Finally after 91 years of "scholarly" and mediocre translations of The Agricola by self appointed "learned academics" A. R. Birley has produced a work that demonstrates why Tacitus has been regarded as among the best historians and rhetoricians of antiquity. The beauty and the elegance of the original is apparent in this translation, that has been lacking since the translation of W. H. Fyfe in 1908. The love and the sense of loss that Tacitus had for his father in law is still apparent to us, who live two thousand years after them.

To illustrate the superiority of this translation a few examples follow:

The first example is the translation of the term "divus" as in "divus Augustus" or "divus Claudius". Fyfe translated this term as sainted, and Birley as deified. Both of these seem to be adequate renditions of the term. However the Leob Classical Library's translation, by M. Hutton, translates the term as "of happy memory." This is curious because in their edition they compare the original Latin on the left with the English on the right. One would think that one of Leob's editors would have just looked at the Latin to see if it at least resembled the English. But this is even preferable to the Penguin translation, by H. Mattingly revised by S. A. Handford, wherein they just dropped the term altogether. Apparently Messrs. Mattingly, Handford, and Hutton felt that we the reading public wouldn't understand roman titles of respect and sought to protect us from this pagan ritualism.

A second example occurs near the end of the third chapter when Tacitus laments the passage of fifteen years due to the tyranny of Domitian. Birley's (and Fyfe's was similar) translation reads; "So many years have been stolen from the middle of our lives, years in which those of us who were youths have become old men and the old men have reached almost the end of their allotted span - in silence." The Penguin translation reads; "since so many of our best years have been taken from us - years in which men in their prime have aged and old men have reached the extreme limit of mortality, without ever uttering a word." The Leob translation has, "for out of our prime have been blotted fifteen years, during which young men reached old age and old men the very bounds almost of decrepitude, and all without opening their lips." Apparently the Leob and Penguin translators wanted us (the reading public) to understand that the young are now old and the old almost dead, but in their haste to "dumb-down" the original they sacrificed the beauty, the brevity and the profound nature of Tacitus. Furthermore the Leob and Penguin translators apparently didn't realize that it was "us" that had aged and not other "young men" who had aged.

The final example is from the last paragraph of the Agricola. Birley's translation reads; "Many of the men of old will be buried in oblivion, inglorious and unknown. Agricola's story has been told for posterity and he will survive." The Penguin translation is close and reads; "With many it will be as with men who had no name or fame: they will be buried in oblivion. But Agricola's story is set on record for posterity, and he will live." But the Leob translation gives us; "Many of the ancients will forgetfulness engulf as though neither fame nor name were theirs. Agricola, whose story here is told, will outlive death, to be our children's heritage." The remarkable thing about the Leob translation is that it doesn't even resemble the Latin original with spurious details about children's heritage and engulfing forgetfulness. That is bad but Penguin is worse because the editors added a note that this last passage is "strange". They didn't realize that Tacitus had lifted a line from Horace. One must wonder why these "scholars" learned Latin in the first place if they weren't going read and study the classics. Maybe Penguin's editors simply thought we, the public, would be oblivious to other classical writers and would learn to hate the Romans as they so obviously do.

There are many other examples in both the Agricola and the Germania that I could quote however; that would serve no purpose. In conclusion this translation of the Agricola reminds me of why I admire and respect the writers of antiquity. Perhaps the reason that the ancients are no longer esteemed isn't because they are no longer relevant to our age but because of the miserable quality of recent translations.

This book contains a pair of early works by the great Roman historian Tacitus. Agricola is an homage to the historian's father-in-law, a Roman governor in Britain during the 1st century A.D. Germania describes the German people and their culture during the same period.

The author's admiration for his late father-in-law is manifest in Agricola. Sometimes his admiration comes across as tender, sometimes as fawning. Tacitus writes near the crest of Roman world-domination (Americans take note). He frequently adopts the tone of a tourist in a third-world country -- sometimes looking down his nose at local customs, sometimes in fascination at a primitive culture that compares favorably to a Roman empire suffering decay and corruption. He is a loyal Roman and an educated man. As such, he can glorify Rome and, in the same breath, criticize Rome's tyranny and empathize with the empire's victims. Tacitus lends an eloquent voice to Rome's enemies and those facing enslavement. The speech (probably apocryphal) of Caledonian warlord Calgacus before the climactic battle of the Graupian mountain may be the best section of either book. Backed up to the northern tip of modern Scotland, Calgacus tries to rally his men before battle. "Now there is no people beyond us," he says, "nothing but tides and rocks and, more deadly than these, the Romans ... They have pillaged the world ... They plunder, they butcher, they ravage, and call it by the lying name of empire. They make a desert and call it peace."

