‘I don’t like killing, but I’m good at it. Murder isn’t so bad from a distance, just shapes popping up in my scope. Close-up work though – a garrotte around a target’s neck or a knife in their heart – it’s not for me. Too much empathy, that’s my problem. Usually. But not today. Today is different . . . ‘ The year is 1955 and something is very wrong with the world. It is fourteen years since Churchill died and the Second World War ended. In occupied Europe, Britain fights a cold war against a nuclear-armed Nazi Germany. In Berlin the Gestapo is on the trail of a beautiful young resistance fighter, and the head of the SS is plotting to dispose of an ailing Adolf Hitler and restart the war against Britain and her empire. Meanwhile, in a secret bunker hidden deep beneath the German countryside, scientists are experimenting with a force far beyond their understanding. Into this arena steps a nameless British assassin, on the run from a sinister cabal within his own government, and planning a private war against the Nazis. And now the fate of the world rests on a single kill in the morning . . .

What brought the ape out of the trees, and so the man out of the ape, was a taste for blood. This is how the story went, when a few fossils found in Africa in the 1920s seemed to point to hunting as the first human activity among our simian forebears—the force behind our upright posture, skill with tools, domestic arrangements, and warlike ways. Why, on such slim evidence, did the theory take hold? In this engrossing book Matt Cartmill searches out the origins, and the strange allure, of the myth of Man the Hunter. An exhilarating foray into cultural history, A View to a Death in the Morning shows us how hunting has figured in the western imagination from the myth of Artemis to the tale of Bambi—and how its evolving image has reflected our own view of ourselves. A leading biological anthropologist, Cartmill brings remarkable wit and wisdom to his story. Beginning with the killer-ape theory in its post–World War II version, he takes us back through literature and history to other versions of the hunting hypothesis. Earlier accounts of Man the Hunter, drafted in the Renaissance, reveal a growing uneasiness with humanity’s supposed dominion over nature. By delving further into the history of hunting, from its promotion as a maker of men and builder of character to its image as an aristocratic pastime, charged with ritual and eroticism, Cartmill shows us how the hunter has always stood between the human domain and the wild, his status changing with cultural conceptions of that boundary. Cartmill’s inquiry leads us through classical antiquity and Christian tradition, medieval history, Renaissance thought, and the Romantic movement to the most recent controversies over wilderness management and animal rights. Modern ideas about human dominion find their expression in everything from scientific theories and philosophical assertions to Disney movies and sporting magazines. Cartmill’s survey of these sources offers fascinating insight into the significance of hunting as a mythic metaphor in recent times, particularly after the savagery of the world wars reawakened grievous doubts about man’s place in nature. A masterpiece of humanistic science, A View to a Death in the Morning is also a thoughtful meditation on what it means to be human, to stand uncertainly between the wilderness of beast and prey and the peaceable kingdom. This richly illustrated book will captivate readers on every side of the dilemma, from the most avid hunters to their most vehement opponents to those who simply wonder about the import of hunting in human nature.

This non-academic author presents his key to opening James Joyce s infamously difficult and endlessly playful novel Finnegans Wake. The key was fashioned in Kabbalah, an ancient Jewish mystical tradition that as interpreted by Joyce champions independent individualism as the path to the highest spirituality. Kabbalah images a universe excreted by the ultimate god, a universe that is necessarily finite and limited that came with its own secondary god that is finite and limited, the god presented in Genesis that issues blessing and curses designed to make mankind fearful and dependent- the curse of Kabbalah. Joyce laid this curse in his dream-like "Book of the Night" in the elastic way that the latent or hidden content of a dream distorts the presentation of dream materials. Acting like a black hole, this curse pressures the main character Harold Chimpden Earwicker to "fall," to become fearful and dependent just like everyone else, that is reduced to the mere initials HCE for "Here Comes Everybody." Joyce traces this curse from the myths in Genesis to the primal horde, the first social organization of humans, to the Oedipal Complex and to nation state warfare such as the Battle of Waterloo. In a groundbreaking presentation, Anderson deciphers word by word the first two chapters and part of the last chapter to show how this key opens the lock. He shows, for example, how the joined ending and beginning of Joyce s wisdom book form the Hebrew word for curse and the ending shows confrontation rather than repression of fear of death as the key to life, to your own wake.

This is the story of Cheyenne Chief, Black Kettle, as told through the eyes of Standing Bear. Standing Bear is fourteen summers old when Colonel Chivington massacred Black Kettle's people at Sand Creek, Colorado. He is eighteen summers old when Colonel Custer annihilates Black Kettle's people on the banks of the Washita River in Oklahoma. Even though a majority of the chiefs voted for war against the white man after the attack on Black Kettle at Sand Creek, Black Kettle sought peace with the white man. This is a saga of Black Kettle's search for peace as he wandered the plains.