Edward Kaplan's To Kill Nations is a fascinating work that packs a thermonuclear punch of ideas and arguments... The work is suitable for anyone from advanced undergraduates to experts in the field." ― Strategy Bridge In To Kill Nations, Edward Kaplan traces the evolution of American strategic airpower and preparation for nuclear war from this early air-atomic era to a later period (1950–1965) in which the Soviet Union's atomic capability, accelerated by thermonuclear weapons and ballistic missiles, made American strategic assets vulnerable and gradually undermined air-atomic strategy. Kaplan throws into question both the inevitability and preferability of the strategic doctrine of MAD. He looks at the process by which cultural, institutional, and strategic ideas about MAD took shape and makes insightful use of the comparison between generals who thought they could win a nuclear war and the cold institutional logic of the suicide pact that was MAD. Kaplan also offers a reappraisal of Eisenhower's nuclear strategy and diplomacy to make a case for the marginal viability of air-atomic military power even in an era of ballistic missiles.
An account of the history, structure, and operation of the First and Second Banks of the United States, this study examines how the banks performed as national and central institutions, and what happened to the economy when the charter of the Second Bank was allowed to expire in 1836. Historians have paid little recent attention to the early history of central banking in the United States, and many Americans believe that the Federal Reserve, created in 1913, was our first central bank. The economic crisis during the American Revolution actually led to the founding of a national bank, called the Bank of North America, during the period of Confederation. Although it became a private bank before the Constitution was ratified in 1788, it proved to be such a success that in 1791 Alexander Hamilton, the first Secretary of the Treasury, was able to convince President Washington that a similar bank should be established. While the First Bank of the United States performed well during its tenure, its charter was allowed to lapse in 1811. A Second Bank of the United States was created five years later in 1816, and it prospered under the leadership of its third president, Nicholas Biddle, from 1823 to 1830, when central banking was practiced. This success ended with the 1828 election of Andrew Jackson, who refused to recharter the bank and withdrew the government's funds in 1833. Severely weakened, the Bank continued, but its charter finally expired in 1836, much to Biddle's dismay.
The End of Victory recounts the costs of failure in nuclear war through the work of the most secret deliberative body of the National Security Council, the Net Evaluation Subcommittee (NESC). From 1953 onward, US leaders wanted to know as precisely as possible what would happen if they failed in a nuclear war—how many Americans would die and how much of the country would remain. The NESC told Presidents Dwight Eisenhower and John F. Kennedy what would be the result of the worst failure of American strategy—a maximum-effort surprise Soviet nuclear assault on the United States. Edward Kaplan details how NESC studies provided key information for presidential decisions on the objectives of a war with the USSR and on the size and shape of the US military. The subcommittee delivered its annual reports in a decade marked by crises in Berlin, Quemoy and Matsu, Laos, and Cuba, among others. During these critical moments and day-to-day containment of the USSR, the NESC's reports offered the best estimates of the butcher's bill of conflict and of how to reduce the cost in American lives. Taken with the intelligence community's assessment of the probability of a surprise attack, the NESC's work framed the risks of US strategy in the chilliest years of the Cold War. The End of Victory reveals how all policy decisions run risks—and ones involving military force run grave ones—though they can rarely be known with precision.
Holiness in Words: Abraham Joshua Heschel's Poetics of Piety is both an introduction to reading Heschel's works in English, and an in-depth study of the way his literary style can transform the consciousness of readers. Heschel's life and works respond to the contemporary crisis in religion, formulating positions on faith and despair, racism and social justice, the Holocaust, interreligious dialogue, and the availability of God's presence. We study Heschel's theory and use of literary language, his "poetics of piety," in order to elucidate his narrative strategy to teach God-centered (or prophetic) thinking. The book traces the major themes of his "depth theology," awe and radical amazement, the meaning of symbol, ritual, prayer, and mystical insight. Historical and biographical information clarifies Heschel's implicit polemic with Martin Buber and a supplemental study guide provides sources for each chapter and suggestions for further thought and discussion.
