In this vivid fifty-year history of Germany from 1871-1918—which inspired events that forever changed the European continent—here is the story of the Second Reich from its violent beginnings and rise to power to its calamitous defeat in the First World War. Before 1871, Germany was not yet nation but simply an idea. Its founder, Otto von Bismarck, had a formidable task at hand. How would he bring thirty-nine individual states under the yoke of a single Kaiser? How would he convince proud Prussians, Bavarians, and Rhinelanders to become Germans? Once united, could the young European nation wield enough power to rival the empires of Britain and France—all without destroying itself in the process? In this unique study of five decades that changed the course of modern history, Katja Hoyer tells the story of the German Empire from its violent beginnings to its calamitous defeat in the First World War. This often startling narrative is a dramatic tale of national self-discovery, social upheaval, and realpolitik that ended, as it started, in blood and iron.
'Of the "Great Powers" that dominated Europe from the eighteenth to the twentieth centuries, Prussia is the only one to have vanished ... Iron Kingdom is not just good: it is everything a history book ought to be ... The nemesis of Prussia has cast such a long shadow that German historians have tiptoed around the subject. Thus it was left to an Englishman to write what is surely the best history of Prussia in any language' Sunday Telegraph
Seeker, a woman enchanted by the Faerie Queen and forced to kidnap human children for the pleasure of her mistress, goes after her latest prey, a Merlin, a child possessing a limitless magic that could tip the ultimate balance of power. Reprint.
This is an extremely thorough 4-volume guide to the regimental march tunes and other parade music, which inspired loyalty, pride and battlefield motivation for generations of Germans over three centuries. Built around a translation of the previously unpublished works of two great German military music historians - the late Lieutenant Colonel Joachim Toeche-Mittler and Lieutenant Colonel (Retd) Werner Probst - it describes the history of every march in the official collections sanctioned by successive kings of Prussia, German Emperors, and later by Chief Inspectors of Music of the German Republic and Third Reich. In these descriptions, one discovers that the collections are not just German, but a pan-European treasure trove of labyrinthine musical influences. The books detail how even today these tunes are still used by German armed forces units, providing the only officially permitted link between them and the military history of the German nation. They describe how the use of this superb parade march repertoire spread around the world, far beyond Germany's borders; it can often be heard in use today especially in Britain and America. The authors detail how modern regimental military music began to develop during the reign of Frederick the Great of Prussia in the mid-18th Century, before its development reached its zenith during the German Empire established by Bismarck from 1871 to 1918. They also trace the potent cultural influences on the march composition styles of the Stahlhelm, Wehrmacht, Kriegsmarine and Luftwaffe of the 20th Century. This work is no apology or eulogy for a militaristic culture now long gone amongst the German people, but a description of the international and home sources for the march repertoire, and the personalities involved in composing, commissioning, and dedicating marches to the leading personalities of the age, and their adoption as regimental music by the fighting units of Prussia and the other Old German States, Imperial Germany, and the later German Reich and Post War Republics of East and West Germany. The series will provide information about how the regimental bandsmen and signaler musicians on fife, drum and bugle paraded and performed this repertoire, the manufacture and embellishments of their instruments, Schellenbaum 'Jingling Johnnies' and Drum Majors' Staffs, and their employment and deployment in the ranks of the fighting units on parade and in battle. A huge number of rare black & white and color images showing all aspects of German military music support the detailed text and appendices. Much more than a series of books about music, the volumes will together provide a definitive guide to a colorful and tuneful aspect of Germanic culture, whose lasting influence is still with us, and is about the stirring sounds that can still be heard on parade around the world today. The very concept of cataloguing a collection of parade marches encompassing music gathered over centuries emanated in the early 19th Century from a country abolished by the Allies in 1947 as the fount of German militarism; this music is however Prussia's legacy to the world - indeed, Prussia's Glory! After a short introduction, Volume 1 concentrates on the vast official Royal Prussian collection of 'regimental' and 'neutral' quick marches. Translated from previously unpublished original research by the late Luftwaffe Lt. Col. Joachim Toeche-Mittler, it provides a definitive description for each march, its composer, and how and by whom it was used, in many cases on campaign as well as on parade. With only one exception before 1914, every Prussian, and most non-Prussian regiments, had their regimental march from within this collection.
Death asks a half-troll and his friends to save the world in this epic fantasy series debut by the author of the Clockwork Empire series. Although Danr is the son of a human mother, his father was one of the hated Stanes, trolls from the mountains. Now the barrel-chested teenager is condemned to hard labor on a farm where he endures taunts of “Troll boy” from the others. Yet no matter how bad things get, he always remembers the advice of his recently departed mother: be gentle and do not unleash the monster inside. One of Danr’s few friends in the village, Aisa, was sold into slavery by her father and is now controlled by an abusive man. She keeps herself covered from head to toe and dreams of a better future. She and Danr hope to escape and make their way to freedom, but a series of dark events soon stirs up chaos. Strange creatures come down from the mountains, slaughtering villagers. Spirits of the dead haunt the land, terrifying those that are still alive. As rumors spread about the Stanes’ involvement, Danr decides to find out the truth, taking Aisa and an amnesiac new friend with him. Soon they are called up by Death herself to set things right. At Death’s request, the group sets out to recover the Iron Axe. Crafted by the dwarves, it is capable of restoring balance in the world—and destroying it, too. Along the way, Danr must call upon the monster within to face fierce and fantastic creatures while discovering truths that will change their lives forever. “[Turns] common tropes on their heads. . . . [Harper’s] reinterpretations of trolls, giants, and fae folk give this series opener a fresh feeling, while his nods to Norse mythology and folklore root it strongly in fantasy tradition.Readers will be eager to see what’s in store for Aisa and Danr.” —Publishers Weekly “Brought back fond memories of a classic fantasy book while still offering a wonderfully unique take on the genre. . . . Steven Harper created a world that I never got tired of exploring.” —The Qwillery “The story holds all of the adventure, magic, and mystery I have come to expect from the genre. . . .[It] follows a hero’s journey . . . with energy and artfulness.” —Wicked Little Pixie
This sixteenth-century German guide to sword fighting and combat training is a crucial source for understanding medieval swordplay techniques. Following his translation of Joachim Meyer’s The Art of Combat, Jeffrey L. Forgeng was alerted to an earlier version of Meyer’s text, discovered in Lund University Library in Sweden. The manuscript, produced in Strasbourg around 1568, is illustrated with thirty watercolor images and seven ink diagrams. The text covers combat with the longsword (hand-and-a-half sword), dusack (a one-handed practice weapon comparable to a sabre), and rapier. The manuscript’s theoretical discussion of guards sheds significant light on this key feature of the historical practice, not just in relation to Meyer but in relation to medieval combat systems in general. The Art of Sword Combat also offers an extensive repertoire of training drills for both the dusack and the rapier, a feature largely lacking in treatises of the period and critical to modern reconstructions of the practice. Forgeng’s translation also includes a biography of Meyer, much of which has only recently come to light, as well as technical terminology and other essential information for understanding and contextualizing the work.
