A frequent guest of Hitler for long periods of time, Rauschning resigned from his post as president of the Danzig senate in 1934 and severed his ties with the Nazi Party. He transcribed conversations with Hitler from 1932 to 1934 as he speaks clearly of destroying all that stands in the way of German supremacy.
One hundred years after the events of The Rover, master librarian Edgewick Lamplighter sends his bored halfling apprentice, Jugh, to retrieve an enchanted rare book that sets fire to the Great Library Vault's priceless collection.
Examines the many reasons and motivations for the destruction of books throughout history, citing specific acts from the smashing of ancient Sumerian tablets to the looting of libraries in post-war Iraq.
"Though the story takes place in the '80s, it feels eerily timely."—Bustle Arkansas, 1984: The town of Griffin Flat is known for almost nothing other than its nuclear missile silos. MAD—Mutually Assured Destruction—is a fear every local lives with and tries to ignore. Unfortunately that’s impossible now that film moguls have picked Griffin Flat as the location for a new nuclear holocaust movie, aptly titled The Eve of Destruction. When sixteen-year-old Laura Ratliff wins a walk-on role (with a plus-one!) thanks to a radio call-in contest, she is more relieved than excited. Mingling with Hollywood stars on the set of a phony nuclear war is a perfect distraction from being the only child in her real nuclear family—which has also been annihilated. Her parents are divorced, and her mother has recently remarried. Her father, an officer in the Strategic Air Command, is absent . . . except when he phones at odd hours to hint at an impending catastrophe. But isn’t that his job? Laura’s only real friend is her new stepbrother, Terrence. She picks him as her plus-one for the film shoot, enraging her fair-weather friends. But their anger is nothing compared to what happens on set after the scripted nuclear explosion. Because nobody seems to know if a real nuclear bomb has detonated or not.
Horace Grondin, deputy head of the Sureté, is in fact Charles Bassicousse, sentenced sixteen years earlier for a murder he did not commit and obsessed with wreaking his revenge on Antoine Tarpagnan, the man he believes did commit the crime. Tarpagnan, an army captain, has fallen in love with Gabriella Pucci, the mistress of Paris's greatest villain. As Tarpagnan searches the underworld for Gabriella, unknown to him, Grondin is searching for him. Reminiscent of Victor Hugo's LES MISERABLES, with the zest for characterisation of Dickens, Vautrin's novel revels in the chaos and passion of the period culminating in the savage repression of the Commune. The final climactic moments between Grondin and Tarpagnan take place on the barricades as Paris descends into a fury of bloodletting and panic. Fiction on a grand scale, Vautrin's multi-peopled novel exuberantly recreates the moment.
Almost as old as the idea of the library is the urge to destroy it. Author Lucien X. Polastron traces the history of this destruction, examining the causes for these disasters, the treasures that have been lost, and where the surviving books, if any, have ended up. Books on Fire received the 2004 Societe des Gens de Lettres Prize for Nonfiction/History in Paris.
The first-ever biography of Mozhdah Jamalzadah: refugee, pop singer, and champion of women’s rights. Many have tried to silence her, but Mozhdah Jamalzadah remains the most powerful female voice of her generation in Afghanistan, boldly speaking out about women’s rights. Voice of Rebellion charts her incredible journey, including arriving in Canada as a child refugee, setting her father’s protest poem to music (and making it a #1 hit), performing that song for Michelle and Barack Obama, and, finally, being invited to host her own show in Afghanistan. The Mozhdah Show earned her the nickname “The Oprah of Afghanistan” and tackled taboo subjects like divorce and domestic violence for the first time in the country’s history. But even as her words resonated with women and families, Mozhdah received angry death threats—some of them serious—and was eventually advised to return to Canada. Traversing Central Asia and North America, Voice of Rebellion profiles a devoted singer and activist who continues to fight for change, even from afar.
No, Anti-Book is not a book about books. Not exactly. And yet it is a must for anyone interested in the future of the book. Presenting what he terms “a communism of textual matter,” Nicholas Thoburn explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a “post-digital” approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books—to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text. Anti-Book engages with an array of writing and publishing projects, including Antonin Artaud’s paper gris-gris, Valerie Solanas’s SCUM Manifesto, Guy Debord’s sandpaper-bound Mémoires, the collective novelist Wu Ming, and the digital/print hybrid of Mute magazine. Empirically grounded, it is also a major achievement in expressing a political philosophy of writing and publishing, where the materiality of text is interlaced with conceptual production. Each chapter investigates a different form of textual media in concert with a particular concept: the small-press pamphlet as “communist object,” the magazine as “diagrammatic publishing,” political books in the modes of “root” and “rhizome,” the “multiple single” of anonymous authorship, and myth as “unidentified narrative object.” An absorbingly written contribution to contemporary media theory in all its manifestations, Anti-Book will enrich current debates about radical publishing, artists’ books and other new genre and media forms in alternative media, art publishing, media studies, cultural studies, critical theory, and social and political theory.