I am a Professor of modern European history at the University of San Francisco. I have written or co-edited three major books and many articles and reviews, as well as serving as a correspondent for a German newspaper. My areas of expertise are intellectual, political, military, and cultural history. I also work on the history of espionage and served as a consultant to the CIA on my last book about student radicals in Germany.
This book is beautiful even as its subject is ugly: how the shock of the Great War led inexorably in Germany to the rise of Hitler.
I loved the aesthetics of this book. Eksteins begins by transporting us back to Paris, sitting us in the audience on opening night in May 1913 for Stravinsky's ballet The Rites of Spring, which caused mayhem because of the wild dance techniques and jarring music. Eksteins then takes us on a journey through the culture of Weimar Germany as Berlin seized the title of Europe's cultural capital from Paris.
I was enraptured by the dizzying esthetics of modernism, dada, surrealism, and other, punctuated bursts of artistic trends, both celebrated and opposed, in a right-wing backlash that had real-world consequences. Ekstein's thesis convinced me counter-intuitively that Hitler and Nazism were connected in the irrational conglomeration of birth and destruction, first introduced by Stravinsky.
Named "One of the 100 best books ever published in Canada" (Literary Review of Canada), Rites of Spring is a brilliant and captivating work of cultural history from the internationally acclaimed scholar and writer Modris Eksteins.
A rare and remarkable cultural history of World War I that unearths the roots of modernism.
Dazzling in its originality, Rites of Spring probes the origins, impact, and aftermath of World War I, from the premiere of Stravinsky's ballet The Rite of Spring in 1913 to the death of Hitler in 1945.
Recognizing that “[t]he Great War was the psychological turning point . .…
The American-born son of Jewish refugees, I would have every reason to revile the erstwhile capital of The Third Reich. But ever since my first visit, as a Fulbright Fellow in 1973, Berlin, a city painfully honest about its past, captured my imagination. A bilingual, English-German author of fiction, nonfiction, plays, poetry, travel memoir, and translations from the German, Ghost Dance in Berlin charts my take as a Holtzbrinck Fellow at the American Academy in Berlin in a villa on Wannsee, Berlin’s biggest lake, an experience marked by memorable encounters with derelicts, lawyers, a taxi driver, a hooker, et al, and with cameo appearances by Henry Kissinger and the ghost of Marlene Dietrich.
In Berlin Stories, the book that inspired the movie Cabaret, comprising two linked novellas by Christopher Isherwood loosely based on his first-hand experience as an expat in Berlin in the Twenties, the British novelist evokes the anything-goes atmosphere that reigned in the capital of the Weimar Republic immediately prior to the Nazi take-over. That free-wheeling, raucous spirit survived the Third Reich and still thrives in Berlin today.
First published in the 1930s, The Berlin Stories contains two astonishing related novels, The Last of Mr. Norris and Goodbye to Berlin, which are recognized today as classics of modern fiction. Isherwood magnificently captures 1931 Berlin: charming, with its avenues and cafes; marvelously grotesque, with its nightlife and dreamers; dangerous, with its vice and intrigue; powerful and seedy, with its mobs and millionaires-this is the period when Hitler was beginning his move to power. The Berlin Stories is inhabited by a wealth of characters: the unforgettable Sally Bowles, whose misadventures in the demimonde were popularized on the American stage and…
I’m a historian, with a special interest in the 20th century. I’ve written about Freud’s Vienna, the aftermath of the First World War, strikes in the 1920s and 1930s in America’s cotton South, the plot to assassinate Hitler, and the notorious 1940s gangsters nicknamed “Murder, Inc.”. What intrigues me about the 20th century are the era’s underlying values and the shocking and violent collisions among them. In Casablanca’s Conscience, I use the great film as a lens with which to take another look at the tumultuous times just a generation ago.
Kracauer was a German film critic in the Weimar years. This classic text, first published in 1947, relates the crisis of German culture in the 1920s and 1930s–which climaxed in Hitler and Nazism–to famous Weimar films, like The Cabinet of Dr. Caligari, and M. Kracauer’s effort to track Germany’s cultural zeitgeist in the movies. This relation is not without controversy.
His book remains a fine example of the struggle to see mass psychology in the movies and the movies in the context of mass psychology.
An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism
First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling…
I have been studying this period of German history for more than 40 years and teaching it at Manchester since 1991. I have no family connections to Germany, but I went on a school exchange to Hannover when I was 14 and became fascinated by the country and its history. I chose to do my PhD on this period because it seemed less researched than the Weimar and Nazi eras which followed. Contesting the German Empirewas an attempt to show how historians’ views of Imperial Germany have changed over time, and to give a flavor of their arguments. Reading it will save you from having to digest 500 books yourself!
