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Classic essays on the history of radical protest.
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Uncommon People is a collection of Eric Hobsbawm’s essays spanning the majority of his long career, from the 1950s to the mid-1990s. It brings together a wide range of topics, collected under four headings: The Radical Tradition, Country People, Contemporary History and Jazz.

Under “The Radical Tradition”, there are essays addressing Thomas Paine, the Luddites, the radicalism of shoemakers, the difference between labour traditions in France and Britain, the development of a distinctive working class culture, the skilled manual wage worker in Victorian moral frameworks, the iconography of male and female representations in labour movements, the origins and history of May Day as a working class celebration, the relationship between socialism and the avant-garde, and Labour Party stalwart Harold Laski.

“Country People” includes two longer essays, one providing a general overview of peasant politics, and a second study of land occupations, as well as an essay on the Sicilian Mafia.

The rubric “Contemporary History” features pieces Hobsbawm wrote while the embers were still hot, with pieces on Vietnam and guerilla warfare, May 1968, and sexual liberation. As a result they tend to feel dated, though as contemporary reports are still of interest for this very reason.

Finally, the “Jazz” section contains half a dozen reviews and short writings on Sidney Bechet, Count Basie, Duke Ellington, Billie Holiday, jazz in Europe, jazz after 1960, and jazz’s relationship with blues and rock. A final essay, slotted under this Jazz heading, was written on the 500th anniversary of Columbus’ landing in America, and highlights the oft forgotten benefits and advances this event brought about, from the notion of a Utopia, to the development of a theory of evolution, and the spread of staple foodstuffs like potatoes and maize.

The problem with this collection is that being of such a broad spectrum, only a handful of the essays are likely to appeal to the reader. Some of the pieces, particularly the shorter jazz reviews and essays, are written in an easy, affable manner, whilst many of the essays on peasant and working class movements are far more technical and heavily footnoted, and really require a background understanding to get anything from them. Nevertheless there are plenty of gems here: the essay on the Luddites amongst other machine-breaking groups highlights how the word inherited has little to do with the motivations of those people; his coverage of the development of a distinctive working class culture highlights the symbolism of something as mundane as the flat cap; whilst the essay on the Vietnam war and guerilla warfare has interesting implications for modern day conflicts such as in Afghanistan.



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The period in German history following the Second World War is probably one of the most neglected in terms of popular history, far overshadowed by the war itself and frequently overlooked as a mere footnote to the origins of the Cold War. Yet the fascinating question remains as to why the peace following the First World War contributed to the beginnings of the Second, whilst the policies following the latter led to one of the longest periods of peace on the continent.

How the victors handled their policy of ‘unconditional surrender’, and what this entailed for occupied Germany, is the subject of Frederick Taylor’s book. His book covers the final stages of the war, as the Allied and Soviet forces prepared to attack and occupy Germany proper. Military actions only play a background role in the narrative, Taylor focussing only on interactions with the civilians, including the atrocities most severely carried out on the Eastern Front, as well as retaliatory attacks by Nazi fanatics and so called ‘Werwolf’ units.

Where this book shines is in Taylor’s ability to compare and contrast the widely differing policies and practices of the occupying forces. Despite the complexity of the subject, the book highlights the differences between those directing policy and those governing forces on the ground, between those espousing punitive policies and those wishing to see a rapidly rehabilitated Germany, and between the Soviet, American, British and French zones. It becomes clear just how much of a challenge the question of denazification posed to the victors, which ostensibly remained an inflexible goal of all parties. The totalitarian nature of the Nazi Party meant that virtually no one had remained completely aloof of the system, leaving policy planners the major task of separating hardline Nazis from ‘career Nazis’, ‘muss Nazis’ or fellow travellers. Taylor treats each of the occupying zones separately, and looks at the systems put in place and measures their successes and failures, not just in terms of raw numbers weeding out devout Nazis, but also the impact of these policies on the German population, and to what extent these changes were lasting.

