Behind The Iron Curtain Tears In The Perfect Hockey Gulag

From behind the Iron Curtain onto hockey's biggest stage The incredible true story of the trailblazing men who risked everything to pass through the Iron Curtain and become NHL superstars, Breakaway is a thrilling look at the untold stories that changed hockey forever. From midnight meetings in secluded forests, to evading capture by military and police forces, this is the story of the brave players whose passion of the game trumped all. Featuring exclusive interviews with the legends of the ice who put everything on the line just for the chance to play on the world's greatest stage, many of them speaking about their experiences for the very first time, the book looks at how Peter Stastny, Igor Larionov, Petr Klima, Petr Nedved, Sergei Fedorov, Slava Fetisov, Alexander Mogilny, and other hockey superstars captured the imaginations of fans around the world. The remarkable true story of some of the true pioneers of hockey, told for the very first time, often in the players' own words A fascinating look behind the Iron Curtain and the trials these brave men endured for a taste of freedom, through their love of the game Looks at how some of the NHL's greatest players made it onto North American ice As much a tale of espionage and social history as a gripping hockey chronicle, Breakaway sheds light on the untold stories of some of the sports' most inspiring heroes.

Good Strategy/Bad Strategy clarifies the muddled thinking underlying too many strategies and provides a clear way to create and implement a powerful action-oriented strategy for the real world. Developing and implementing a strategy is the central task of a leader. A good strategy is a specific and coherent response to—and approach for—overcoming the obstacles to progress. A good strategy works by harnessing and applying power where it will have the greatest effect. Yet, Rumelt shows that there has been a growing and unfortunate tendency to equate Mom-and-apple-pie values, fluffy packages of buzzwords, motivational slogans, and financial goals with “strategy.” In Good Strategy/Bad Strategy, he debunks these elements of “bad strategy” and awakens an understanding of the power of a “good strategy.” He introduces nine sources of power—ranging from using leverage to effectively focusing on growth—that are eye-opening yet pragmatic tools that can easily be put to work on Monday morning, and uses fascinating examples from business, nonprofit, and military affairs to bring its original and pragmatic ideas to life. The detailed examples range from Apple to General Motors, from the two Iraq wars to Afghanistan, from a small local market to Wal-Mart, from Nvidia to Silicon Graphics, from the Getty Trust to the Los Angeles Unified School District, from Cisco Systems to Paccar, and from Global Crossing to the 2007–08 financial crisis. Reflecting an astonishing grasp and integration of economics, finance, technology, history, and the brilliance and foibles of the human character, Good Strategy/Bad Strategy stems from Rumelt’s decades of digging beyond the superficial to address hard questions with honesty and integrity.

In the fall of 1965 the Israeli newspaper Haaretz sent a young journalist named Elie Wiesel to the Soviet Union to report on the lives of Jews trapped behind the Iron Curtain. “I would approach Jews who had never been placed in the Soviet show window by Soviet authorities,” wrote Wiesel. “They alone, in their anonymity, could describe the conditions under which they live; they alone could tell whether the reports I had heard were true or false—and whether their children and their grandchildren, despite everything, still wish to remain Jews. From them I would learn what we must do to help . . . or if they want our help at all.” What he discovered astonished him: Jewish men and women, young and old, in Moscow, Kiev, Leningrad, Vilna, Minsk, and Tbilisi, completely cut off from the outside world, overcoming their fear of the ever-present KGB to ask Wiesel about the lives of Jews in America, in Western Europe, and, most of all, in Israel. They have scant knowledge of Jewish history or current events; they celebrate Jewish holidays at considerable risk and with only the vaguest ideas of what these days commemorate. “Most of them come [to synagogue] not to pray,” Wiesel writes, “but out of a desire to identify with the Jewish people—about whom they know next to nothing.” Wiesel promises to bring the stories of these people to the outside world. And in the home of one dissident, he is given a gift—a Russian-language translation of Night, published illegally by the underground. “‘My God,’ I thought, ‘this man risked arrest and prison just to make my writing available to people here!’ I embraced him with tears in my eyes.”

Michael Havelock’s world died on a moonlit beach on the Costa Brava as he watched his partner and lover, double agent Jenna Karas, efficiently gunned down by his own agency. There’s nothing left for him but to quit the game, get out. Then, in one frantic moment on a crowded railroad platform in Rome, Havelock sees Jenna. Racing around the globe in search of his beautiful betrayer, Havelock is now marked for death by both U.S. and Russian assassins, trapped in a massive mosaic of treachery created by a top-level mole with the world in his fist: Parsifal. Praise for Robert Ludlum and The Parsifal Mosaic “[Robert] Ludlum’s narrative imagination is a force of nature.”—The New York Times “As fast-paced and absorbing as any he’s written.”—Newsday “The suspense never lets up.”—The Atlanta Journal-Constitution “A crackling good yarn.”—Los Angeles Times Book Review

Steinbeck meets Miriam Toews in this insightful and illuminating debut about the decline of rural Canada and the meaning of community. Welcome to Fearnoch, an undistinguished Ottawa Valley farming hamlet in its twilight. The deterioration of the once fruitful way of life in this small town is explored through the lives and trajectories of its inhabitants. The narration winds into and over the characters to sow differing viewpoints on the death of the family farm, incarcerated youths, falling in love at the town dump, and the coming storm. The novel is a plea for its characters to remember humility, honesty, and to see themselves in their neighbour, before it's all gone.

This book examines the societal dynamics of memory politics in Russia. Since Vladimir Putin became president, the Russian central government has increasingly actively employed cultural memory to claim political legitimacy and discredit all forms of political opposition. The rhetorical use of the past has become a defining characteristic of Russian politics, creating a historical foundation for the regime’s emphasis on a strong state and centralised leadership. Exploring memory politics, this book analyses a wide range of actors, from the central government and the Russian Orthodox Church, to filmmaker and cultural heavyweight Nikita Mikhalkov and radical thinkers such as Aleksandr Dugin. In addition, in view of the steady decline in media freedom since 2000, it critically examines the role of cinema and television in shaping and spreading these narratives. Thus, this book aims to gain a better understanding of the various means through which the Russian government practices its memory politics (e.g., the role of state media) and, on the other hand, to sufficiently value the existence of alternative and critical voices and criticism that existing studies tend to overlook. Contributing to current debates in the field of memory studies and of current affairs in Russia and Eastern Europe, this book will be of interest to scholars working in the fields of Russian Studies, Cultural Memory Studies, Nationalism and National Identity, Political Communication, Film, Television and Media Studies.

Expect Resistance is not one but three books, each of which may be read as a complete work unto itself. The first book, printed in standard black ink, continues the inquiry into modern life and its discontents begun in Days of War, Nights of Love, Just as that book included improved versions of texts originally published between 1996 and 1999, this book draws on CrimethInc. material from 2000 to 2004, painstakingly refined and augmented with a great deal of new content. The second book, in red ink, is a composite account, related by three narrators, of the adventures and tribulations that inevitably ensue when people pursuing their dreams enter into conflict with the world as it is.