about that long. All of his books have proven to be valuable insights into different aspects of sailing. This book is probably his widest compendium of useful and understandable information.

Calder writes with a style that makes me feel that I am sitting in a room and listening to him.

This particular book is full of good ideas and knowledge.

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Saturday, 14 May 2011

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CONTENTS: * A Guide to Gothic Earth: A 128-page book by the author of Van Richten's Guide to Ghosts and Forbidden Lore that gives you all the rules and information you'll need to run adventures on Gothic Earth. Included are 16 character kits, a revised spellcasting system, complete rules for firearms and explosives, and a proficiency system especially designed to reflect life in the Victorian Era. * Red Tide: A chilling 32-page adventure in which PCs must face one of mankind's oldest enemies while exploring the gloomy waterfront of San Francisco. * Red Jack: The most frightening figure ever to stalk the streets of London is on the loose in this 32-page adventure. This time, Jack takes his unique brand of terror to Boston. * Red Death: An isolated mansion hidden in the mountains of eastern Europe is the setting for this 32-page drama in which the PCs must face death itself. * A full-color, poster-sized map of Gothic Earth. * A bonus full-color poster of the cover painting by renowned artist Robh Ruppel. * A three-panel DM Screen that places all essential reference charts at your fingertips.

Sales Rank: #1724829 in Books
Published on: 1994-10
Format: Box set
Original language: English
Number of items: 1
Dimensions: 11.25" h x 9.00" w x 1.75" l,
Binding: Paperback
224 pages

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4 of 4 people found the following review helpful.
Gothic Earth adds spice to "steampunk" adventures
By Jaundiced Eye
The Gothic Earth setting is by far the most realistic adventure setting from TSR in decades, but, as noted in another review, successful play requires a good knowledge of the late 19th century, its customs, technology, etiquette, etc. This is NOT beyond the scope of anything required by any "steampunk" RPG, such as "Space 1889" or "Castle Falkenstein" or the "Cthulhu by Gaslight" 1890s campaign. Any background research into "our" world which has been done for any of those games is just as valid for Gothic Earth, and this campaign setting should actually require less mental gymnastics than "Falkenstein" or "1889."
The boxed set is VERY nice, and the maps and illustrations are unexpectedly beautiful (in a horrifically Gothic way, of course!), far above typical TSR standards, but the presentation and background of "the Red Death" entity (Gothic Earth's answer to the Voices of the Mists of Ravenloft) is rather feeble; most skilled GM's could come up with something better as a house rule. The mini-module, "The Red Death," which is included in the boxed set is, however, a very different matter; based upon Poe's "Masque of the Red Death," I adapted it to a "Falkenstein" game (it would have worked just as well in any other 19th century game) and shocked the heck out of my players; it is so obviously based upon the Poe story, however, that player knowledge can easily become a problem.
By and large, it's worth the price, and far less grim than Ravenloft itself.

9 of 9 people found the following review helpful.
Looking for a change in AD&D
By A Customer
This is by far the most original campaign setting in the AD&D line. While all other campaign settings are rather hack and slash, medieval settings. This setting takes you to 19th century earth in the 1890's. Where you can fight the villians some of the lords of Ravenloft were based after. You can fight Dracula, Frankenstein's Monster, Mummies in real Egyptian tombs, and many many more. The only problem is that to do a really good game of Masque, one must do a whole lot of research about the 1890's. I ended up reading 3 books about the History of L.A. where my campaign was taking place in. But if you love to do real good research for a campaign, this is the world for you! Oh, H.P. Lovecraft stories are really great adventure ideas for this setting!

1 of 2 people found the following review helpful.
Yeah, worth it
By Scott Rawlings
Being as Ravenloft is based on Victorian era gothic fiction the creation of this spinoff series seems like a forgone conclusion, why not bring the horror home to roost? It is a very good campagin package except for a few bruises and sore thumbs here and there. Some of the backstory is a bit shoddily written, and occasionally hackneyed. I don't know about you but when I come across references to Merlin or Atlantis in a game book my mind kind of shuts down and I skim past it. If you can weed out the clich�s you have a fine enjoyable game on your hands. I love the artwork, much of which is based on Victorian clip art. It's different, but that's not always a bad thing.