Unfortunately, this book has one major failing, and that lies in its title. Subtitled “The Occupation and Denazification of Germany”, there feels to be rather too much of the former and not enough of the latter to justify the name. Taylor does spend a lot of time dealing with the occupiers’ attempts to remove Nazis themselves from positions of influence in German society, but there is little to nothing on their own and subsequent German policies as regards dealing with Nazism as an ideology. There is surprisingly little on areas such as education, the media and law, or even such mundane things as the renaming of streets or the treatment of the swastika are left out. Even the Psychological Warfare Division responsible for Allied propaganda goes unmentioned in the index (albeit some of their actions are covered). Aside from this, it is also disappointing that there are virtually no comparisons to occupation and denazification policies in other countries after the Second World War, e.g. Austria or France, or similar ‘purification’ actions during other periods (Taylor mentions the de-Ba’athification policy of the Iraq War a few times, without making any direct allusions). However given the scope of the book, the omission can be understood. Finally as another commenter pointed out, it seems that someone working for the publisher decided that the book would sell better with HITLER written in large letters across the front, which is at once no doubt true, but all the same bitterly depressing.

For all this, Exorcising Hitler is an extremely well-written and well-researched account of immediate post-war Germany. No apologist, Taylor points out appalling conditions in Western POW camps, engineered through pure legal sophistry, the mass rapes and atrocities in the East, and the sufferings of refugees and ‘displaced persons’ driven from their territories and turned back from others. A potentially bewildering subject, Taylor takes the issue of denazification apart and analyses each policy and practical element in turn, comparing and contrasting the different approaches, and examining the successes and failures of the post-war occupation. The book’s epilogue ties the whole together with an excellent summary of the reactions to and effects of these policies in post-war Germany right through to the present day.



Selling Hitler: Story of the Hitler Diaries
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In “Selling Hitler” Robert Harris has provided an enthralling, blow-by-blow account of one of the most infamous hoaxes in history, the alleged discovery of the Hitler diaries. A potentially convoluted plot with many actors, Harris has done a remarkable job in organising the story in a comprehensible manner, and in so doing has simultaneously written a turn-paging piece of investigative journalism, full of interesting nuggets and occasionally humourous asides.

History is always a work in progress. Sewing together the past from the scanty pieces left to posterity is a difficult task, and one which can never hope to fill all of the gaps and answer all of the questions. Hence when a new source comes to light, the potential to fill in a few holes in the jigsaw, to provide answers to some of the glaring question–even to essentially rewriting history–can be staggering. In the case of the Hitler diaries, of course, the potential was immense, not only in terms of offering a personal and uncensored glimpse into the world through his eyes, but for providing further information and evidence to solve mysteries like the ‘miracle’ of Dunkirk, Hess’ flight to Scotland, or Hitler’s role in the Holocaust.

Yet the diaries were fakes, and obvious ones. Written on post-war paper, with post-war ink, the content largely consisted of dull and banal headlines from the Völkischer Beobachter, or speeches sometimes copied verbatim, i.e. including errors, from Max Domarus’ compilation Hitler: Speeches and Proclamations. So just how did such a media farce result from what ultimately proved to be such crude and unconvincing forgeries? What drove a respected magazine like Stern to spend 9 million DM on the diaries without once thoroughly checking the evidence? And how did other reputable newspapers like The Times and Newsweek similarly come to swallow the story?

Aside from being a report into this particular hoax, “Selling Hitler” tells a sobering tale of greed and ambition over rationality that could apply anywhere. The atmosphere of secrecy and conspiracy, combined with the promise of acknowledgement and riches, allowed a poor quality forgery to hoodwink a media corporation and ultimately tarnish or even destroy the reputations of the journalists and experts associated with the find. A surprisingly large number of people who heard of or came into contact with the diaries soon suspended their disbelief on hearing the most rudimentary supporting evidence. Even excluding the evidence of flawed handwriting tests, to most of the people asked to check the diaries’ authenticity it simply didn’t seem plausible that someone would go to the trouble of forging over 60 volumes of diaries and sundry other papers. Ironically enough, the whole episode rings like a quote from Hitler’s Mein Kampf, often attributed to Joseph Goebbels, that the more colossal the lie, the more likely people are to believe it.

Harris’ book is a superb summary of the whole affair, covering every angle and explaining each step as the fiasco house of cards was gradually built up, before being dashed to the ground. The lives of the chief culprits are portrayed, along with the roles played by people such as historians Hugh Trevor-Roper, David Irving and Gerhard Weinberg, as well as people like Rupert Murdoch (who has some amusing quotes). Whilst not totally devoid of personal opinion, Harris clearly showing sympathy for the Stern editors who were in his view forced to take the fall for the scandal, none of the characters are openly demonised, and the facts are objectively presented. The only small complaint to make would be that the book, first published in 1986, now feels incomplete and a little dated. My copy was printed in 2009, and it would have been nicer if a revised edition had been produced, if only with an extra chapter on what happened to such characters as the forger Konrad Kujau, the gullible and corrupt journalist Gerd Heidemann, or historians such as Irving, whose reputation gained a temporary boost by being one of the first to publicly denounce the diaries as forgeries.


