The Bitter Taste Of Victory

As the Second World War neared its conclusion, Germany was a nation reduced to rubble: 3.6 million German homes had been destroyed leaving 7.5 million people homeless; an apocalyptic landscape of flattened cities and desolate wastelands. In May 1945 Germany surrendered, and Britain, America, Soviet Russia and France set about rebuilding their zones of occupation. Most urgent for the Allies in this divided, defeated country were food, water and sanitation, but from the start they were anxious to provide for the minds as well as the physical needs of the German people. Reconstruction was to be cultural as well as practical: denazification and re-education would be key to future peace and the arts crucial in modelling alternative, less militaristic, ways of life. Germany was to be reborn; its citizens as well as its cities were to be reconstructed; the mindset of the Third Reich was to be obliterated. When, later that year, twenty-two senior Nazis were put in the dock at Nuremberg, writers and artists including Rebecca West, Evelyn Waugh, John Dos Passos and Laura Knight were there to tell the world about a trial intended to ensure that tyrannous dictators could never again enslave the people of Europe. And over the next four years, many of the foremost writers and filmmakers of their generation were dispatched by Britain and America to help rebuild the country their governments had spent years bombing. Among them, Ernest Hemingway, Martha Gellhorn, Marlene Dietrich, George Orwell, Lee Miller, W.H. Auden, Stephen Spender, Billy Wilder and Humphrey Jennings. The Bitter Taste of Victory traces the experiences of these figures and through their individual stories offers an entirely fresh view of post-war Europe. Never before told, this is a brilliant, important and utterly mesmerising history of cultural transformation.

When Germany surrendered in May 1945 it was a nation reduced to rubble. Immediately, America, Britain, Soviet Russia, and France set about rebuilding in their zones of occupation. Most urgent were physical needs--food, water, and sanitation--but from the start the Allies were also anxious to indoctrinate the German people in the ideas of peace and civilization. Denazification and reeducation would be key to future peace, and the arts were crucial guides to alternative, less militaristic ways of life. In an extraordinary extension of diplomacy, over the next four years, many writers, artists, actors, and filmmakers were dispatched by Britain and America to help rebuild the country their governments had spent years bombing. Ernest Hemingway, Martha Gellhorn, Marlene Dietrich, George Orwell, Lee Miller, W. H. Auden, Stephen Spender, Billy Wilder, and others undertook the challenge of reconfiguring German society. In the end, many of them became disillusioned by the contrast between the destruction they were witnessing and the cool politics of reconstruction. While they may have had less effect on Germany than Germany had on them, the experiences of these celebrated figures, never before told, offer an entirely fresh view of post-war Europe. The Bitter Taste of Victory is a brilliant and important addition to the literature of World War II.

This book offers a critical introduction to the relation between cities and literature (fiction, poetry and literary criticism) from the late eighteenth to twenty-first centuries. It examines examples of writing from Europe, North America and post-colonial countries, juxtaposed with key ideas from urban cultural and critical theories. Cities and Literature shows how literature frames real and imagined constructs and experiences of cities. Arranged thematically each chapter offers a narrative which introduces a number of key thinkers and writers whose vision illuminates the prevailing idea of the city at the time. The themes are extended or challenged by boxed cases of specific texts or images accompanied by short critical commentaries; the structure provides readers with a map of the terrain enabling connections across time and place within manageable limits, and offers elements of critical discussion to serve a growing number of university courses which involve the intersections of cities and literature. This volume offers access to literature from an urban perspective for the social sciences, and access to urbanism from a literary viewpoint. It is an excellent resource for both undergraduate and postgraduate students in the fields of urban studies and English literature, planning, cultural and human geographies, architecture, cultural studies and cultural policy.

Cole Sloan's sugar plantation ends in disaster, but his career is only beginning. He and Samantha start a new business in the wool industry. The turbulent relationship heads toward a disastrous conclusion.

