For the first time, a Navy SEAL tells the story of the US's clandestine operations in North Vietnam and the Congo during the Cold War. Sometime in 1965, James Hawes landed in the Congo with cash stuffed in his socks, morphine in his bag, and a basic understanding of his mission: recruit a mercenary navy and suppress the Soviet- and Chinese-backed rebels engaged in guerilla movements against a pro-Western government. He knew the United States must preserve deniability, so he would be abandoned in any life-threatening situation; he did not know that Che Guevara attempting to export his revolution a few miles away. Cold War Navy SEAL gives unprecedented insight into a clandestine chapter in US history through the experiences of Hawes, a distinguished Navy frogman and later a CIA contractor. His journey began as an officer in the newly-formed SEAL Team 2, which then led him to Vietnam in 1964 to train hit-and-run boat teams who ran clandestine raids into North Vietnam. Those raids directly instigated the Gulf of Tonkin Incident. The CIA tapped Hawes to deploy to the Congo, where he would be tasked with creating and leading a paramilitary navy on Lake Tanganyika to disrupt guerilla action in the country. According to the US government, he did not, and could not, exist; he was on his own, 1400 miles from his closest allies, with only periodic letters via air-drop as communication. Hawes recalls recruiting and managing some of the most dangerous mercenaries in Africa, battling rebels with a crew of anti-Castro Cuban exiles, and learning what the rest of the intelligence world was dying to know: the location of Che Guevara. In vivid detail that rivals any action movie, Hawes describes how he and his team discovered Guevara leading the communist rebels on the other side and eventually forced him from the country, accomplishing a seemingly impossible mission. Complete with never-before-seen photographs and interviews with fellow operatives in the Congo, Cold War Navy SEAL is an unblinking look at a portion of Cold War history never before told.
This book advances an integrative approach to understanding the phenomenon of psychosocial maturation. Through a rigorous, dialectically-informed interpretation of psychoanalytic and humanistic-existential-phenomenological sources, Mufid James Hannush distils thirty essential markers of maturity. The dialectical approach is described as a process whereby lived, affect-and-value laden polar meanings are transformed, through deep insight, into complementary and integrative meta-meanings. The author demonstrates how responding to the call of maturation can be viewed as a life project that serves the ultimate purpose of living a balanced life. The book will appeal to students and scholars of human development, psychotherapy, social work, philosophy, and existential, humanistic, and phenomenological psychology.
In February 1920 the civil war that had ravaged Russia in the wake of the Bolshevik seizure of power was all but over, and with it the attempt of foreign governments to intervene on behlf of the anti-Communist forces. The government most deeply involved in this intervention was that of Great Britain. Yet scarcely a year later Britain was the first major power to come to terms with the new leadership in Moscow. Richard H. Ullman's account of that cautious coming to terms offers a perspective on the processes by which British foreign policy adjusted to the drastically changed circumstances of the aftermath of World War I. Another important theme is the way in which British policy, and the conceptions of peace and security that underlay it, diverged from that of Britain's closest ally, France. The book is, as well, a contribution of the growing literature on bureaucractic politics and the politics of foreign-policy making, and is a protracted essay on the statecraft and political style of David Lloyd George. It draws on many new sources, among them the interecepted and deciphered telegrams of the Soviet mission in London. Richard H. Ullman is Professor of Politics and International Affairs at Princeton University. The Anglo-Soviet Accord is the third and final volume of his Anglo-Soviet Relations, 1917-1921. Originally published in 1973. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
In two volumes. Volume I: 601 pages including a 522 page index of family names, in alphabetical order, describing the crest of every name listed and where to find an illustration in the volume of plates; a glossary of heraldic terms and other words; and nearly seventy pages of family mottoes with translations of those in Latin, French or other foreign languages. Volume II: contains 130 plates, each depicting 15 family crests in b&w and a further 18 plates illustrating regalia, insignia, crowns, flags, monograms, arms of principal cities etc. also in b&w. There is a key to all the plates which, in the case of the crests, shows which families have which crest.
James Harris (1709-80) was an author of philosophical treatises and an enthusiastic amateur musician who directed the concerts and music festivals at Salisbury for nearly fifty years. His family and social circle had close connections with London's music-making: his brother was a witness toHandel's will, and his correspondents sent him lively reports on all aspects of musical life in the capital-opera, oratorio, concerts, but also about the leading performers, music copyists, and instrument makers. In 1761 Harris became a member of Parliament and thereafter divided his time betweenLondon and Salisbury. His letters and diaries provide an unrivalled record of concert- and theatre-going in London, including exchanges of letters with David Garrick about a production at Drury Lane. As his children grew up an engaging family correspondence emerged. We learn of his daughters'involvement in concerts and amateur theatrical productions; his son, who pursued a diplomatic career, reported on operas, concerts, and plays in the court of Frederick the Great and Catherine the Great. Now, for the first time, it is possible to enjoy in full the lively first-hand descriptions fromHarris's family papers, which contribute fascinating insights into contemporary eighteenth-century musical and theatrical life.
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