Tacitus has no personal connection to any person in the second book, Germania. His writing is more sterile here, but he provides a captivating description that seems part based on observation and part on rumor.

Tacitus is a pithy writer, given to understatement and the wry aside. The translator does a tremendous job of carrying these qualities across in English. Important books both, Agricola and Germania provide some of our only glimpses of the early ancestors of the English people, the Anglo-Saxons and the Britons.

Tacitus' opens up a lost world before the Christians in what was, for many of us, our mother countries - Britian and Germany. The book is divided in two; the first piece `Agricola' (farmer)is named after the father-in-law of Tacitus. Tacitus gives us part biography and part eulogy in order to confer immortality on Agricola's memory at the edge of Empire among the barbarians. Agricola was loved and honoured by Tacitus, and Tacitus gives an account of his military and political triumphs before being called to Rome. For anyone interested in early British history, warfare or pagan themes observed first hand, this is a must have.

The second part is an amazing series of geograpgical, religious, and general cultural observations among the Germans. In this age of political correctness, Tacitus' observations are a delicious treat of unfettered notation of racial difference and character that still ring guiltily true about the Germans (good and bad), especially in the first half of the last century. "Their holy places are the woods and groves, and they call by the name of god that hidden presence which is seen only by the eye of reverence." ... "They count, not like us, by days, but by nights." ... "No form of approval can carry more honour than praise expressed by arms."

Great stuff. Short, entertaining and informative of another time and place.

I thought I'd read this book in my spare time....Black Spider is a compelling story, I couldn't put it down. Yoder has done a very good job on it. It is a fascinating story about a phase of W. W. II that few readers have ever encountered. Once you start reading the book, you can't put it down. Wayne C. Lee, author of 56 western novels.

James Yoder is a great story teller. The literary style captivates the reader...Yoder captures the inner turmoil, the outer chaos, the faith, the glimmer of hope...Dr. Ann Westermann, Clergyperson and Counselor.

Black Spider Over Tiegenhof tells a taut and gripping story of a faith challenged by the face of evil. Highly recommended. Library Journal.

P.R. Reid was interned in an old Austrian Schloss (castle) in the town of Colditz during World War II. He wrote the first book about his experiences in the camp, and The Latter Days At Colditz describing what happened after he successfully escaped. He effectively describes the colorful and engaging characters he was privileged to meet during what would be a bleak existence to an outside observer. The prisoners of Colditz, deemed dangerous by the Third Reich, were concentrated in this one place deep within Austria. The escape attempts described included tunnels that began in top of the clock tower. A glider (that was never discovered by the Germans) that was built to take off from the rooftops. A tunnel the French built that made so much noise that tunnelling could be heard at all hours of the day and night throughout the castle. These two books are rivetting accounts of life as a prisoner of war.

This is one of the greatest novels concerning escape in World War 2 ever written. It focuses on a series of escapes attempted at the famous fortress prison at the town of Colditz known as OFlag IVC. The massive castle was dubbed 'escape proof' by the Germans, yet hundreds of escapes were attempted. Few succeded, but they proved that the castle wasn't 'escape proof'. Reid's book tells the story about his own experiences, as well as those of others in Colditz Castle. This is a fascinating book and everyone should read it. Also check out the movie 'The Colditz Story' which is based on this book. Also be sure to check out two other very good escape books: 'The Wooden Horse' by Eric Williams, and 'The Great Escape' by Paul Brickhill.

Many WWII stories are somber, and for many good reasons. That is not the case with TCS; at times, in its humour it sounds more like Hogan's Heroes than real life. Perhaps the guards at Colditz were not nazis but merely Germans caught on something beyond their control. Whatever, they treated British, French and Dutch prisoners quite decently and involuntarily provided them with several opportunities to escape. These are very well told, in a proficient literary style, by Captain Reid, making for a very entertaining reading. The book is also a testament of the prisoners' heroism and their commitment to personal freedom.

Ruth has witnessed a period of our modern history which is too little known and understood by much of the supposedly educated Western world - and written so well and thoughtfully about her experiences. We share her disappointments, admire her achievements with the German language, freeze with her, are inspired by the stoicism and even good humour of individuals who have suffered so much in war, feel the warmth of her German friends, can imagine the hassle and frustration of crossing into East Berlin and appreciate the fascination Ruth and Charles had with the events, culture, history, politics and customs of Berlin.

