I'm usually not one to read autobios, but since it is Spike Milligan I made the exception. It was funny, just as I expected it to be, but there were parts that were very moving and sad; as should be expected I suppose for a WWII novel. His accounts of the absurd are always dead on hilarious, and I found myself reading a passage over and over and just cracking up.
I knew that Spike suffered from depression, and I think in parts it was very apparent. The places that are especially poignant are when he relates a humorous tale, and then explain how he visited the place years later, and how the memories are too much for him to bear. In one particular paragraph he laments: "Oh, Yesterday, how you plague me!"
I love Spike Milligan and his comedy, and have read several run-of-the-mill internet bios on him but his own biography really brings him to life. A great read!

I've now read all of Spike Milligan's war memoirs and think they're excellent (I'm also not a big fan of the Goons). While generally very funny you can really sense his depressive moods even at times when he's not explicit about them.

And I haven't stopped laughing. I had never heard of Spike Milligan before, but I found his book funny in a way that only the Brits can be, and touching with many moving parts about the war from a crazy man's perspective. I have since read five other Spike Milligan books, and none of them were a disappointment. Seeing WWII from Spike's point of view is realistic, funny, and very thought provoking. My British friend told me he (Spike) was crazy. At first I thought that was just a saying, but it's true. Spike is mentally defunct, in a very happy and bubbly kind of way. You will enjoy this book.

THis is the real, hard to believe story of Hitler's ascent to the corridors of power. Chancellor was the only real job he ever had, other than his military service...and this book charts his rise over all the educated, polished saps who tried to use Hitler, and wound being suckered by him instead. His seizure of power in Germany, thanks to Von Papen and Hindenburg was as unfortunate for everyone else, as it was lucky for him.
If you want to know how Hitler rose to Chancellor in Germany, read this book.

There is little I can say that would do justice to Turner's magisterial work. It is carefully researched and documented and is extraordinarily well-written. While it is very much a work of historical scholarship, it is also written with an eye toward an almost dramatic narrative style (without the embellishments which some of today's "popular historians" resort to). To be quite truthful, I got so absorbed by the book, I couldn't put it down. Of course, you know what happens in the end, but Turner's writing is so vivid and his analyses so keen that it is an absolutely riveting account. And Turner's general thesis--that Hitler's rise to power was anything but inevitable--is one that he proves (at least as far as I'm concerned) beyond a shadow of a doubt. Chance played a tremendous role, as did human error and personal folly and misjudgment. On the topic of personal folly, Turner's assessment of General Schleicher is justifiably harsh. It is almost unfathomable to ponder, for example, that Hitler's rise might not have happened had Franz von Papen not nursed an inner animosity toward Schleicher, which led him to collaboration with the Nazi leader. So many if's. But such is history. And as far as histories of the Third Reich go, those who want to understand how Hitler became Chancellor of Germany will turn to this phenomenal work.

Mr. Turner's study on the Hitler's rise to power is excellent and maddening. It is excellent as an historical treatise reviewing the facts that caused Hitler to seize power and it is maddening in that it did not have to happen. In some circles there is a misbelief that Hitler's rise to the Chancellorship was inevitable. Turner puts that myth to rest in describing how the personal ambition of Hindenburg, Papen and Schleicher, as well as their ineptitude had more to do with Hitler's rise than Hitler himself.

The writing flows and keeps the readers attention riveted. This is an important book and a must read for anyone interested to Nazi Germany.

this is clearly the best book I 've read on Hitler. Very unbiased and focused, the author reviews the successes and opportunities as well as the mistakes, errors and crimes of this greatest politician maybe of all times.
Haffner (the author) is able to take a look at ideas, and ideologies from a very neutral viewpoint and talk about them intelligently without emotional bias ("this is bad because Hitler believed in it"). If you want to understand the strange phenomenum -Hitler, this book is a must.

A book written during the Cold War (1977) by a German journalist who emigrated to the UK in 1938 and worked there for most of his life. In a thin book Sebastian Haffner is capable of gving a razor sharp analysis of Hitler's successes and shortcomings. In 7 chapters he discusses his life, achievements, successes, mistakes, failures, crimes and finally treason.

