Frommer's Los Cabos and Baja explores the highlights of this fascinating peninsula, using our author's insider advice. You'll discover the best the region has to offer, including the best dramatic beaches, active adventures, secluded retreats, luxurious hotels, and local markets. This new edition includes expanded information on Todos Santos and the East Cape, and a new section on visiting Tecate. Readers also get language and etiquette tips, exact prices and directions, logistical advice, detailed maps, and much more.

Masterminded by women, the Red Army Faction (RAF) terrorized West Germany from the 1970s to the 1990s. Afterimages of its leaders persist in the works of pivotal artists and writers, including Gerhard Richter, Elfriede Jelinek, and Slavoj i ek. Why were women so prominent in the RAF? What does the continuing cultural response to the German armed struggle tell us about the representation of violence, power, and gender today? Engaging critical theory, Charity Scribner addresses these questions and analyzes signal works that point beyond militancy and terrorism. This literature and art discloses the failures of the Far Left and registers the radical potential that RAF women actually forfeited. After the Red Army Faction maps out a cultural history of militancy and introduces "postmilitancy" as a new critical term. As Scribner demonstrates, the most compelling examples of postmilitant culture don't just repudiate militancy: these works investigate its horizons of possibility, particularly on the front of sexual politics. Objects of analysis include as-yet untranslated essays by Theodor Adorno and Jürgen Habermas, as well as novels by Friedrich Dürrenmatt and Judith Kuckart, Johann Kresnik's Tanztheaterstück Ulrike Meinhof, and the blockbuster exhibition Regarding Terror at the Berlin Kunst-Werke. Scribner focuses on German cinema, offering incisive interpretations of films by Margarethe von Trotta, Volker Schlöndorff, and Fatih Akin, as well as the international box-office success The Baader-Meinhof Complex. These readings disclose dynamic junctures among several fields of inquiry: national and sexual identity, the disciplining of the militant body, and the relationship between mass media and the arts.

With a communicative approach to the phenomenon of terrorism and new archival sources, the book documents Meinhof's journalism and terrorism (1959-1976) and challenges many of the established narratives that have calcified around the story of Meinhof and the history of Germany's most infamous terrorist group.

Screening the Red Army Faction: Historical and Cultural Memory explores representations of the Red Army Faction (RAF) in print media, film and art, locating an analysis of these texts in the historical and political context of unfolding events. In this way, the book contributes both a new history and a new cultural history of post-fascist era West Germany that grapples with the fledgling republic's most pivotal debates about the nature of democracy and authority; about violence, its motivations and regulation; and about its cultural afterlife. Looking back at the history of representations of the RAF in various media, this book considers how our understanding of the Cold War era, of the long sixties and of the RAF is created and re-created through cultural texts.

In this first comprehensive comparison of left-wing violence in the United States and West Germany, Jeremy Varon focuses on America's Weather Underground and Germany's Red Army Faction to consider how and why young, middle-class radicals in prosperous democratic societies turned to armed struggle in efforts to overthrow their states. Based on a wealth of primary material, ranging from interviews to FBI reports, this book reconstructs the motivation and ideology of violent organizations active during the 1960s and 1970s. Varon conveys the intense passions of the era--the heat of moral purpose, the depth of Utopian longing, the sense of danger and despair, and the exhilaration over temporary triumphs. Varon's compelling interpretation of the logic and limits of dissent in democratic societies provides striking insights into the role of militancy in contemporary protest movements and has wide implications for the United States' current "war on terrorism." Varon explores Weatherman and RAF's strong similarities and the reasons why radicals in different settings developed a shared set of values, languages, and strategies. Addressing the relationship of historical memory to political action, Varon demonstrates how Germany's fascist past influenced the brutal and escalating nature of the West German conflict in the 60s and 70s, as well as the reasons why left-wing violence dropped sharply in the United States during the 1970s. Bringing the War Home is a fascinating account of why violence develops within social movements, how states can respond to radical dissent and forms of terror, how the rational and irrational can combine in political movements, and finally how moral outrage and militancy can play both constructive and destructive roles in efforts at social change.

First published in 1977 in the US and Britain to universal critical acclaim, Hitler's Children quickly became a world-wide best seller, translated into many other languages, including Japanese. It tells the story of the West German terrorists who emerged out of the 'New Left' student protest movement of the late 1960s. With bombs and bullets they started killing in the name of 'peace'. Almost all of them came from prosperous, educated families. They were 'Hitler's children' not only in that they had been born in or immediately after the Nazi period - some of their parents having been members of the Nazi party - but also because they were as fiercely against individual freedom as the Nazis were. Their declared ideology was Communism. They were beneficiaries of both American aid and the West German economic miracle. Despising their immeasurable gifts of prosperity and freedom, they 'identified' themselves with Third World victims of wars, poverty and oppression, whose plight they blamed on 'Western imperialism'. In reality, their terrorist activity was for no better cause than self-expression. Their dreams of leading a revolution were ended when one after another of them died in shoot-outs with the police, or was blown up with his own bomb, or was arrested, tried, and condemned to long terms of imprisonment. All four leaders of the Red Army Faction (dubbed 'the Baader-Meinhof gang' by journalists) committed suicide in prison.

Welcome to West Berlin, 1967. Undercover agent Peter Urbach is tasked with infiltrating a group of radical students whose anti-consumerist message is not without propaganda value on both sides of the Wall. Soon, high-minded political activism will move to the terrorism of the Red Army Faction. In 1989, the Wall is coming down and Urbach is breaking cover to track down Peter Green, the genius behind British blues rock band Fleetwood Mac. There's unfinished business to resolve after their chance encounter twenty years earlier at a party in Germany. What exactly did Peter Green walk into that day? "[An] intriguing period thriller. . . Resonances with the Occupy Wall Street Movement make this novel's themes timely."-Publishers Weekly