Nightfall Two (Paperback)

By (author): Isaac Asimov

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As one of the world’s most prolific authors, and one of the true giants of science fiction, it can be difficult to know where to start with Asimov. As a child I read a few stories and was soon hooked, but perusing his oeuvre takes some time. For anyone interested in wetting their fingers with this master of science fiction, however, the Nightfall anthology is a great place to start.

Put together by Asimov in the late sixties, it was his attempt to address what he felt was an undue amount of attention to the short story which gives the collection its name. Nightfall was published in 1941 when Asimov was just 21 years old, but was immediately recognised by the magazine editor as being worthy of a bonus rate. Unwilling to accept that his best work was written basically at the beginning of his career, this collection is an opportunity for readers to judge for themselves, whether Nightfall deserves such high praise, and whether or not Asimov’s writing style had improved in the intervening period.

This second volume contains fifteen short stories published between 1951 and 1967 (“In a Good Cause–” (1951), “What If–” (1952), “Sally” (1953), “Flies” (1953), “Nobody Here But–” (1953), “It’s Such a Beautiful Day” (1954), “Strikebreaker” (1957), “Insert Knob A In Hole B” (1957), “The Up-To-Date Sorcerer” (1958), “Unto the Fourth Generation” (1959), “What is This Thing Called Love?” (1961), “The Machine that Won the War” (1961), “My Son, the Physicist” (1962), “Eyes Do More Than See” (1965), and “Segregationist” (1967)). In comparison to the first volume, this is much more of a mixed bag in terms of quality. Given that Asimov set out to prove that Nightfall wasn’t his only decent short story, a lot of the choices contained in this volume seem to have more in the way of anecdotal value. For instance, “What If-” was written as a bet between Asimov and his wife as to whether he could base a story around something as simple as their train journey; the two-page “Insert Knob A In Hole B” was written during a television panel discussion, when he was challenged to write a story on the spot (he admits in the preface that he had expected the challenge to come up and prepared accordingly). Similarly other stories were written at the behest of editors seeking to fulfil a particular niche, including one for Playboy.

As with the first volume, each story is prefaced by a small introduction, which partly makes up for the lower quality of the stories. The stories are obviously a lot shorter in this volume, and as a result have a much broader range of backgrounds, so there is certainly a chance that at least something will appeal to every reader. Nevertheless, there’s little denying that this volume can’t live up to the standards set by Nightfall One.


Nightfall One (Paperback)

By (author): Isaac Asimov

This copy is obviously used but is sound and unmarked. The cover, being mostly black does show creases and wearing at the edges.
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As one of the world’s most prolific authors, and one of the true giants of science fiction, it can be difficult to know where to start with Asimov. As a child I read a few stories and was soon hooked, but perusing his oeuvre takes some time. For anyone interested in wetting their fingers with this master of science fiction, however, the Nightfall anthology is a great place to start.

Put together by Asimov in the late sixties, it was his attempt to address what he felt was an undue amount of attention to the short story which gives the collection its name. Nightfall was published in 1941 when Asimov was just 21 years old, but was immediately recognised by the magazine editor as being worthy of a bonus rate. Unwilling to accept that his best work was written basically at the beginning of his career, this collection is an opportunity for readers to judge for themselves, whether Nightfall deserves such high praise, and whether or not Asimov’s writing style had improved in the intervening period.

This first volume contains five stories published between 1941 and 1951 (“Nightfall” (1941), “Green Patches” (1950), “Hostess” (1951), “Breeds There A Man…?” (1951), and “C-Chute” (1951)). The eponymous Nightfall certainly deserves credit for being an extremely tight and thought-provoking story, to the extent that some write of a ‘Nightfall event’ as synonymous with the end of a civilisation. The other stories cover a range of topics, including extraterrestrials in search of a disease, and at that time very topical story dealing with the invention of shield against atomic weapons. All in all a wonderful little collection.

Aside from the stories themselves, each is prefaced by a small introduction by the author featuring some interesting background information as to how he got his inspiration or how the story was received. Asimov is very self-deprecating, often denying that he is much of a writer. Whilst he perhaps wouldn’t win any prizes for style, this volume shows how brilliantly fertile his mind was, and aside from entertainment value, might spark an idea or two in its readers’ minds. Sadly, Nightfall Two does not live up to the standards set by these stories.