De book has as hypothesis that Hitler's actions could only lead to the ultimate defeat, but also that he tried to aggravate this defeat to make it as heavy as possible for the German people who had deserted him. Hitler had a two-pronged approach: on the one hand he wanted to fight a war for world rule, one the other hand he wanted to destroy as many Jews (and gipsies and homosexuals and mentally ill people) as possible. This last aim was in conflict with the first one because the people and infrastructure necessary for this left his generals with unsolvable problems. Also, Haffner shows that there were 2 opportunities (1938 and 1940) when Hitler could have come out with an enormous gain in territory if he could have been content with what he had achieved.

The only minor drawback of the book is in my opinion that, even though Hitler was the one who took all the decisions, he needed people to execute these decisions. Haffner brushes aside this side of things a little too easy, leaving Hitler as the sole criminal. Despite this drawback, this is till a very intriguing book.

I read this book several years ago in Dr. Blakemore's History of Germany Class at Mary Washington College. I still often refer to the book. Short and to the point the book shows beyond a doubt how Hitler destroyed Germany. Not only is this a good look at Hitler and the Nazis but the book destroys the myth that Hitler did some good for Germany. This book shows the true Hitler and the terrible things he did. Again, there are many good books on Hitler: Toland's work, Study in Tyranny by Bullock, Explaining Hitler, etc. but for a quick read, and a informative one, read this book.

For years scholars have documented what happened at the hands of Hitler... however, few have taken the time to fully place a historical foundation beneath the these events. Mann's encompassing perspective on western history challenges the reader to look beyond cursory scholarship directly into the heart of Hitler's psychological, cultural and religious struggles. A ground breaking work from this veteran writer!

Hitler's Three Struggles opens up a whole new area of the study of this diabolical leader as well as the real origin of Nazism that is patterned in a distorted way ( as all fascisms are) on the ancient Romans. No other writer dealing with Nazism has shown the link between Nazism and the cultural-psychological presented by the Greek, Roman and Jewish elements in the Western mentality. In reading this work, it opened my mind to completely new ways of viewing Hitler and Nazism, but also to a new understanding of Western history and how it continues to influence the world. A must read for those wanting to understanding our continuing historical journey.

For the first time, hitler's three struggles: the neo-pagan revenge, clearly explains what hitler was all about and why he diabolically selected the Jews as priority victims.

This is a nice little volume. A small book with a lot of information. I consider myself well read on this subject and ended up learning a lot from this book. It was so easy to read I finished it in a little over a week. Wistrich has some great endnotes too. He has documented everything and I got some great suggestions for further reading from the notes. The cover and the type font make this a very attractive volume as well. As stated in previous reviews this is a very good volume for the learned person. Wistrich will bring you up to date and refresh your memory of past details. However, I disagree with it being for the absolute beginner. You still need to be familiar with the non-fiction format and have some subject knowledge in order to get the most out of this book. It also looks great on a bookshelf.

This interesting book by Robert Wistrich is an attempt to concentrate on the question as to why the Nazis placed so much emphasis on the extermination of the European Jews, often when doing so meant endangering the other goals they were surging toward during the conduct of the war. The author, of course, understands that the whole of the national Socialist movement sprang from the discontent and absurd racism of the Volkist history of the Reich, much of it dating back centuries. From the time Germany was forged out of the crucible of Prussia and its environs, the collection of Germanic peoples looked for those unifying themes that would untie them as distinct people and extend to them the greatness that had so eluded them and their culture. Given their history of cultural insecurity, it seems as no surprise that an entity like the Jews had to found and scapegoated to justify their grandiloquent dreams.

As the author points out (and as others such as Lucy Dawidowicz so famously in "The War Against The Jews'), this scapegoating effort was no only an expediency arising from the discontent and chaos of the Weimar years after World War One, but also a deep-seated cultural tradition extending back hundreds if not thousands of years. Indeed, questions regarding Jewish claims to citizenship had been hotly debated both officially and unofficially every place from the many legislative forums to the floors of the local pubs as long as anyone could recall. There was nothing new or novel about German prejudice against and antipathy for the Jews. And as he adds so succinctly, this was (and indeed is) a problem extending far beyond German borders. After all, we do well to remember that most European countries turned their backs on the problems of the Jewish émigrés attempting by the thousands to flee the coming horror in Nazi Germany. Indeed, many such as the Swiss and the French cooperated in handing over indigenous Jews to the German authorities during the war.