This 20 year detour by an interracial American couple in Cold War Berlin is an interesting, compulsive read which also permits valuable insights into personal interactions within the culturally diverse international community.

What a read! Ruth took me to Berlin, placed me in her family, and brought me a rich, honest encounter with a place I knew little about. Thank you Ruth (and Charles) for letting me share your wonderful detour to Berlin.

A compelling account of a 20th-century love story set in Cold War Berlin. Ruth Baja, a girl from an upper class Philippine background, marries Charles Williams, a black American singer, against her family's wishes. They find themselves in Berlin--temporarily they think--soon after the Wall divides the city. They stay and raise a family while Charles pursues a European career. This is a voyage of political, cultural and personal discovery, told with wit, poignance and grace. You'll fall in love with Ruth and Charles, and with Berlin too.

Elizabeth is a wonderful book. The story is moving and real, the art is memorable. And it teaches real truths from and to the heart and mind.

My daughter brings home a library book every Wednesday from her school. On one occasion, she brought home ELISABETH, by Claire Nivola. I read it to her that night and was moved by the story. The next night, Thursday, my husband also read her the story. On Saturday, my husband, a physician, received a call from the emergency room where a woman who was from out of town, was experiencing pain from a previous fracture. He accepted the case and when he began taking her history, he was struck by the similarity it bore to the book he had just read. He mentioned it to her and she said she also knew the story as SHE WAS RUTH, the child in the book. My husband immediately took our daughter to meet her. Just to let you know - the book is a true story.

I came upon this book by accident and bought it for my granddaughter a year and a half ago when she was 4 1/2. We felt that she was too young to deal with the Holocaust aspect of the story, but will eventually reveal it to her. It is a favorite with her, for the story of loss and recovery is touching in its own right. As an American-Jewish contemporary of the doll's first owner, I get chills just reading the synopsis, and a catch in my throat when I tell people about it. The illustrations are beautiful, in their poignant detail and rich colors. This wonderful book deserves to be much more widely read than the sales ranking here would indicate.

This is a well-written and hard to put down history of the Bayreuth Festival. Thanks are due to Mr. Spotts for sifting through many works in German that are hard to find. However, there are a couple of curious statements that make me wonder about the veracity of the book as a whole. In his discussion of the 1951 reopening, he refers to Karajan as an up and coming young conductor from Aachen. Well, in 1942 Karajan left Aachen to assume directorship of the Berlin State Opera, and by 1951 his associations with the Vienna Philharmonic and the Philharmonia Orchestra had made him an internationally known recording artist. Hardly a young upstart from the sticks!

In the same chapter, he refers to a society that was organized around Hans Pfitzner to protest the radicalism of Wieland Wagner's productions. However, Pfitzner died in 1949, presumably without seeing the first of Wieland's stagings in 1951. No explanation is given for this statement.

In general, this is a book written by a well-informed and insightful fan, but perhaps one without a strong musical background.

I consider this book to be very informative, on a topic that may not interest everyone, but anyone who is interested in Wagner and his music should read this book. The links the author makes between the Bayreuth festival and Hitler help explain why Wagner's music was considered central to the National Socialist ideology. Another book which I have read and which I highly recommend for people who do not know much on Wagner but would like to know more is "Wagner without Fear" by William Berger. It mentions the Bayreuth festival, but also summarizes all of Wagner's operas (except "Rienzi"), something which is not found in "Bayreuth: A History of the Wagner Festival."

I will never forget the excitement of seeing this book on the shelf. Admittedly, the heavy emphasis on outstanding photography made me hesitant. But, having been to the Festival a couple of times (and having cut through many a book related to Wagner), I had to go with it. I was not disappointed. Indeed, I would be hard pressed to suggest a better written book on the festival, its relationship to Nazi Germany, the conflict of schools of interpretation, Wagnerism, or ... Wagner! This book sails and you are sorry when the trip is over. It also provides a serious, well-organized discussion of the development of Wagner's music and the characters who desired the association of the Wagner household. The musician, performer, historian, critic, biographer, and disciple will all be entertained.