A genre-defying memoir in which Lara Feigel experiments with sexual, intellectual and political freedom while reading and pursuing Doris Lessing How might we live more freely, and will we be happier or lonelier if we do? Re-reading The Golden Notebook in her thirties, shortly after Doris Lessing's death, Lara Feigel discovered that Lessing spoke directly to her as a woman, a writer, and a mother in a way that no other novelist had done. At a time when she was dissatisfied with the conventions of her own life, Feigel was enticed by Lessing's vision of freedom. Free Woman is essential reading for anyone whose life has been changed by books or has questioned the structures by which they live. Feigel tells Lessing's own story, veering between admiration and fury at the choices Lessing made. At the same time, she scrutinises motherhood, marriage and sexual relationships with an unusually acute gaze. And in the process she conducts a dazzling investigation into the joys and costs of sexual, psychological, intellectual and political freedom. This is a genre-defying book: at once a meditation on life and literature and a daring act of self-exposure.

Maggie is John Sergeant's mordant analysis of Margaret Thatcher's career and, more importantly, the legacy she has left to the Conservative party, which he would argue has been little short of disastrous. He takes us from the glory days of three successive election victories to the machinations that saw Mrs Thatcher's departure from Downing Street, and on to the years since, during which she has exerted a remarkable and sometimes baleful influence on the party she once led. Sergeant brings to bear his trademark wit and keen sense of the absurd but also his deep understanding of the British political arena and an insight born of thirty years' reporting on events in Westminster. His access to those who worked for her, with her and against her is unique, from Michael Heseltine to Norman Tebbit, from John Major to Chris Patten and even Tony Blair. It is vintage Sergeant and indispensable to anyone wishing to understand Margaret Thatcher's enduring influence.

Why do reasonable people lead their nations into the tremendously destructive traps of international conflict? Why do nations then deepen their involvement and make it harder to escape from these traps? In Paradoxes of War, originally published in 1990, Zeev Maoz addresses these and other paradoxical questions about the war process. Using a unique approach to the study of war, he demonstrates that wars may often break out because states wish to prevent them, and continue despite the desperate efforts of the combatants to end them. Paradoxes of War is organized around the various stages of war. The first part discusses the causes of war, the second the management of war, and the third the short- and long-term implications of war. In each chapter Maoz explores a different paradox as a contradiction between reasonable expectations and the outcomes of motivated behaviour based on those expectations. He documents these paradoxes in twentieth century wars, including the Korean War, the Six Day War, and the Vietnam War. Maoz then invokes cognitive and rational choice theories to explain why these paradoxes arise. Paradoxes of War is essential reading for students and scholars of international politics, war and peace studies, international relations theory, and political science in general.

Organized in the immediate aftermath of World War Two by the victorious Allies, the Nuremberg Trials were intended to hold the Nazis to account for their crimes and to restore a sense of justice to a world devastated by violence. As Francine Hirsch reveals in this immersive, gripping, and ground-breaking book, a major piece of the Nuremberg story has routinely been omitted from standard accounts: the part the Soviet Union played in making the trials happen in the first place. Soviet Judgment at Nuremberg offers the first complete picture of the International Military Tribunal (IMT), including the many ironies brought to bear as the Soviets took their place among the countries of the prosecution in late 1945. Everyone knew that Stalin had allied with Hitler before the Nazi invasion of the Soviet Union in 1941. The Molotov-Ribbentrop Pact hung heavy over the courtroom, as did the suspicion that the Soviets had falsified evidence in an attempt to pin one of their own war crimes, the mass killing of Polish officers in the Katyn Forest, on the Nazis. Moreover, key members of the Soviet delegation, including the Soviet judge and chief prosecutor, had played critical roles in Stalin's infamous show trials of the 1930s. For the American prosecutor Robert H. Jackson and his colleagues in the British and French delegations, Soviet participation in the IMT undermined the credibility of the trials and indeed the moral righteousness of the Allied victory. Yet without the Soviets Nuremberg would never have taken place. Soviet jurists conceived of the legal framework that treated war as an international crime, giving the trials a legal basis. The Soviets had borne the brunt of the fighting against Germany, and their almost unimaginable suffering gave them moral authority. They would not be denied a place on the tribunal and moreover were determined to make the most of it. However, little went as the Soviets had planned. Stalin's efforts to steer the trials from afar backfired. Soviet war crimes were exposed in open court. As relations among the four countries of the prosecution foundered, Nuremberg turned from a court of justice to an early front of the Cold War. Hirsch's book provides a front-row seat in the Nuremberg courtroom, while also guiding readers behind the scenes to the meetings in which secrets were shared, strategies mapped, and alliances forged. Soviet Judgment at Nuremberg offers a startlingly new view of the IMT and a fresh perspective on the movement for international human rights that it helped launch.