Moreover, the climate of blind indifference extended to the pulpits of the clergy, as well, and persistent rumors claim that the Pope himself was cognizant of the plight of the German and other European Jews and did little if anything to intercede. In fat, this book provides a yeoman's service by articulating and discussing a number of salient and competing interpretations, ranging from Daniel Goldhagen's controversial thesis enunciated in "Hitler's Willing Executioners: Ordinary Germans and the Holocaust" to Christopher Browning's thesis as expounded in several recent books (see my reviews of both authors' works). Wistrich also recapitulates the differences between the so-called "intentionalist' and "functionalist' theories of the Holocaust, and as I have written elsewhere, I believe that while the evidence indicates a functional approach, I also believe that the same evidence is consistent with the idea that Hitler and the Nazis always intended to exterminate the Jews (along with all of the indigenous populations of the conquered territories to the east). All the functional argument really proves, as far as I can see, is that existential circumstances played into the execution of a standing policy which was a virtual cornerstone of Nazi social policy.

As someone professionally educated as a sociologist, I was fascinated by the author's discussion of the meaning of the Holocaust in terms of history, and the question as to whether or not it represented the "antithesis of Western Civilization" or its realization. This treads very close to a searing indictment made by sociologist Max Weber of the eventual drift of rationalism as practiced in western societies toward a kind of non-thinking and non-substantive form of the rational impulse, a shadow which contented itself with the forms and practices of rationalism but none of its intent and rigor. To the extent he was correct that such a society would become an "iron cage" imprisoning man and endangering everything good that he stood for, perhaps Mr. Wistrich is onto something here. Enjoy!

Wistrich does a wonderful job of condensing information about a huge topic into a very useful small volume. It doesn't go into a huge amount of detail about every aspect of the Holocaust or the anti-semitism leading up to it, but it is a great book for beginners, particularly high school or college undergraduates looking for an introduction to this horrible subject.
As the previous reviewer said, Wistrich does do a wonderful job of documenting his sources and I too got a lot of further reading and research ideas from this book.

The very idea of recognizing the validity of anything an admitted Nazi had to say was anathema to me: A Holocaust refugee who landed in America at age ten.

But, Hitler's Last Courier is making a difference. The message of the book is a magnificent paean to the honesty and integrity of the writer.

Armin Lehmann gives us a picture -- in meticulous, almost overly zealous, detail of how the Nazi machine worked in Germany. Idolatry of Hitler took over, became stronger than any religion, and all participants involved cheerfully allowed themselves to be brainwashed.

Little kids judged each others blondness, parents skillfully eliminated any non-Aryan ancestors from family trees. Armin Lehmann omits nothing. He even translates every military and youth-group term into English so that the reader will have a complete picture of the Nazi hierarchy.

As a youngster, it seems that duty and obedience -- part and parcel of many unsuccessful attempts to please his judgmental "SS"father -- were major priorities. And, on he went, to become a teen-age soldier, earning two Iron Cross medals for heroically saving his fellows even when he, himself, was grieviously wounded. His reward, at age 16, was being assigned as Courier in Hitler's final bunker.

So, why celebrate this book, this gray recount of Nazi bureaucracy, of Hitler's propaganda machine, of worship at the Nazi altar? What is there to gain from such an exposition?

In a word, everything!

Because at age 16, when Armin Lehmann was shown the carnage of the extermination camps, the residue of the ovens, the skeletal remains of both the dead and the barely living, he underwent a change that took charge of the rest of his life.

From that moment, he became a fierce advocate for non-violence, for peace, and a dedicated enemy of all hatred. And he has never stopped. He has given his heart and his soul to erasing even the most remote possibility that any kind of hate movement could ever arise again.

He pulls no punches, makes no attempt to deny guilt, fully accepts the karma that has painted his destiny as an activist.

This man is to be respected. Hitler's Last Courier was written for a reason. At this point in time, at this juncture between peace and a possibly deadly World War III, we must all heed the message his message.

This book is for all ages. Every potential skinhead, racist, Aryan Nation member, and homophobic kid on the block needs to read it, learn from it. History, in fact, does not need to repeat itself.

Born in Germany, Armin Lehmann was four years old when Hitler came to power. In the impressionable years of childhood, he was indoctrinated with the principles and goals of Nazi socialism - at home by his father, at school by his teachers. His friends parroted the messages and his beloved radio was the main purveyor of the doctrines of Hitler.

As I read this book, I remembered my own childhood during WWII. Growing up in California, learning hatred for the Japanese and Germans and blind patriotism for the USA. It never occurred to me to doubt or question just as it did not occur to Armin. He was a child and had no basis for comparison with what he was being told. When his lessons in courtesy and respect taught him to assist an elderly, blind Jewish woman across the street, an older teen beat him up to teach him a greater lesson about consorting with Jews.