Essay collections are usually rather variable in quality, but this volume on the multiple ways in which modernity was staged, debated, and contested in Germany between the 1890s and the 1930s, is consistently good. The individual essays are all rich in interesting detail, yet it is the collectively written introduction that is likely to find the widest readership, offering not only a succinct summary of ways in which global discussions about the concept of modernity can help us to understand the course of German history, but also some pointers on how the German case can contribute to global historical discussion.
What was German modernity? What did the years between 1880 and 1930 mean for Germany's navigation through a period of global capitalism, imperial expansion, and technological transformation?
German Modernities From Wilhelm to Weimar brings together leading historians of the Imperial and Weimar periods from across North America to readdress the question of German modernities. Acutely attentive to Germany's eventual turn towards National Socialism and the related historiographical arguments about 'modernity', this volume explores the variety of social, intellectual, political, and imperial projects pursued by those living in Germany in the Wilhelmine and Weimar years who were yet uncertain about what…
While growing up in a Vermont town in the lower Champlain Valley, I became fascinated with the wealth of nearby historic sites dating from the French and Indian War and the American Revolution. Within easy reach of our family station wagon were Fort Ticonderoga and more. I became especially intrigued by German mercenaries hired by the British to fight the American colonists. My interest led me to become a history major at the University of Vermont, and eventually to Germany as a correspondent for The Associated Press. I worked and lived in Germany from 1987-1997, covering the toppling of Communism, the birth of a new Germany, the rise of neo-Nazi violence, and other themes.
Like the Munich Post, Konrad Heiden was among the first explainers of Hitler. As a Munich-based reporter for the Frankfurter Zeitungnewspaper in the early 1920s, Heiden wrote about the Nazis in the early stages of Hitler’s political career. Heiden provides useful insights into Hitler’s mastery of propaganda and lies as means of controlling people’s minds, a topic that is relevant in 21st-century politics.
This narrative is based partly on the author's own observations and experiences. However, even the most intimate episodes and reports of private conversations are grounded on documentary evidence or on statements of individuals who seemed thoroughly reliable.
I’ve always been enamored with the World War II era. It was a time that seems virtually non-existent today, where almost everyone in my country was on the same page. There seemed to be a collective commitment to the struggle. An agreement that this was indeed good versus evil. Of course, I’m sure its nostalgic allure is much greater for those of us who didn’t actually have to live through it. But the strength, perseverance, and everyday heroism it brought out in soldiers and civilians alike, deserves to be chronicled and remembered forever.
Most of this novel’s action occurs between World War I and World War II. It’s the riveting tale of a young German crushed by his country’s defeat and dedicated to doing something about it. He joins a network of assassins and aids in the murder of a high-ranking Jew in the Weimar government. Sent to prison, he meets a unique individual and begins an acute reexamination of everything he’s previously believed. This is a passionately compelling tale of one man looking deep within himself to make sense of what he’s done with his life. The author brings the times, as well as his characters vividly to life and makes this chronicle of redemption a supremely fulfilling read.
Historical Fiction based on a true story of Weimar Germany and the rise of the Third Reich. Winner of 13 book awards.2017 Independent Press Award - Winner - Historical Fiction 2017 Independent Press Award - Winner - General Fiction 2016 IndieReader Discovery Award - 1st Place - Fiction2015 Nautilus Book Award Winner - Fiction - Silver medal2016 Readers' Favorite Book Award - Gold Medal - Fiction -Social Issues2016 Finalist - Grand Prize (Eric Hoffer Award) - Fiction2016 Honorable Mention (Eric Hoffer Award) - Commercial Fiction 2016 Finalist - First Horizon Award (Eric Hoffer Award) - Fiction 2015 Finalist - Foreword…
For almost thirty years, I worked as a cop in the back alleys, poorly lit laneways, and forgotten neighbourhoods in Toronto, the city where I grew up. Murder, mayhem, and sexual violations intended to demean, shame, and haunt the victims were all in a day’s work. Whether as a beat cop or a plainclothes detective, I dealt with good people who did bad things and bad people who followed their instincts. And now that I’m retired, I can take some of those experiences and turn them into crime fiction novels.
I first read Wambaugh long before I was a police detective and, truth to be told, linking policing to crime writing left my mind for many years.
What drew me to Wambaugh and to this book in particular is the way in which the characters are gritty and flawed. Unlike the Larger-Than-Life characters that were the norm back in the day, Spermwhale Wallen, Calvin Potts, and the rest of the night watch platoon are damaged souls.