Missing in many Holocaust works are the experiences of common German Jews and what daily life for them became like after Hitler's rise to power in the early 1930s. One can read about the Nuremberg Laws or the November Pogrom but one can't get a real feel for how those laws impacted daily life except through memoirs and the testimony of common people. Marion Kaplan's book wonderfully fills the gap between history from the "top down" and history from the "bottom up."
This book makes you realize that stories of hiding and rescue weren't just an occasional thing that's celebrated by Hollywood in such things as Schindler's List, but they happend every day. Kaplan also makes it clear the incredible courage involved in hiding and also the courage of others who hid Jews during Hitler's reign of terror. One bone of contention among historians many times is also how popular were the anti-Semitic measures, with many historians asserting that the population at large really wasn't that bad. Kaplan's book destroys any myths that the German popluation didn't overwhelmingly approve of Hitler's anti-Semitic measures, even if they perhaps didn't see the conclusion of them coming in the "Final Solution." If a German didn't know about the anti-Semitic measures it's only because they willingly didn't pay attention or tried to delude themselves.
One interesting part that Kaplan writes about are the Jews who collaborated with the Nazis in cities as "Jew Hunters," including one Jewish woman who led the Gestapo to over 60 hidden Jews in a single day. Reading stories such as this, perhaps Hannah Arendt's frightening conclusion wasn't so far off in that without the help of the Jews many more could have been saved.
The one drawback to this book is that Kaplan focuses on memoirs and testimony exclusively from women and assumes much about the male Jewish population. This could have been a much better book if she had included memoirs from a wider selection of men rather than constantly referring to Klemperer's book.

In Between Dignity and Despair, Kaplan sought to examine the everyday lives of Jewish people under the Nazi Regime. Many Holocaust historians tend to approach the Jewish history from the male perspective (as men were involved in politics). Kaplan sought to explain the importance of women's roles in the Jewish society and how Jewish women urged their husbands to leave Germany when the Nazi gained power and influence.

Kaplan also sought to explain what it felt like to be a Jew living under the Nazi regime and how they became isolated from the rest of the society. She also explained how by and large Germans participated in this persecution and by this she did not mean physical persecution but social persecution.

She gave special attention to the Jewish women and how the women tried to adapt to their new roles and the new situation. The women were able to provide mental and emotional support to their families when their husbands lost their jobs. It was indeed insightful to see how the women were able to cope and how they were the first group to realize the isolation that took place, mainly because of their interaction with neighbors, store owners, public officials, etc.

I would recommend this book for anyone who wants to learn more about the Jewish life under Nazi Germany and the focus here is not those who suffered under the concentration camps but the "ordinary people" who had to cope with their new situation.

Between Dignity and Despair is haunting and painful. The statistics of the Holocaust and "sadistics" of its perpetrators can never capture the true cost in Human terms. History is more than a chronicle and analysis of events. It is also an understanding of the experiences of the people who lived through those events. These experiences do not lend themselves to quantitative assessment and validation. None-the-less, the stories and letters of the people who lived during that time are essential to our interpretation of the geopolitical, military and social events that have shaped our world.

The great question facing us today involves the "collective guilt" of the German people for the persecution and genocide of their Jewish neighbors. The frightening and logical extension of this question is: if such horrors can arise from the children "of the enlightenment," could it not also come from "the sons and daughters of liberty?" It is clear from these accounts that the society as a whole, actively and passively, participated in this process. When studied in Human terms, it is inconceivable that it could have happened any other way.

Cain, after murdering Able, asked of God "Am I my brother's keeper?" The response of the German people to the obvious disenfranchisement, persecution and suffering of the Jews seemed to be: "It depends on your definition of 'brother.'" It teaches us that our high and noble beliefs such as equality, liberty, freedom, and brotherly love, are empty words if not applied universally. This lesson was painfully learned in 19th century America when the statement "all Men are created equal" was understood as only applying to those of White, Northern European ancestry.

Between Dignity and Despair is haunting and painful because within its pages we see our own demons and feel the fragility of our own Humanity. We also see to what extreme our quiet personal prejudices can lead us when they go unchecked by the better angels of our nature.

Ms Kaplan has contributed to our understanding of the horrors of systematic psychological terrorism practiced by the Nazis. No revisionist, seeking to absolve German society, can deny the conclusions drawn from the experiences she has documented. Her work is essential to an understanding of the Holocaust.