In this first one-volume English-language full biography of Abraham Joshua Heschel, Edward K. Kaplan tells the engrossing, behind-the-scenes story of the life, philosophy, struggles, yearnings, writings, and activism of one of the twentieth century’s most outstanding Jewish thinkers. Kaplan takes readers on a soulful journey through the rollercoaster challenges and successes of Heschel’s emotional life. As a child he was enveloped in a Hasidic community of Warsaw, then he went on to explore secular Jewish Vilna and cosmopolitan Berlin. He improvised solutions to procure his doctorate in Nazi-dominated Berlin, escaped the Nazis, and secured a rare visa to the United States. He articulated strikingly original interpretations of Jewish ideas. His relationships spanned not only the Jewish denominational spectrum but also Catholic and Protestant faith communities. A militant voice for nonviolent social action, he marched with Martin Luther King Jr. (who became a close friend), expressed strong opposition to the Vietnam War (while the FBI compiled a file on him), and helped reverse long-standing antisemitic Catholic Church doctrine on Jews (participating in a secret meeting with Pope Paul VI during Vatican II). From such prodigiously documented stories Heschel himself emerges—mind, heart, and soul. Kaplan elucidates how Heschel remained forever torn between faith and anguish; between love of God and abhorrence of human apathy, moral weakness, and deliberate evil; between the compassion of the Baal Shem Tov of Medzibozh and the Kotzker rebbe’s cruel demands for truth. “My heart,” Heschel acknowledged, is “in Medzibozh, my mind in Kotzk.”
Examines methods of new town developers in land acquisition, financing, taxation, relationships with governmental authorities, etc. with extensive reference to planned communities in California.
Baudelaire's Prose Poems is the first full-length, integral study of the fifty prose poems Baudelaire wrote between 1857 and his death in 1867, collected posthumously under the title Le Spleen de Paris. Edward Kaplan resurrects this neglected masterpiece by defining the structure and meaning of the entire collection, which Kaplan himself has translated as The Parisian Prowler. Engaging in a dialogue with deconstructionists whose critical methods often obscure the meaning of the whole, Kaplan rejects the view of prose poems as a random assemblage of melodic rhapsodies. Instead, he sees a coherent ensemble of "fables of modern life" that join lyricism and critical self-awareness. Kaplan defines three dimensions of experience that inform The Parisian Prowler from beginning to end: the esthetic includes art, ideal beauty, and especially the intense immediacy of sensations, fantasy, and dream; the ethical includes principles of right and wrong, relations between intimates or between individuals and the community; and the religious--not to be confused with church or dogma--points to the province of ultimate reality, whether it be God or an absolute standard of truth, justice, and meaning. These dimensions are explored by a narrator, a complex, highly self-conscious writer whose passion for pure Beauty continually frustrates his yearning for affection. He begins his tour through 1850s Paris alienated from reality, becomes aggravated by conflicts between his "ethical" and "esthetic" drives--to the point of despair--and ends by expressing loyal friendship. Analyzing the fables in relation to one another in pairs or groups, Kaplan demonstrates how later pieces intermingle or even confuse the narrator's esthetic and ethical drives, and how the most advanced "theoretical fables"--through ironic puns on their form--further undermine this simplistic dualism. Baudelaire's fables of modern life radically challenge us to examine our presuppositions, Kaplan argues. Though rarely didactic, the narrator's Socratic irony engages readers in a volatile dialogue, provoking them to form their own judgments. He often betrays self-destructive anger, rebelling against injustice or stupidity--or against women who might love him. At times he insults our complacency and self-deception with vicious glee; at other times, he recognizes his own frailty, nurturing a sense of fellowship with the oppressed. Seeking both to analyze experience objectively and to sympathize with isolated individuals like himself, Baudelaire's narrator joins criticism and poetry in a voyage of self-discovery, finally accepting experience as impure and mixed. Kaplan contends that the "prose poems" constitute a genre parallel to the poems Baudelaire added to the 1861 edition of Les Fleurs du Mal, both of which illustrate fundamental principles of the theory of modernity he developed in his essays on art. The self-reflective fables in The Parisian ProwlerM/i>--depicting a way of thinking beyond ideologies--clarify Baudelaire's development as poet, critic, and thinker.
Architects Ken Kaplan and Ted Krueger present a blunt criticism of present social and political conditions. In response to the "dogmatic gas" that they perceive as invading today's architectural ideology, they attempt to find an antidote to the "deluded blather" through architectural experimentation.
The reminiscences of Villela, who spent over 20 years with the New York City Ballet under the legendary Balanchine. He discusses his formative years, his introduction to ballet, and the battles he had with and the respect he had for "Mr. B." Includes bandw photos. Annotation copyrighted by Book News, Inc., Portland, OR
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