Liberty Is Always Unfinished Business 36th Annual Report Of The American Civil Liberties Union July 1 1955 To June 30 1956

'How Sex Became a Civil Liberty' shows how we came to see sexual expression, sexual practice, and sexual privacy as fundamental rights enshrined in the Constitution, thanks to the work of ACLU leaders and attorneys who forged legal principles that advanced the sexual revolution.

Over 7,000 quotations arranged by subject for easy look-up. Nearly 600 subjects covered, from Memory and Humour to Television and Weddings.

Contains quotations, proverbs, and phrases from throughout history and around the world, grouped by topic in over four hundred alphabetically arranged categories from Ability to Youth. Includes a list of themes and a keyword index.

The first edition of the Oxford Dictionary of Quotations was published in 1941 and for over 70 years this bestselling book has remained unrivalled in its coverage of quotations past and present. The eighth edition is a vast treasury of wit and wisdom spanning the centuries and providing the ultimate answer to the question, 'Who said that?' Find that half-remembered line in a browser's paradise of over 20,000 quotations, comprehensively indexed for ready reference. Lord Byron may have taken the view: 'I think it great affectation not to quote oneself', but for the less self-centred the Oxford Dictionary of Quotations provides a quote for every occasion from the greatest minds of history and from undistinguished characters known only for one happy line. Drawing on Oxford's unrivalled dictionary research programme and unique language monitoring, over 700 new quotations have been added to this eighth edition from authors ranging from St Joan of Arc and Coco Chanel to Albrecht Dürer and Thomas Jefferson. New sayings from across the ages include 'It would not be better if things happened to men just as they wish' (the classical writer Heraclitus), 'Fight on, and God will give the Victory' (the suffragette Emily Wilding Davison), and 'The future is already here—it's just not evenly distributed' (the writer William Gibson).

Caligula, William Shakespeare, Crazy Horse, and 1,500 other commentators from ancient Greek philosophers to Sarah Palin trade remarks profound, caustic, trenchant, and humorous in this entertaining omnibus. Lend Me Your Ears has a British tinge, but American pols are well represented. Middle and Far Eastern sources are sparsely included. Jay, coauthor of the BBC radio and television series Yes Minister and Yes Prime Minister, presents an eclectic assortment of bons mots alphabetically by author. Featuring some 300 quotations new to this edition, the book has an excellent keyword index. Jay's voracious pursuit of sources and discretion in selection are the linchpins that make this a valuable source. He notes in the introduction that "the number of new entries from earlier years is as large as ever, if not larger." Funeral orations, epitaphs, songs, cartoon captions, and slogans ("Burn, baby, burn") contribute to the hodgepodge. Both the pious (including Pius XII) and the rebarbative (Joseph McCarthy) have their say. Competing dictionaries of political maxims are largely nonexistent today. Some are attuned to American affairs, such as Wolfgang Mieder's Proverbs Are the Best Policy: Folk Wisdom and American Politics (2005). Other dictionaries compile the sayings of presidents, including Barack Obama in His Own Words (2007), edited by Lisa Rogak. Jay is especially adept at selecting scathing ripostes by both obscure and well-known British politicians, including Winston Churchill's comment on Stanley Baldwin: "The candle in that great turnip has gone out." Lend Me Your Ears invites readers to eavesdrop on Mark Twain, Sting, and Aeschylus. Summing Up: Highly recommended. All libraries; all levels. General Readers; Lower-division Undergraduates; Upper-division Undergraduates; Graduate Students; Researchers/Faculty; Two-year Technical Program Students; Professionals/Practitioners. Reviewed by C. B. Thurston.

The cultural Cold War between the Soviet Union and the West was without precedent. At the outset of this original and wide-ranging historical survey, David Caute establishes the nature of the extraordinary cultural competition set up post-1945 between Moscow, New York, London and Paris, with the most intimate frontier war staged in the city of Berlin. Using sources in four languages, the author of The Fellow-Travellers and The Great Fear explores the cultural Cold War as it rapidly penetrated theatre, film, classical music, popular music, ballet, painting and sculpture, as well as propaganda by exhibition. Major figures central to Cold War conflict in the theatre include Brecht, Miller, Sartre, Camus, Havel, Ionesco, Stoppard and Konstantin Simonov, whose inflammatory play, The Russian Question, occupies a chapter of its own based on original archival research. Leading film directors involved included Eisenstein, Romm, Chiarueli, Aleksandrov, Kazan, Tarkovsky and Wajda. In the field of music, the Soviet Union in the Zhdanov era vigorously condemned 'modernism', 'formalism', and the avant-garde. A chapter is devoted to the intriguing case of Dmitri Shostakovich, and the disputed authenticity of his 'autobiography' Testimony. Meanwhile in the West the Congress for Cultural Freedom was sponsoring the modernist composers most vehemently condemned by Soviet music critics; Stravinsky, Schoenberg, Hindemith among them. Despite constant attempts at repression, the Soviet Party was unable to check the appeal of jazz on the Voice of America, then rock music, to young Russians. Visits to the West by the Bolshoi and Kirov ballet companines, the pride of the USSR, were fraught with threats of cancellation and the danger of defection. Considering the case of Rudolf Nureyev, Caute pours cold water on overheated speculations about KGB plots to injure him and other defecting dancers. Turning to painting, where socialist realism prevailed in Russia, and the impressionist heritage was condemned, Caute explores the paradox of Picasso's membership of the French Communist Party. Re-assessing the extent of covert CIA patronage of abstract expressionism (Pollock, De Kooning), Caute finds that the CIA's role has been much exaggerated, likewise the dominance of the New York School. Caute challenges some recent, one-dimensional, American accounts of 'Cold War culture', which ignore not only the Soviet performance but virtually any cultural activity outside the USA. The West presented its cultural avant-garde as evidence of liberty, even through monochrome canvases and dodecaphonic music appealed only to a minority audience. Soviet artistic standards and teaching levels were exceptionally high, but the fear of freedom and innovation virtually guaranteed the moral defeat which accelerated the collapse of the Soviet Union.