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Thursday, 12 May 2011

[V521.Ebook] Get Free Ebook Distributed Systems: An Algorithmic Approach (Chapman & Hall/CRC Computer and Information Science Series), by Sukumar Ghosh

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Most applications in distributed computing center around a set of common subproblems. Distributed Systems: An Algorithmic Approach presents the algorithmic issues and necessary background theory that are needed to properly understand these challenges.
�
Achieving a balance between theory and practice, this book bridges the gap between theoreticians and practitioners. With a set of exercises featured in each chapter, the book begins with background information that contains various interprocess communication techniques and middleware services, followed by foundational topics that cover system models, correctness criteria, and proof techniques. The book also presents numerous important paradigms in distributed systems, including logical clocks, distributed snapshots, deadlock detection, termination detection, election, and several graph algorithms. The author then addresses failures and fault-tolerance techniques in diverse applications, such as consensus, transactions, group communication, replicated data management, and self-stabilization. He concludes with an exploration of real-world issues, including distributed discrete-event simulation and security, sensor networks, and peer-to-peer networks.
By covering foundational matters of distributed systems and their relationships to real-world applications, Distributed Systems provides insight into common distributed computing subproblems,

Sales Rank: #2080729 in eBooks
Published on: 2006-11-22
Released on: 2006-11-22
Format: Kindle eBook

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2 of 3 people found the following review helpful.
A required text for my class ... And a good one.
By JGT
The text is written in reasonably unobfuscated clear language and will not be difficult for any computer science student or professional with a familiarity with English to understand. It covers the topics in an interesting and lucid manner. I'd recommend it whether you needed it for a class or were just inteested in the topic o4 needed it professionally.

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Monday, 9 May 2011

[B239.Ebook] Download Inside OrCAD Capture, by Paul G. Krol

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Written to Release 7.2, this book takes the reader step-by-step through the design capture process using OrCAD's Capture for Windows. Examples of increasing complexity move the reader from tool basics through advanced techniques that increase productivity. Tips and suggestions are presented throughout the book to help the user avoid common design pitfalls and work toward efficient design practices. The disk, included with the book, contains exercise files.

Sales Rank: #4393261 in Books
Brand: Brand: Cengage Learning
Published on: 1998-05-01
Original language: English
Number of items: 1
Dimensions: 1.01" h x 7.06" w x 9.00" l, 1.59 pounds
Binding: Paperback
431 pages

Features

Used Book in Good Condition

Most helpful customer reviews

14 of 16 people found the following review helpful.
Good How-To Introduction to OrCad
By ggeiger@airmail.net
Mr. Krol provides a good tutorial overview of OrCad Capture without losing the reader in the detail of the software. Only a few times did the steps outlined in the text not work on my version of Capture (ver 7.2).
This book is well worth the time.

3 of 5 people found the following review helpful.
I can not easily determine the version covered
By John A. Bresnahan
Orcad is up to something like Version 10.3

Therfore I will not buy it

0 of 0 people found the following review helpful.
Four Stars
By Robert Chiu
works

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Sunday, 8 May 2011

[Q538.Ebook] Get Free Ebook Musa Lapidaria: A Selection of Latin Verse Inscriptions (American Philological Association American Classical Studies), by E. Courtney

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Sales Rank: #3263035 in Books
Published on: 1995-05-01
Original language: English
Number of items: 1
Dimensions: 8.90" h x 1.10" w x 6.00" l, 1.55 pounds
Binding: Paperback
472 pages

Language Notes
Text: English, Latin

About the Author
E. Courtney is at University of Virginia.

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Thursday, 5 May 2011

[G886.Ebook] Ebook The Collaboration: Hollywood's Pact with Hitler, by Ben Urwand

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To continue doing business in Germany after Hitler's ascent to power, Hollywood studios agreed not to make films that attacked the Nazis or condemned Germany's persecution of Jews. Ben Urwand reveals this bargain for the first time--a "collaboration" (Zusammenarbeit) that drew in a cast of characters ranging from notorious German political leaders such as Goebbels to Hollywood icons such as Louis B. Mayer.

At the center of Urwand's story is Hitler himself, who was obsessed with movies and recognized their power to shape public opinion. In December 1930, his Party rioted against the Berlin screening of All Quiet on the Western Front, which led to a chain of unfortunate events and decisions. Fearful of losing access to the German market, all of the Hollywood studios started making concessions to the German government, and when Hitler came to power in January 1933, the studios--many of which were headed by Jews--began dealing with his representatives directly.

