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"This is the first major work in the English language devoted entirely to the uniforms, insignia, and history of the female auxiliaries that served in the German armed forces during WWII. Using wartime photographs and references, along with contemporary sources and examples, the author presents an in-depth look at the contributions of female auxiliaries to Germany's war effort. Interrogations of German prisoners who were familiar with the evolution of the Wehrmachthelferinnenkorps served as the foundation for this work, presenting a unique perspective on the subject."--Jacket.
Raven Romero is willing to do whatever it takes to find her friends who were kidnapped by Hel-even if it means traveling to another realm for help.Meanwhile, the battle to save Midgard is upon them and Raven is scrambling to build an army in time to defend it, finding allies in the most unlikeliest of places. But enemies are everywhere and not everyone can be trusted. Maybe not even the ones closest to her.The end is near, and it's time for The Rise of the Valkyries.
Vaya is an immortal Valkyrie and favorite daughter of Odin All Father, sworn to carry dead heroes from the battlefields of Earth to live forever in Valhalla. One day, she intervenes on the battlefield to save the life of a soldier who has captured her heart, and is forced by Odin to choose between immortality and the man she loves. Vaya chooses love, not knowing that the hardest choice still lies ahead of her. "...exemplifies the best elements of Douglas Smith’s writing. A Valkyrie falls for her hero, gives up her immortality for him then has to make that inevitable and awful choice afterwards. As always, even for such a brief time, there is so much life in these characters. I don’t bother to marvel at how quickly I come to care for Douglas Smith’s people anymore, it’s a given." —SF Crowsnest Reviews "A gripping portrayal of Vaya, a Valkyrie, and the ultimate sacrifices one makes for love." —SFRevu
What really happened to the upper Michigan village of Birch? It is spring time, 1964, and Dick Chapman, up north on a fishing trip from Ohio, intends to find out. He is shocked to discover the old town gated off and abandoned. That night, Dick returns to the moonlit town and begins to uncover the chilling facts.
Alex Ross, renowned New Yorker music critic and author of the international bestseller and Pulitzer Prize finalist The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics—an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence. For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil. In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner’s many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W.E.B. Du Bois, from O Pioneers! to Apocalypse Now. In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
Deresiewicz takes a sharp look at the high-pressure conveyor belt that begins with demands for perfect grades and culminates in the skewed applications received by college admissions committees. Students are losing the ability to think independently. College is supposed to be a time for self-discovery-- but the system is broken, and he offers solutions on how to fix it.
The Walkyrs, or Walkyra, in Northern Mythology, were the maiden-messengers of Odin. They selected those warriors who were destined to fall in battle, and waited on them after their arrival in Walhalla, presenting them the drink of gods, mead, to quaff.