This book, Milton Brener's third on the subject of UFOs and extraterrestrials, is a giant leap. He delves into an analysis of much current scientific evidence that appears to add credence to claims of early hybridization of the human race. It is an entirely new and novel approach, but a very readable and one. It is a challenge to readers to think constructively of the new and novel. It revolves around the coalescence beginning about fifty thousand years ago of several significant and scientifically proven occurrences. One is the beginning of the pale skin tone of Europeans. Brener systematically dismantles the accepted scientific explanation for it and drives home the fact that the only other living creatures with similar skin tone are the extraterrestrials, often known to many witnesses of high credibility as Nordics. Unlike other ETs, these Nordics look like us, though some are said to be remarkably tall and, also unlike others, leave the contactees with very positive feelings. Another major occurrence, the great transition, was the relatively sudden appearance of modern behavior, including artistic genius, timekeeping, and creation of musical instruments. The book is truly a tour de force.

For many decades there have been detailed reports of sightings of unfamiliar crafts in the sky and sometimes resting on the ground. The reports come from airline and military pilots, astronauts, law enforcement officers and other respected persons of all walks of life, from about 60 nations. These objects have often been tracked on radar, and frequently photographed. The speed, maneuverability and other performance attributes of these craft has far exceeded anything within the capability of any entity on Earth. There have indeed been many mistakes and a few hoaxes, which does not affect the efficacy of the others. Though our government has denied their existence, they have confiscated every scrap of physical evidence, and conducted extensive research in an attempt to duplicate the crafts' performance. We all hope they succeed. But, this book argues, there is no need to deny to the civilian population the other benefits to be gained, that are of no interest to the military.

It is well known that Richard Wagner, the renowned and controversial 19th century composer, exhibited intense antiSemitism. The evidence is everywhere in his writings as well as in conversations his second wife recorded in her diaries. In his infamous essay "Judaism in Music," Wagner forever cemented his unpleasant reputation with his assertion that Jews were incapable of either creating or appreciating great art. Wagner's close ties with many talented Jews, then, are surprising. Most writers have dismissed these connections as cynical manipulations and rank hypocrisy. Examination of the original sources, however, reveals something different: unmistakeable, undeniable empathy and friendship between Wagner and the Jews in his life. Indeed, the composer had warm relationships with numerous individual Jews. Two of them resided frequently over extended periods in his home. One of these, the rabbi's son Hermann Levi, conducted Wagner's final opera--Parsifal.

This book applies new scientific research in the fields of biology and genetics to an empirical study of the Greco-Roman civilizations and the European Renaissance. These two periods were remarkable in part because of the dominance of empathy and humanism in the philosophical thought of each era. Both periods were preceded by the influx of many populations and genetic lines, a circumstance this book treats as not coincidental but probably causative. The author cites the expression of new genetic combinations in these periods as evidence that genetic evolution can play a large part in the development of new philosophical concepts, as manifested in these two periods. The author explains that humanistic traits seem to rise and fall in lockstep throughout human history, directly or indirectly correlating with changing genetic underpinnings.

Illegible] work traces the history of three-dimensional perspective in art, its origins, and its impact on human outlook and our view of nature. From prehistoric times, when the portrayal of depth was virtually non-existent, and the tentative beginnings of perspective in Greek and Roman times, through its perfection by Brunelleschi and Alberti in 15th century Italy, to the return of flat style in the Middle Ages and the rebirth of perspective in the Renaissance, the work examines painters and works illustrative of the evolution of perspective. Illegible] history also emphasizes the relation of perspective to the development of humanism, analyzing scientific evidence of the role of the right cerebral hemisphere in the appreciation of three-dimensional art. It explores similar human attributes that have risen and declined in tandem with perspective: expressiveness in the human face, use of metaphor, love of the grand panoramas of nature, and the sense of individuality. The book shows evidence of the role of three-dimensional art in the rise of landscape painting and its contribution to the admiration and investigation of nature and the rise of the scientific age.