From the Sunday Times-bestselling Patrick Bishop comes a heart-stopping countdown narrative recreating the liberation of Paris in 1944, one of the great and most dramatic hinge moments of WW2.

When the Germans marched in and the lamps went out in the City of Light the millions who loved Paris mourned. Liberation, four years later, triggered an explosion of joy and relief. It was the party of the century and everybody who was anybody was there. General Charles de Gaulle seized the moment to create an instant legend that would take its place alongside the great moments in French history. After years of oppression and humiliation Parisians had risen to reclaim their city and drive out the forces of darkness – or so the story went.

This fresh new account of the liberation, packed with revelation, tells the story of those heady days of suspense, danger, exhilaration – and vengeance – through the eyes of a range of participants, reflecting all sides of the conflict: Americans, French and Germans; resisters and collaborators. Among them are famous names like Ernest Hemingway, J.D. Salinger and Pablo Picasso, but also some fascinating unknowns including a medic turned Resistance gunwoman, an androgynous Hungarian sculptor and a French bluestocking who quietly set about saving the nation’s art treasures from the Nazi looters.

Paris ’44 looks behind the mythology to tell the real story of the liberation and expose the conflicts and contradictions of France under the occupation – the shame as well as the glory. This gripping war-time narrative will enthral anyone who has a place for Paris in their hearts.

The 1960s saw the emergence in the Netherlands of a generation of avant-garde musicians (including figures such as Louis Andriessen, Willem Breuker, Reinbert de Leeuw and Misha Mengelberg) who were to gain international standing and influence as composers, performers and teachers, and who had a defining impact upon Dutch musical life. Fundamental to their activities in the sixties was a pronounced commitment to social and political engagement. The lively culture of activism and dissent on the streets of Amsterdam prompted an array of vigorous responses from these musicians, including collaborations with countercultural and protest groups, campaigns and direct action against established musical institutions, new grassroots performing associations, political concerts, polemicising within musical works, and the advocacy of new, more 'democratic' relationships with both performers and audiences. These activities laid the basis for the unique new music scene that emerged in the Netherlands in the 1970s and which has been influential upon performers and composers worldwide. This book is the first sustained scholarly examination of this subject. It presents the Dutch experience as an exemplary case study in the complex and conflictual encounter of the musical avant-garde with the decade's currents of social change. The narrative is structured around a number of the decade's defining topoi: modernisation and 'the new'; anarchy; participation; politics; self-management; and popular music. Dutch avant-garde musicians engaged actively with each of these themes, but in so doing they found themselves faced with distinct and sometimes intractable challenges, caused by the chafing of their political and aesthetic commitments. In charting a broad chronological progress from the commencement of work on Peter Schat's Labyrint in 1961 to the premiere of Louis Andriessen's Volkslied in 1971, this book traces the successive attempts of Dutch avant-garde musicians to reconcile the era's evolving social agendas with their own adventurous musical practice.

From the Occupy protests to the Black Lives Matter movement and school strikes for climate action, the twenty-first century has been rife with activism. Although very different from one another, each of these movements has created alliances across borders, with activists stressing that their concerns are not confined to individual nation states. In this book, Daniel Laqua shows that global efforts of this kind are not a recent phenomenon, and that as long as there have been borders, activists have sought to cross them. Activism Across Borders since 1870 explores how individuals, groups and organisations have fostered bonds in their quest for political and social change, and considers the impact of national and ideological boundaries on their efforts. Focusing on Europe but with a global outlook, the book acknowledges the importance of imperial and postcolonial settings for groups and individuals that expressed far-reaching ambitions. From feminism and socialism to anti-war campaigns and green politics, this book approaches transnational activism with an emphasis on four features: connectedness, ambivalence, transience and marginality. In doing so, it demonstrates the intertwined nature of different movements, problematizes transnational action, discusses the temporary nature of some alliances, and shows how transnationalism has been used by those marginalized at the national level. With a broad chronological perspective and thematic chapters, it provides historical context, clarifies terms and concepts, and offers an alternative history of modern Europe through the lens of activists, movements and campaigns.

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