Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Based on previously classified documents and on interviews with former secret police officers and ordinary citizens, The Firm is the first comprehensive history of East Germany's secret police, the Stasi, at the grassroots level. Focusing on Gransee and Perleberg, two East German districts located north of Berlin, Gary Bruce reveals how the Stasi monitored small-town East Germany. He paints an eminently human portrait of those involved with this repressive arm of the government, featuring interviews with former officers that uncover a wide array of personalities, from devoted ideologues to reluctant opportunists, most of whom talked frankly about East Germany's obsession with surveillance. Their paths after the collapse of Communism are gripping stories of resurrection and despair, of renewal and demise, of remorse and continued adherence to the movement. The book also sheds much light on the role of the informant, the Stasi's most important tool in these out-of-the-way areas. Providing on-the-ground empirical evidence of how the Stasi operated on a day-to-day basis with ordinary people, this remarkable volume offers an unparalleled picture of life in a totalitarian state.

The brilliant and provocative new book from one of the world’s foremost political writers.

In The War on the West, international bestselling author Douglas Murray asks: if the history of humankind is one of slavery, conquest, prejudice, genocide and exploitation, why are only Western nations taking the blame for it?

It’s become perfectly acceptable to celebrate the contributions of non-Western cultures, but discussing their flaws and crimes is called hate speech. What’s more it has become acceptable to discuss the flaws and crimes of Western culture, but celebrating their contributions is also called hate speech. Some of this is a much-needed reckoning; however, some is part of a larger international attack on reason, democracy, science, progress and the citizens of the West by dishonest scholars, hatemongers, hostile nations and human-rights abusers hoping to distract from their ongoing villainy.

In The War on the West, Douglas Murray shows the ways in which many well-meaning people have been lured into polarisation by lies, and shows how far the world’s most crucial political debates have been hijacked across Europe and America. Propelled by an incisive deconstruction of inconsistent arguments and hypocritical activism, The War on the West is an essential and urgent polemic that cements Murray’s status as one of the world’s foremost political writers.

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.

In August 1941 Winston Churchill (1874-1965) and President Roosevelt (1882-1945) met secretly on HMS Prince of Wales, moored just off the coast of Newfoundland. H. V. Morton and Howard Spring (author of Fame is the Spur) were invited to accompany the Prime Minister and his entourage, a trip, which was not without its hazards. Only a handful of people knew Churchill had left Britain and in America the press merely reported that Roosevelt was enjoying a few days' away from Washington, fishing. The Prince of Wales set off from Scrabster on 4th August 1941 and reached her destination at Newfoundland on 9th August 1941. A routine was quickly established on board and the crew soon became used to the Prime Minister's timetable and requirements, especially his regular film nights. Together with the Prime Minister's bodyguard, Thompson, a number of key personnel accompanied Churchill on this mission, including Lord Beaverbrook who joined the ship by flying to Newfoundland's Placentia Bay. The Atlantic Treaty, whilst not achieving all that Churchill had hoped for, was a key document in the development of the war and post-war strategy.Churchill had hoped that at the resolution of the meeting America would join the war during the summer of 1941 but this was not to be. America did finally join the war in December 1941 following the Japanese attack on the US base at Pearl Harbour. H. V. Morton's account was not released for publication until 1943 and subsequently numerous documents have been made available at the National Archives. Atlantic Meeting is a unique account of the events leading up to Churchill's discussions with Roosevelt and a fascinating account of the practicalities - and occasionally humour - involved in such a perilous journey.

From the New York Times best-selling historian, the riveting story of the Weimar Republic―a fledgling democracy beset by chaos and extremism―and its dissolution into the Third Reich.

Democracies are fragile. Freedoms that seem secure can be lost. Few historical events illustrate this as vividly as the failure of the Weimar Republic. Germany’s first democracy endured for fourteen tumultuous years and culminated with the horrific rise of the Third Reich. As one commentator wrote in July 1933: Hitler had “won the game with little effort. . . . All he had to do was huff and puff―and the edifice of German politics collapsed like a house of cards.” But this tragedy was not inevitable.

In Fateful Hours, award-winning historian Volker Ullrich chronicles the captivating story of the Republic, capturing a nation and its people teetering on the abyss. Born from the ashes of the First World War, the fledgling democracy was saddled with debt and political instability from its beginning. In its early years, a relentless chain of crises―hyperinflation, foreign invasion, and upheaval from the right and left―shook the republic, only letting up during a brief period of stability in the 1920s. Social and cultural norms were upended. Political murder was the order of the day. Yet despite all the challenges, the Weimar Republic was not destined for its ignoble end.

Drawing on letters, memoirs, newspaper articles, and other sources, Ullrich charts the many failed alternatives and missed opportunities that contributed to German democracy’s collapse. In an immersive style that takes us to the heart of political power, Ullrich argues that, right up until January 1933, history was open. There was no shortage of opportunities to stop the slide into fascism. Just as in the present, it is up to us whether democracy lives or dies.

36 black-and-white illustrations

Commentaries of Caesar on the Gallic War. The original text reduced to the natural English order with a literal interlinear translation of the first seven books.

Commentaries of Caesar on the Gallic War. The original text reduced to the natural English order with a literal interlinear translation of the first seven books.