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An exploration into the impact of the Stalinist purges on the lives, families and contacts of members of the British Communist Party.
When someone you love dies, you might feel sad, lonely, and confused. What do you do? No matter who your loved one was, this story can help you through the tough times.
When someone you love dies, you might feel sad, lonely, and confused. What do you do? No matter who your loved one was, this story can help you through the tough times.
Serial killer Joe Kondro details his life and crimes, informing the author "Even as a kid, before I had actually murdered anyone, I did wonder how far I could take my sexual desires and increasing fantasies that included killing. Look what I have taken. I took a whole community's children."
Nonfiction_the 'fourth genre' (along with poetry, fiction, and drama)_is a literary field affecting bestseller lists, writing programs, writers' workshops, and conferences on the study of creative writing, composition/rhetoric, and literature. It is often labeled and/or limited as 'creative' or 'literary' nonfiction and subdivided into essay, memoir, literary journalism, personal cultural criticism, and narratives of nature and travel. A vital and growing form, nonfiction has, until now, needed a sustained discussion about its poetics_both the theory and the craft of this genre. The Nonfictionist's Guide offers a lively exploration of the elements of contemporary nonfiction and suggests imaginative approaches to writing it. Each chapter on a vital aspect of contemporary nonfiction concludes with a separate section of relevant 'notes for nonfictionists.' Beginning with a new definition of nonfiction and explanation of the nonfiction motive, Robert Root discusses the use of experimental forms, the effects of present and past tense and experiential and reflective voices, and the issue of truth. He provides groundbreaking explorations of the segmented essay and the role of spaces as an essential literary device, guiding both readers and writers through the innovative and stimulating ways we write nonfiction now.
The first published collection of the work of Joe Eula, one of the twentieth century's greatest fashion illustrators With text by fashion journalist Cathy Horyn, Joe Eula: Master of Twentieth-Century Fashion Illustration brings together a selection of more than 200 gorgeous black-and-white and full-color sketches and finished illustrations from prolific graphic designer and illustrator Joe Eula, whose career spanned more than fifty years. This landmark volume sheds light on Eula's development as an artist and his contributions to the worlds of fashion, design, and arts and entertainment—through numerous interviews, anecdotes, and Horyn's personal reminiscences of their friendship—while placing his work within the critical context of those fields as they evolved from the early 1950s until his death in 2004. This extraordinary collection presents runway and showroom sketches as well as advertising work for Chanel, Givenchy, Yves Saint Laurent, Balenciaga, Dior, Geoffrey Beene, Bill Blass, Rudi Gernreich, and Charles James, as well as for Halston, for whom Eula was the creative director during the 1970s, the era of the designer's greatest influence. There are album covers, portraits, and show posters for Miles Davis, Lena Horne, Marlene Dietrich, Eartha Kitt, Liza Minnelli, Shirley MacLaine, and the Supremes, as well as costume designs for Jerome Robbins's ballets. Also included are sketches of Diana Vreeland, Helena Rubinstein, Coco Chanel, Andy Warhol, Twiggy, Elsa Peretti, and Halston, and work for Studio 54, Regine's, and Elaine's. Eula was the very essence of a maverick American spirit. All his life he did what pleased him, guided by his incredible eye, fluent ideas, and spare drawings. This book captures the essence of the acute visual clarity, creativity, decisiveness, and great personal energy that fused so brilliantly in his quick, sure hand. With more than 200 full-color and black-and-white photographs and illustrations
A prize-winning historian reveals how Stalin—not Hitler—was the animating force of World War II in this major new history. World War II endures in the popular imagination as a heroic struggle between good and evil, with villainous Hitler driving its events. But Hitler was not in power when the conflict erupted in Asia—and he was certainly dead before it ended. His armies did not fight in multiple theaters, his empire did not span the Eurasian continent, and he did not inherit any of the spoils of war. That central role belonged to Joseph Stalin. The Second World War was not Hitler’s war; it was Stalin’s war. Drawing on ambitious new research in Soviet, European, and US archives, Stalin’s War revolutionizes our understanding of this global conflict by moving its epicenter to the east. Hitler’s genocidal ambition may have helped unleash Armageddon, but as McMeekin shows, the war which emerged in Europe in September 1939 was the one Stalin wanted, not Hitler. So, too, did the Pacific war of 1941–1945 fulfill Stalin’s goal of unleashing a devastating war of attrition between Japan and the “Anglo-Saxon” capitalist powers he viewed as his ultimate adversary. McMeekin also reveals the extent to which Soviet Communism was rescued by the US and Britain’s self-defeating strategic moves, beginning with Lend-Lease aid, as American and British supply boards agreed almost blindly to every Soviet demand. Stalin’s war machine, McMeekin shows, was substantially reliant on American materiél from warplanes, tanks, trucks, jeeps, motorcycles, fuel, ammunition, and explosives, to industrial inputs and technology transfer, to the foodstuffs which fed the Red Army. This unreciprocated American generosity gave Stalin’s armies the mobile striking power to conquer most of Eurasia, from Berlin to Beijing, for Communism. A groundbreaking reassessment of the Second World War, Stalin’s War is essential reading for anyone looking to understand the current world order.
Donovan was supposed to be dead. The town of Dry Fork, southern Texas, had buried him years before when Uncle Joe Vickers had fired off both barrels of a shotgun into the vicious outlaw's face as he was escaping from jail. Now, Uncle Joe has been shot-in just the same way. And Judge Upshaw had found a noose hanging on his door. It looked as though Donovan was back-gunning for the people who had tracked him down and tried him. Sheriff Webb Matlock, a stern, quiet man, had more than one reason to find Donovan; Matlock was in love with the woman he had believed to be Donovan's widow; moreover, there were rumors that his hotheaded younger brother Sandy might have joined up with Donovan's gang. For his own peace of mind, and to protect the townspeople who had been threatened, Matlock decided to slip across the border, find Donovan in his Mexican hideout, and bring him back-or kill him. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
James Klugmann appears as a shadowy figure in the legendary history of the Cambridge spies. As both mentor and friend to Donald Maclean, Guy Burgess and others, Klugmann was the man who manipulated promising recruits deemed ripe for conversion to the communist cause. This perception of him was reinforced following the release of his MI5 file and the disclosure of Soviet intelligence files in Moscow, which revealed he played the key part in the recruitment of John Cairncross, the 'fifth man', as well as his pivotal war-time role in the Special Operations Executive in shifting Churchill and the allies to support Tito and the communist partisans in Yugoslavia. In this book, Geoff Andrews reveals Klugmann's story in full for the first time, uncovering the motivations, conflicts and illusions of those drawn into the world of communism and the sacrifices they made on its behalf.