Urwand shows that the arrangement remained in place through the 1930s, as Hollywood studios met regularly with the German consul in Los Angeles and changed or canceled movies according to his wishes. Paramount and Fox invested profits made from the German market in German newsreels, while MGM financed the production of German armaments. Painstakingly marshaling previously unexamined archival evidence, The Collaboration raises the curtain on a hidden episode in Hollywood--and American--history.

Sales Rank: #483042 in Books
Brand: Brand: Belknap Press
Published on: 2013-09-10
Original language: English
Number of items: 1
Dimensions: 10.00" h x 7.00" w x 1.25" l, 1.44 pounds
Binding: Hardcover
336 pages

Features

Used Book in Good Condition

From Bookforum
In order to build his case, and to expose what he sees as not merely greed, cowardice, and opportunism on the part of movie moguls but outright collaboration with Nazi officials, Urwand marshals his evidence with the zeal of a criminal prosecutor. What begins, innocently enough, as an attempt to reveal “the complex web of interactions between the American studios and the German government of the 1930’s” very quickly becomes a matter of defending, as best he can, his claim about the vast extent to which Los Angeles- based German consul Georg Gyssling censored American movies and controlled their leading producers. —Noah Isenberg

Review
A tremendous piece of work, fully sustained, building momentum charged by thrillingly detailed storytelling, increasing suspense, and a consistent movement from outrages to atrocities, with a stunning conclusion of heroism and tragedy--and it is as well a devastating RIP to what we've been told, all down these years, about 'the genius of the system.' (Greil Marcus)

Full of startling and surprising revelations, presented in exemplary fashion, without any moralizing or sensationalism. The Collaboration shows how Hollywood and especially the big studios went along with German demands to censor movies not only before but especially after the Nazi seizure of power. (Richard J. Evans)

Urwand...presents explosive new evidence about the shocking extent of the partnership between the Nazis and major Hollywood producers...[A] riveting book...As you turn its pages you realize with dismay that collaboration is the only fitting word for the relationship between Hitler and Hollywood in the 1930s. Using new archival discoveries, Urwand alleges that some of the Hollywood studio heads, nearly all of whom were Jewish, cast their lot with Hitler almost from the moment he took power, and that they did so eagerly--not reluctantly. What they wanted was access to German audiences. What Hitler wanted was the ability to shape the content of Hollywood movies--and he got it...What is shocking and new about Urwand's account is its blow-by-blow description of Hollywood executives tailoring their product to meet the demands of the Nazi regime. (David Mikics Tablet Magazine 2013-06-10)

Urwand draws on a wealth of previously uncited documents to argue that Hollywood studios, in an effort to protect the German market for their movies, not only acquiesced to Nazi censorship but also actively and enthusiastically cooperated with that regime's global propaganda effort. (Jennifer Schuessler New York Times 2013-06-25)

Urwand keeps the jaw-dropping revelations coming in this damning indictment of the complicity of the major Hollywood studios--and their mostly Jewish heads--in the Nazis' campaign to exterminate Europe's Jews...Urwand deserves immense credit for this groundbreaking--and truly unique--take on the WWII era.
(Publishers Weekly (starred review) 2013-07-22)

Offers a keen, unsettling look at the unholy alliance Hollywood made with the Nazis, which allowed both to keep packing movie theaters in Germany up until the outbreak of war...There was pressure on the studios to censor defense of Jews in certain films and suppress films that portrayed Nazis in an unflattering light (The Mad Dog of Europe). The result of this complicated and slippery relationship, as Urwand depicts with subtlety, was the absolute disappearance from film of Nazis and Jews until the end of the decade.
(Kirkus Reviews 2013-07-15)

Urwand's book details in sometimes shocking fashion how the Hollywood film industry, including studios run by legendary Jewish film moguls such as Louis B Mayer, were willing to pre-screen their films for Nazi officials and remove content they found objectionable.
(Andy Goldberg Military.com 2013-08-04)

[Urwand] has revealed in terrifying detail how Hollywood was at the whim of the Nazis throughout the 1930s--censoring films and dropping others in a sinister collaboration with Hitler.
(Daily Mail 2013-07-31)

