After years of micromanaging his environment and serving as the facilitator of an international money laundering system for some of the world's most notorious crime families, Gordon Dessler's criminal empire is in trouble. When past indiscretions and current enemies begin to erode his comfort zone, Dessler responds by creating a chilling game. With the proper motivation, be it money, power, or love, Dessler believes that human beings will kill one another to attain their desires. Thus, the Assassination Game is born-and Dessler plans to broadcast it on the Internet. In Dessler's home on Wilhelmina Island, a haven for the rich and privileged, eight strangers must fight against one another in a game to the death. The participants come from a variety of occupations from professional criminals and murderers to everyday working people. With the game a runaway hit on the Internet, Dessler believes his empire is secure. But he doesn't count on the effect of personal relationships that develop between the players. And one relationship in particular may just ruin everything .
For decades people have been mysteriously disappearing and no-one seemed to know or care, until the Institute of Folk Mystery and the Occult notice that something is not right. Rich men have been giving away their fortunes to someone only to be found naked and dead soon after. Sam paxton goes to the U.S.A. and tracks down the suspect, Lech Bronevski, to Youngstown, Ohio,where he embarks upon a trail of slaughter and death. With the help of a streetwise kid by the name of 'Mack' Mackenna, they embark on a journey of self discovery, a journey that neither could have predicted would lead to such devastation.
Originally published in 1957, this study shows what the various sections of the Germans of every rank and class were thinking of the ruling men, how far they supported or opposed them, what were their wishes, hopes and fears, prejudices, ideals and standards of right and wrong. The influence of foreign thought, and parallels with the development of other nations is also discussed. The diverse sources used for research for this volume include religious and legal writings, literature, broadsheets, verses of minstrels, folk-songs and later, newspapers.
In this riveting landmark biography, Brown illuminates the life and career of the author of "Madame Bovary," shedding light on not only the novelist but also his milieu--the Paris and Normandy of the revolution of 1848 and of the Second Empire.
Reprint of the original. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Sir John Herschel, one of the most noted astronomers of his time, arrived at the Cape in 1834 to spend four years observing the southern sky. During this time he produced over 100 exquisite landscape sketches. They are reproduced in this book, together with a narrative text which provides background to Herschel's life and work and sets the illustrations in their historical and geographical context.
Only one year after the presentation of the first Academy Awards on May 16, 1929, two musicals joined the select group of five films nominated for Best Picture. One, The Broadway Melody, won the award, and since then, 37 additional musicals have received Best Picture nominations. Of those, nine have won the award. This book covers all 39 Hollywood musicals nominated for Best Picture. It explains why each film was nominated and why the winners won, points out the influences that guided the productions, and discusses these films' influences on succeeding films. Plot descriptions are provided, along with facts about the acting, direction, choreography, and orchestration; complete cast and production credits; and comments from critics.
Didi, Gogo, Pozzo, Lucky—the bizarre names stand out strangely against the bare-bones landscape of Waiting for Godot. In an intriguing new study of one of the most haunting plays of this century, Frederick Busi shows that these names serve important dramatic functions, reinforcing the changing roles assumed by the mysterious characters in their tortuous search for—and avoidance of—self. Busi also explores Beckett's convoluted literary relationship with James Joyce, especially as revealed in the plays-within-the-play and verbal jigh jinks of Finnegan's Wake, where, as in Godot, the same characters keep dreamily encountering themselves in different disguises, under shifting names. Beckett's strong affinities with Cervantes and the common debt of these two authors to the traditions of commedia dell'arte lead Busi to important insights into the shifting master-slave relationship so prominent in Godot, as in Don Quixote. The religious implications of Godot—the subject of so much critical debate—are placed in a new perspective by Busi's provocative observation that certain early Christian heretical works and certain books of the Apocrypha contain not only the idea of the Devil/God, Judas/Jesus identifications implied in Godot but also a number of names that Beckett seems to have had in mind when he wrote his play. Rich in linguistic, historical, and psychological learning, Busi's examination of the names in Godot leads the reader to a fuller awareness of Beckett's extraordinarily complex imagination. As Wylie Sypher writes in the foreword, the book is "an invitation to expand our reading of Beckett in many directions.
Frederick Brown, cultural historian, author of acclaimed biographies of Émile Zola (“Magnificent”—The New Yorker) and Flaubert (“Splendid . . . Intellectually nuanced, exquisitely written”—The New Republic) now gives us an ambitious, far-reaching book—a perfect joining of subject and writer: a portrait of fin-de-siècle France. He writes about the forces that led up to the twilight years of the nineteenth century when France, defeated by Prussia in the Franco-Prussian War of 1870–71, was forced to cede the border states of Alsace and Lorraine, and of the resulting civil war, waged without restraint, that toppled Napoléon III, crushed the Paris Commune, and provoked a dangerous nationalism that gripped the Republic. The author describes how postwar France, a nation splintered in the face of humiliation by the foreigner—Prussia—dissolved into two cultural factions: moderates, proponents of a secular state (“Clericalism, there is the enemy!”), and reactionaries, who saw their ideal nation—militant, Catholic, royalist—embodied by Joan of Arc, with their message, that France had suffered its defeat in 1871 for having betrayed its true faith. A bitter debate took hold of the heart and soul of the country, framed by the vision of “science” and “technological advancement” versus “supernatural intervention.” Brown shows us how Paris’s most iconic monuments that rose up during those years bear witness to the passionate decades-long quarrel. At one end of Paris was Gustave Eiffel’s tower, built in iron and more than a thousand feet tall, the beacon of a forward-looking nation; at Paris’ other end, at the highest point in the city, the basilica of the Sacré-Coeur, atonement for the country’s sins and moral laxity whose punishment was France’s defeat in the war . . . Brown makes clear that the Dreyfus Affair—the cannonade of the 1890s—can only be understood in light of these converging forces. “The Affair” shaped the character of public debate and informed private life. At stake was the fate of a Republic born during the Franco-Prussian War and reared against bitter opposition. The losses that abounded during this time—the financial loss suffered by thousands in the crash of the Union Génerale, a bank founded in 1875 to promote Catholic interests with Catholic capital outside the Rothschilds’ sphere of influence, along with the failure of the Panama Canal Company—spurred the partisan press, which blamed both disasters on Jewry. The author writes how the roiling conflicts that began thirty years before Dreyfus did not end with his exoneration in 1900. Instead they became the festering point that led to France’s surrender to Hitler’s armies in 1940, when the Third Republic fell and the Vichy government replaced it, with Marshal Pétain heralded as the latest incarnation of Joan of Arc, France’s savior . . .
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