In recent years, there has been a great deal of controversy about fiction masquerading as biography. (One thinks of Edmund Morris's DUTCH: A MEMOIR OF RONALD REAGAN and Joe McGinniss's THE LAST BROTHER, his fictionalized biography of Ted Kennedy.) In the case of CUP OF WRATH, there seems to be no doubt that fiction has been employed very ably to tell the story of the life and times of German Resistance hero and martyr Dietrich Bonhoeffer. Given the paucity of Bonhoeffer's extant writings about himself--primarily if not exclusively assembled in his friend Eberhard Bethge's DIETRICH BONHOEFFER: LETTERS & PAPERS FROM PRISON--this book offers what may be the closest approximation possible to an inner life of the German theologian and political activist. It portrays very skillfully the inner turmoil which a Christian pacifist and idealist faced when confronting the evils of Hitler and the Third Reich--and the seemingly inevitable need to take violent action to bring the criminal regime down. Given the author's ready access to Bonhoeffer's surviving relatives and colleagues, and their review of the book in draft, this fictional biography offers a sense of verity and immediacy that few nonfiction biographies provide. The character development and interaction among members of the protagonist's family, friends, and colleagues are exceptionally well done. Further, none of the conversations in the book seems artificial. Particularly noteworthy are the final pages, narrating Bonhoeffer's torment and death at the hands of the S.S., while faced with the torture and deaths of many of his fellow members of the Resistance. I have read few books on either Nazi Germany or totalitarianism in general that so vividly portrayed the dilemma faced by people of good will when forced to deal with the ultimate evil. It is hard to believe that this book is only the author's first--or that it has not gotten more of the recognition it deserves.

This is an incredible story, and is a must read whether or not you are interested in World War II history. The author vividly recreates the era of the thirties and forties in Nazi Germany and allows you to gain deep insight into the mind and character of Dietrich Bonhoeffer. Before reading this book, I had only heard of Dietrich Bonhoeffer. This incredible story showed me in great detail what a holy man he truly was. You will find yourself drawn into the intrigues of the anti-Hitler conspiracy. The bravery and courage of this gentle man against such an evil regime is sobering, particularly given the moral relativism which is so prevalent today. I have been reading World War II history, and the history of Nazi Germany for over 30 years. Not until I finished this book did I truly comprehend the evil that Adolf Hitler represented. For her first novel Mary Glazener was magnificant!!

I want you to read this book ASAP. You will find yourself surrounded by a world of demons and dense schemes of evil. In the midst of lies, destruction, hate and abuse. You will notice that once generations have made their choice to tolerate and serve evil, the time will come when there is no turning back. But you will live with those who kept on walking. You will live and breathe with them, who sought comfort and way by listening to God. What do you do, when evil sneeks over your doorstep with a winning smile ? Is it possible to stop or overcome a devilish structure of oppression and death such as the Nazi State ? You'll find anwer in this book. Be amazed by the light of warm love and determination to help and save. See it shining even in the midst of a military secret service , the "Abwehr". One feels reminded of Masada and Yad Vashem. Yes, you will cry and rejoice with Dietrich, Mary, Josef Müller, Admiral Canaris, persecuted Christian and Jewish people and all the others who walked on. Excellent research makes this story factual. The story is close. Very close. This book will change your life.

I read Free City two years ago, and I've recently reread it simply because I wanted to experience the beauty of Eric Darton's language and ideas once again. The altruism of the unnamed inventor (I think of him as Leonardo) versus the open, selfish greed of his benefactor, Roberto, makes for a brain-twisting, delightful allegory of good and evil. How far will the inventor go to thwart Roberto's lust for power? And is Adela a witch? And, if so, is she a good witch or a bad witch? And what of the duck? Why was HE blessed with speech when his brethren can only quack? Mmmm? Makes one wonder. Which is why I love this book. If you want to exercise those sluggish brain cells, read this book. Also, to the publisher: I can understand why this book is sold-out. What I don't understand is why you haven't reissued it yet!

It is outrageous that FREE CITY is not in print. The world needs it. There is no other book like it; not only is it hilarious and entertaining, it warps the way one understands our world. Track it down; you will not be disappointed.

FREE CITY is a brilliant book. Darton weaves mysticism, science, superstition, and commerce into a mystery that's tragic, funny, and oddly optimistic.

His characters are complicated and sympathetic -- even Friedrich, a fowl I found too preposterous at first and then wound up really liking. Darton's medieval inventor writes: "I am hopeful -- though the ingredients commingled within are not uniformly wholesome -- that the reader may draw something of nutritive value from this roiling stewpot."

I was thoroughly nourished.