Urwand is tearing down the popular impression that the 1930s Hollywood community stood united in efforts to combat the Nazi regime. Quite the contrary, says Urwand, whose research reveals a shocking level of collaboration (or Zusammenarbeit, i.e. 'working together') between the German government and Tinseltown's studios--many of which were famously headed by Jews...The Collaboration depicts a studio system in which films were submitted for approval to aggressive German propaganda officials, who demanded cuts and changes to material deemed 'detrimental to German prestige'--not only to film versions created for the German market, but for the U.S. and countries around the world.
(Lesley M. M. Blume Vanity Fair online 2013-08-22)

Urwand's investigation of this dark chapter in the history of the American film industry is as intriguing as it is compellingly told. (Theis Duelund Los Angeles magazine 2013-09-10)

The Collaboration expertly dismantles Hollywood's rose‐tinted view of history, proving it wasn't standing up to fascism as it has claimed, but eagerly appeasing the Nazis so long as the money was coming in.
(Kyle Ryan A.V. Club 2013-09-06)

[A] provocative book.
(Rosemary Neill The Australian 2013-09-28)

Urwand's book about how Hollywood conducted business with and within Germany after Hitler's ascent to power is a fascinating examination of capitalist amorality in the face of evil. Urwand does a good job of cataloging the ways Hollywood studios--largely headed by immigrant Jewish entrepreneurs--took measures to placate the Nazis so they could continue to show films in Germany throughout the 1930s, until the Nazi invasion of Poland...Urwand has uncovered a very interesting, heretofore unknown, true Hollywood story.
(Philip Martin Arkansas Democrat-Gazette 2013-09-29)

This eminently accessible, often riveting account of a little-understood chapter in American cinema history should appeal to a wide general readership. (Roy Liebman Library Journal 2013-10-15)

[An] eye-opening study of Hollywood and the Nazi elite…The Collaboration unfolds a story that rather knocks the shine off the golden age of cinema…Urwand has done some energetic digging in the archives, quoting letters, memos and newspaper reports to uncover a shameful policy of compromise and kowtowing on the part of the studio bosses. And what lends the story its peculiar irony is that those bosses who did their utmost to appease the crazed ideology of Nazism were by and large Jews themselves. (Anthony Quinn The Guardian 2013-10-16)

Urwand…sheds new light on the way the studio bosses responded to Nazi pressure, from 1933, when Hitler assumed power, to 1941, when the United States entered the war…Drawing on American and German archival material, the author shows that Hollywood began working with the Nazis in 1933. The collaboration was not passive, but voluntary: part of a strategy necessary in order for the studios to maintain their market in Germany--which had more movie theaters than any other country in Europe…Urwand describes how the Nazis tried to shape the very content of American films--and often succeeded. (Samuel Blumenfeld Le Monde 2013-10-11)

Hard-hitting…Urwand has dug deep…and come up with some genuine revelations… The story is quite dramatic, and shameful. (Philip Kemp Times Higher Education 2013-10-24)

[The] revelations in Ben Urwand’s controversial expos�, The Collaboration, are nothing short of astonishing, going well beyond what was known about Hollywood’s timidity during that era. With damning archival evidence, Urwand argues that the studios, motivated by profits, were reluctant to abandon the German market, where American films were popular and Hitler himself was a fan…Urwand’s finely documented account is even more chilling--in large part because the ‘collaborators’ to whom he points were American, and in many cases also Jewish. (Julia M. Klein Boston Globe 2013-10-19)

Impeccably researched and impressively argued, Ben Urwand’s gripping volume systematically reveals the way major Hollywood studios were willing to protect their
financial interests in the German market by appeasing the Nazi regime. Urwand has unearthed remarkable evidence from archives in Germany and America, confirming that the road to hell was paved with a thousand concessions. Hollywood studios went to astonishing lengths not to offend or upset the Nazi regime. What began with minor adjustments to scripts eventually reached a point where projects that were unsympathetic to Germany’s past or critical of the Nazis were simply never made…The studios didn’t just follow a policy of accommodation they became willing partners with the Nazis to reach an understanding of what could be mutually beneficial to both parties. The book is such a revelation because it goes against the grain of commonly held assumptions…Urwand is particularly good at marshalling hard facts and solid evidence that builds into a horrifying indictment of studios that continued to operate in Germany throughout the first eight years of Hitler’s rule…Even as the full horrors of the Nazi regime became apparent to the world, Hollywood continued to offer the hand of collaboration, a fact all the more ironic considering that many of the studio bosses were Jewish…This is a book that challenges every rose-tinted view of Hollywood’s Golden Age. It sheds a piercing light on dark deeds and is an invaluable work of political history that has all the page-turning urgency of a thriller.