The Choirboys is an excellent (fictionalized) account of how the daily trauma of police work can impact a person.
They are the Choirboys - the patrol squad of the LA Police attempting to stay sane in an insane world.
The Choirboys are five sets of partners on the night-watch, all men of varying temperaments and backgrounds, but they are joined together by the job, and they have elected to spend their pre-dawn hours in MacArthur Park in relaxing drink and sex sessions they call "choir practice". This is the story of men endangered ultimately not by the violence of their jobs but by their choice of off-duty entertainment.
While growing up in a Vermont town in the lower Champlain Valley, I became fascinated with the wealth of nearby historic sites dating from the French and Indian War and the American Revolution. Within easy reach of our family station wagon were Fort Ticonderoga and more. I became especially intrigued by German mercenaries hired by the British to fight the American colonists. My interest led me to become a history major at the University of Vermont, and eventually to Germany as a correspondent for The Associated Press. I worked and lived in Germany from 1987-1997, covering the toppling of Communism, the birth of a new Germany, the rise of neo-Nazi violence, and other themes.
There is no better scholarly work about the birth and death of Germany’s first democracy than The Coming of the Third Reich, by British historian Richard J. Evans. Evans uses a wealth of archival material to create a masterful narrative of the intrigue, revolts, economic forces, and political chaos that marked the Weimar era. The Coming Of The Third Reich is the first book in a three-volume series, which covers Germany from the end of World War I to the downfall of the Nazi regime.
Richard J. Evans' The Coming of the Third Reich: How the Nazis Destroyed Democracy and Seized Power in Germany explores how the First World War, the Weimar Republic and the Great Depression paved the way for Nazi rule.
They started as little more than a gang of extremists and thugs, yet in a few years the Nazis had turned Germany into a one-party state and led one of Europe's most advanced nations into moral, physical and cultural ruin and despair.
In this consummate and compelling history, the first book in his acclaimed trilogy on the rise and fall of Nazi…
While growing up in a Vermont town in the lower Champlain Valley, I became fascinated with the wealth of nearby historic sites dating from the French and Indian War and the American Revolution. Within easy reach of our family station wagon were Fort Ticonderoga and more. I became especially intrigued by German mercenaries hired by the British to fight the American colonists. My interest led me to become a history major at the University of Vermont, and eventually to Germany as a correspondent for The Associated Press. I worked and lived in Germany from 1987-1997, covering the toppling of Communism, the birth of a new Germany, the rise of neo-Nazi violence, and other themes.
For an understanding of how Munich became the birthplace of the Nazi movement, I highly recommend David Clay Large’s narrative nonfiction work Where Ghosts Walked: Munich’s Road To The Third Reich. At center stage in Large’s book is Munich itself, a beautiful city that before World War I was known as “Athens On The Isar” because of all of the writers, musicians, and artists it attracted. Large tells of the 1918 revolution that toppled Bavaria’s monarchy, of the Munich Soviet Republic that briefly took its place, of Bavarians’ embrace of right-wing extremism that followed the communists’ bloody ouster, and the giddy enthusiasm showered upon a mustered-out World War I corporal named Adolf Hitler as he spewed anti-Semitic and anti-democratic venom at rallies.
Munich was the birthplace of Nazism and became the chief cultural shrine of the Third Reich. In exploring the question of why Nazism flourished in the 'Athens of the Isar', David Clay Large has written a compelling account of the cultural roots of the Nazi movement, allowing us to see that the conventional explanations for the movement's rise are not enough. Large's account begins in Munich's 'golden age', four decades before World War I, when the city's artists and writers produced some of the outstanding work of the modernist spirit. He sees a dark side to the city, a protofascist…
My fields at the University of Notre Dame, where I teach and do research, are philosophy and literature, and I have often been attracted to broader questions. I found ugliness to be a topic of considerable fascination, also for students, and yet it has almost never been addressed. I wrote the book to discover for myself what ugliness is and what it has to do with beauty.
George Grosz was the first great artist I encountered whose works were both strikingly powerful and deeply ugly. Grosz portrayed the ugliness of the Germans during the period before Hitler’s ascent.
His works are intentionally disordered. Yet the combination of ugly content and dissonant form work together, such that on a higher level, form and content are in harmony.
Grosz painted intemperance, gluttony, lust, and unbridled power as the driving forces of society. He was a master at showing us the ugliness of the ugly. The book offers an excellent combination of images and text, with an appropriate focus on the Weimar years.
