This volume assembles English translations of three of Wilhem Raabe's narratives. German Moonlight is a tongue-in-cheek study of lunacy and split personality; Höxter and Corvey is a reconstruction of civil unrest and anti-Jewish violence in the seventeenth century which advocates tolerance and sobriety in troubled times; and At the Sign of the Wild Man is an inverted genre piece in which a rural idyll is devastated by an agent of global capitalism.

On a clear moonlit night in November of 1940, the Luftwaffe used hundreds of bombers, thousands of high explosives and tens of thousands of incendiary bombs to attack the industrial might of England by bombing Coventry. This book analyzes the raid in detail, reviews the actions of both the Germans and the British preceeding the raid, and investigates the impact the raid had on British as well as American public opinion. The book also investigates the controversial question of how much advance notice the British actually had concerning the raid. The Coventry bombing proved to be the most concentrated single air attack of the entire Luftwaffe bombing campaign directed against the British during World War II.

NOW WITH AN INTRODUCTION BY W. STANLEY MOSS'S DAUGHTER GABRIELLA BULLOCK AND AN AFTERWORD BY PATRICK LEIGH FERMOR Ill Met By Moonlight is the true story of one of the most hazardous missions of the Second World War. W. Stanley Moss is a young British officer who, along with Major Patrick Leigh Fermor, sets out in Nazi-occupied Crete to kidnap General Kreipe, Commander of the Sevastopool Division, and narrowly escaping the German manhunt, bring him off the island - a vital prisoner for British intelligence. As an account of derring-do and wartime adventure, made into a classic film starring Dirk Bogarde, Ill Met By Moonlight is one of the most brilliantly written, exciting and compelling stories to come out of the Second World War.

Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opéra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. ?

#1 NEW YORK TIMES BESTSELLER • The author of The Devil in the White City and Dead Wake delivers an intimate chronicle of Winston Churchill and London during the Blitz—an inspiring portrait of courage and leadership in a time of unprecedented crisis “One of [Erik Larson’s] best books yet . . . perfectly timed for the moment.”—Time • “A bravura performance by one of America’s greatest storytellers.”—NPR NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The New York Times Book Review • Time • Vogue • NPR • The Washington Post • Chicago Tribune • The Globe & Mail • Fortune • Bloomberg • New York Post • The New York Public Library • Kirkus Reviews • LibraryReads • PopMatters On Winston Churchill’s first day as prime minister, Adolf Hitler invaded Holland and Belgium. Poland and Czechoslovakia had already fallen, and the Dunkirk evacuation was just two weeks away. For the next twelve months, Hitler would wage a relentless bombing campaign, killing 45,000 Britons. It was up to Churchill to hold his country together and persuade President Franklin Roosevelt that Britain was a worthy ally—and willing to fight to the end. In The Splendid and the Vile, Erik Larson shows, in cinematic detail, how Churchill taught the British people “the art of being fearless.” It is a story of political brinkmanship, but it’s also an intimate domestic drama, set against the backdrop of Churchill’s prime-ministerial country home, Chequers; his wartime retreat, Ditchley, where he and his entourage go when the moon is brightest and the bombing threat is highest; and of course 10 Downing Street in London. Drawing on diaries, original archival documents, and once-secret intelligence reports—some released only recently—Larson provides a new lens on London’s darkest year through the day-to-day experience of Churchill and his family: his wife, Clementine; their youngest daughter, Mary, who chafes against her parents’ wartime protectiveness; their son, Randolph, and his beautiful, unhappy wife, Pamela; Pamela’s illicit lover, a dashing American emissary; and the advisers in Churchill’s “Secret Circle,” to whom he turns in the hardest moments. The Splendid and the Vile takes readers out of today’s political dysfunction and back to a time of true leadership, when, in the face of unrelenting horror, Churchill’s eloquence, courage, and perseverance bound a country, and a family, together.