(Allan Hunter Glasgow Herald 2013-10-19)

In Urwand’s account of the relationship between the American film industry and the government of Germany in the 1930s, he shows that Hollywood studios put profits ahead of scruples in their dealings with the Nazis. (Lisa Jarvinen Philadelphia Inquirer 2013-11-03)

Urwand’s book uncovers important material about the relationship between the American film industry and the Nazi regime…Readers may or may not agree with Urwand’s conclusion about the perils of Jewish self-denial. But in highlighting it, he provides a useful reminder that scholarship on the Nazi era continues to serve as a mirror in which Jews view themselves. (Gavriel Rosemfeld Forward 2013-11-08)

With great attention to detail, Urwand describes multiple contacts between the studios and German officials, and he apparently breaks some new ground with his descriptions of Georg Gyssling, who became a Hollywood fixture after Hitler came to power in 1933. (Roger Currie Winnipeg Free Press 2013-11-23)

The Collaboration felt genuinely original and eye-opening as Ben Urwand systematically revealed the way major Hollywood studios were willing to protect their financial interest in the German market of the 1930s by appeasing the Nazi regime. The road to hell was paved by a thousand concessions. (Allan Hunter Glasgow Herald 2013-12-14)

Urwand has dug deep in the German archives and found evidence that the Nazis’ business dealings with some of the studios were much closer than previously realized. He also draws attention to the flagrant lobbying of the Nazi emissary to Hollywood. (J. Hoberman London Review of Books 2013-12-19)

A welcome addition to understanding Hollywood’s response to the rise of Nazism. (J. Fischel Choice 2014-01-01)

The book is a fascinating take on the shady politics of Hollywood and should be read by anyone interested in going behind the glamour of 1930s cinema. (Taylor Downing History Today 2014-09-01)

About the Author
Ben Urwand is a Junior Fellow of the Society of Fellows at Harvard University.

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74 of 89 people found the following review helpful.
Flawed analysis of its Subject
By Robert M. Fells
I have decided to revise my review here due to new information - a lot of it - that I was unaware of when I originally wrote this review. Mr. Urwand is a good writer and his book remains fascinating to read, but he seems better suited to the field of fiction rather than non-fiction.

Arthor Urwand seems to depend somewhat on the readers' benefit of hindsight - that everybody knows you can't do business with Nazis - as if this was a no-brainer to everybody in the early and mid-1930s. One of the greatest prophets of Nazi thuggery during that time was Winston Churchill, but many preferred to believe that he was an alarmist and just posturing politically. But more troubling is Urwand's flawed analyses of the few films that the studios did produce in the 1930s to highlight anti-Semitism and the Nazi threat.

THE HOUSE OF ROTHSCHILD (1934) stands as the one significant film produced by a major studio that tackled anti-Semitism and drew a distinct parallel from the 19th century time frame of its story to modern-day Nazi Germany. Urwand correctly observes that the reaction to ROTHSCHILD resulted in the studios swearing off the topic until after the Second World War. The problem is that Urwand blames the film itself for the resulting ban. The author provides an extensive review of ROTHSCHILD, even quoting the film's dialogue to make his points.

Unfortunately, he engages in selective quotes and omits a few others that would give a different impression of the narrative. For example, Urwand complains that in the film's prologue, old Meyer Rothschild is portrayed as a stereotypical Shylock character, seeking to cheat the tax collector by keeping a set of phony books and offering the taxman a bribe. Germany was delighted and used ROTHSCHILD excerpts for propaganda. But this sequence doesn't play the way Urwand depicts. Dialogue conveys that Meyer usually pays tax of 2,000 gulden but the tax collector arbitrarily imposes 20,000 gulden unless Meyer pays him a bribe. This substantially changes the viewer's impression.

I could cite more examples from ROTHSCHILD but this is a review, not a rebuttal. Suffice it to say Urwand doesn't appear to be a vintage film buff for he fails to tell his readers that the anti-Semitic character in ROTHSCHILD is played by Boris Karloff, clearly portraying a civilized type of Frankenstein monster. Likewise, Urwand calls Hollywood's first anti-Nazi film, CONFESSIONS OF A NAZI SPY (1939), a "cheesy" B picture when it was very much an A picture with an all-star A-list cast. As has been observed, everybody is entitled to their own opinion but not to their own facts. Where were the fact-checkers for Harvard University Press?

15 of 18 people found the following review helpful.
The Collaboration is a seamy insider look at how Hollywood did business with the odious Hitler regime
By C. M Mills
When I stroll through my library I see my shelves bulging with books on the Nazi era in history. And yet...I have added a new tome on a new aspect of the evil regime which ruled Germany from 1933-45 bringing death, murder and destruction to millions of people. The book is "The Collaboration" whose topic is the pact Hollywood made in the 1930s to do business with Germany. Like IBM, General Motors and other huge American corporations the Hollywood studios wanted their film product to do well overseas. Germany loved American films including Hitler. The Fuehrer watched films almost every evening enjoying everything from Mickey Mouse cartoons to King Kong to Greta Garbo costume dramas such as "Camille." Even though most of the moguls in Los Angeles were Jewish they still wanted their hand in the rich pie of German revenues.
Ben Urwand of Harvard has done study of this little reported nexus between the movies and the murderous regime in Berlin.
Much of the book deals with separate movies and how they were received in Germany. Hitler had three critical responses to film. A movie was good, bad or "switched off" (meaning that Hitler ordered the film projector to stop running the film of the evening).
The book is rich in interesting quotations. A sampling of them include:
"An important fact about Hollywood movies in this period, however, is that they were extremely popular in Nazi Germany."-p. 7
"The studio heads, who were mostly immigrant Jews, went to dramatic lengths to hold on to their investment in Germany."-p. 9
"Every night before going to bed Adolf Hitler watched a movie. He picked the title himself from a list presented to him at dinner...After the movie, he started to talk again. He quickly gave his opinion of what he had seen."-p. 10
"The members of Hitler's inner circle also knew that one of his favorite actresses was Greta Garbo."-p. 13
"The Nazis, in complete consistency with their anti-Semitic policies, were insisting that all cultural workers in Germany be of Aryan descent."-p. 62
"...the Jew, once so prominent in American culture, was suddenly nowhere to be found."-p. 80. The author shows how American filmmakers deleted Jewish characters in an effort not to cause anger at their inclusion by the Third Reich.-p. 90
"From the day Hitler became Chancellor of Germany...American movies were massively popular in the Third Reich."-p. 112
"The collaboration of American movie studios with Nazi Germany was complex and multifaceted..."-p. 147
Urwand comments on Sinclair Lewis' novel "It Can't Happen Here" a book which imagines what would happen if a Fascist dictator ruled the U.S.A.: "No author was better qualified to handle such material than Sinclair Lewis."-p. 161 The book was not made into a movie by nervous film studios who did not want to breast the German ire at material of this sort.
"When "The Mortal Storm" was released on June 14, 1940, it was without any doubt the first truly significant anti-Nazi film..it attacked the Nazis for their persecution of a minority group."-p. 217
Along the way in this fascinating work we read reviews of such films as "King Kong"; "Blond Venus"; "Casablanca" "The Lives of a Bengal Lancer"; "The Eternal Jew" (made in Germany as an attack on the Jewish people) and many more. Reading these reviews by the author can give insight into how Germany reacted to the Hollywood dream factory's films.
During World War II the American film community turned out hundreds of anti-Nazi films though kept mostly mum on the plight of the Jews in Europe.
"The Collaboration" reads like a textbook and may not interest younger readers who have little interest or knowledge of the Hollywood studio system or the film habits of a dictatorship that was destroyed in 1945. However, for us old hands at such study the book provided a few hours of pleasure.

7 of 8 people found the following review helpful.
Good Scholarship But There is Much More to the Story than Indicated by this Book
By Mark R. Jorgensen
Good scholarship as far as it goes and a useful contribution to the literature on this topic. I do not have access to the sources this book is derived from but I believe Mr. Urwand has this part of the story mostly correct -- to varying degrees the studios for a period of years did temper and self-censor film content so as not to seriously offend the Nazi regime. Why should anyone be shocked that corporations made decisions in the hope of improving their bottom lines? As an aside, neither should anyone be surprised that some German corporations in the same period engaged in self-interested conduct that the Nazi regime might not have approved.

Not covered or mentioned by the author is that some of these same studios from 1938 onward sought to insert pro-British content into their films. And starting in 1939 there were a number of significant films that were unmistakably and overtly anti-German and pro-British in tone -- by 1940 there were even more. There is now a well-established literature on this topic that goes back decades and many a thesis and dissertation has dealt with this topic.

In fact, some U.S. Senators and Representatives charged Hollywood with taking a pro-British tilt and there were U.S. Senate hearings on this matter in 1941. It was Wendell Willkie -- the Republican presidential candidate of 1940 -- who represented and defended Hollywood at these hearings.

On some points Mr. Urwand's account is at odds with that of other film historians; nevertheless I appreciate his scholarship and diligence to get this story out. So if there is any deficiency in "The Collaboration" it is that it presents a one-dimensional story -- there is much more going on in this industry and period than any one book or author can hope to encompass.

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Tuesday, 3 May 2011

[Q880.Ebook] Download Ebook The Age of Reason, by Thomas Paine

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Thomas Paines The Age of Reason; Being an Investigation of True and Fabulous Theology, published in three parts from 1794, was a bestseller in America, where it caused a short-lived deistic revival. Promoting a creator-God while advocating reason in the place of revelation, Paines controversial pamphlet caused his native British audience, fearing the results of the French Revolution, to receive it with more hostility than their American counterparts. This passionate and engaging recording of Paine s classic is as certain to provoke modern readers to thought as it did with his original audience.

Sales Rank: #232078 in Books
Brand: Brand: Mission Audio
Published on: 2010-07-01
Released on: 2010-07-01
Formats: Audiobook, CD, Unabridged
Original language: English
Number of items: 7
Dimensions: 6.00" h x .75" w x 5.00" l, .45 pounds
Running time: 29880 seconds
Binding: Audio CD

Features

Used Book in Good Condition

About the Author
Thomas Paine (February 9, 1737 [O.S. January 29, 1736] - June 8, 1809) was an English-American political activist, philosopher, political theorist, and revolutionary. One of the Founding Fathers of the United States, he authored the two most influential pamphlets at the start of the American Revolution, and he inspired the rebels in 1776 to declare independence from Britain. His ideas reflected Enlightenment-era rhetoric of transnational human rights. He has been called "a corsetmaker by trade, a journalist by profession, and a propagandist by inclination". Bio from Wikipedia, the free encyclopedia.

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6 of 6 people found the following review helpful.
Brilliant Religious Discussion
By Rich
A brilliant work that reads almost like a modern piece of writing. The sheer scope of evidence offered as well as the arguments presented make this a must-read for anyone who seriously contemplates the role of religion and belief in our scoiety. I would suggest this as a must read for everyone preparing for a life in the religious sector - whether minister or priest or rabbi or imam. These are not necessarily individual arguments that need to be addressed (though they are pretty staggering as such); but taken as a whole, a truly "person of faith" needs to explain (to himself, if no one else) how these items Paine presents fit into the beliefs held so strongly.

5 of 5 people found the following review helpful.
Shape my current philosophy
By Jim
Paine does a good job of dissecting Christianity and putting it in perspective. Coming from a catholic upbringing I found this to be an influential book in reforming my opinions to be opinions and not regurgitated church speak. I'd recommend reading Chirstopher Hitchen's "God is Not Great" afterwards for an even further atheistic book. Hitchens debates a few of Paine's points on the ability of any god to be benevolent.

On a non theological point, I generally love Thomas Paine's writings. An obscure pamphlet that I enjoy is "Agrarian Justice." It sort of pushes for what is the modern movement of basic income.

37 of 38 people found the following review helpful.
Thanks, I Needed That!
By Daniel R. Retzer
At 53, I'm finally willing to listen to this great book. Loved the first part, kinda skimmed the second part because it got little tedious in the details as he did a more than thorough job of exposing inconsistencies in the Bible. His message is very good for those of us challenging our inherited beliefs, yet think he could've toned down some of the inflammatory language and perhaps would've had more people at his funeral. As Mark Twain wrote-"I must studiously and faithfully unlearn a great many things I have somehow absorbed." This book is helpful if you, like me, have a lot to unlearn.

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