By age sixteen as the war drew to a close, he was compelled to be a soldier in the Hitler Jugend (Hitler Youth). Wounded during his first engagement, he was assigned the role of courier for Artur Axmann (leader of the Hitler Jugend and, at the end of the war, commander of the Hitler Youth Home Defense Force which included a close-combat tank destruction brigade named after him).
Axmann took refuge in the cellars of the Party Chancellery in Berlin and Armin came with him - one of the last couriers of the Third Reich. He, like the other children bearing messages directly in the line of fire, was frequently wounded. Unlike most of the others, he survived.
Armin not only carried messages but assisted in the Infirmary with the wounded and in searching out supplies. When possible, he helped carry the bodies of the fallen back where they could be buried. It was also his role to take messages to Hitler, Bormann, Goebbels and others sheltered in the Fuehrerbunker.
In the final days, he and Axmann moved into the bunker complex where Armin witnessed the events surrounding the wedding and the suicide of the leader that he had so admired and followed. As I saw Hitler from Armin's eyes I realized what a pathetic, though evil, person he was. I was struck by the kindness Eva Braun showed to the exhausted young boy. What would lead a woman like this to marry a man like Hitler - to go to death with him?
This was a fascinating book because of the insight into the day-to-day life of a soldier in war, the molding of a young mind to believe things that were terribly wrong, the horror and tragedy of war for men, women, children and animals, the final days of men whose names after 60 years still send chills, and as a powerful reminder of the importance of a democracy, a free press and an open society.

Author Armin Lehmann possesses a sole right to this book's title, both now and forever. He most probably was the last surviving courier lad available in the Berlin bunker to serve Adlof Hitler, "the Führer". Moreover, Hitler (together with his longtime mistress, Eva Braun, now his last-moment wife) was about to kill himself even as the youth, ignorant of that fact, departed on his final, almost certainly suicidal mission.
For Russian tanks rumbled up the street behind him as he ran for dear life, their guns firing after him ...
Such is the essentially final, certainly climactic scene, set in mid-1945, of "Hitler's Last Courier"; whereas Lehmann's memoirs begin with also often horrifying family scenes, dominated by his overbearing Nazi father, dating from the early 1930s.
The whole 15-year span deserves our study and understanding, for only by realizing the bitterness of such a brutal upbringing can we appreciate the realities of its consequences such as the boy's simultaneous hatred of and avid desire to please his father, and his suceptibility to brainwashing and the acceptance of rank misinformation.
Even as young Armin's perspective outgrew his family's heavy influence, there was precious little relief; for now the state's constant oppression, hypocrisies, and lies could simply take over mastery as the dominant theme in his life, leading even to war.
Our word "incredible" is badly overworked, and for someone like myself, born in 1932 and still able to recall both prewar times and the vast changes that swept over us even in Canada from Sept. 1939 onward - for instance, the loss of my dear cousin Leslie over the English Channel in 1940, and those stabs of fear as German U-boats torpedoed ships and killed men right here in the St. Lawrence River - I unfortunately know all too well how tragically credible this book really is.
Buy the work, then, by all means! - together with such overview works as Sir Winston Churchill's compendious non-fiction series (for its broad perspectives as much as anything) and Erich Maria Remaque's war fiction (for its complementary human insights), if you are able.
I do however hope to see a Second Edition someday, providing photos, maps, and a table of major events during the period covered.
The present edition is a marvel; the next will surely excel, although a roomfull of books would be needed to tell the entire tale of such a massive, far-reaching conflict as World War II.

I read this book in 1980 not long after it was first published in 1979 and I found it to be a very easy to read account of Hitler and the German Army during the early period of World War Two. As mentioned in the earlier review, the author offers a general overview of this period but covers such things as Hitler and his relationship with the German Army and its commanders, Hitlers 'style' of warfare, the concept of 'Blitzkrieg' and the weapons & tactics involved and finally the camapign in France. The book is well researched and is very easy to read with 20 maps, 59 B&W photos and a number of line drawings and charts to assist the reader. I do not think that the book or any of its ideas has aged since it was first published in 1979 and I would recommend it to anyone who is looking to understand how the German Army conquered all before it in 1940.

This is a well researched, heavily illustrated and easy to read book on the subject of Blitzkrieg or 'Lightning War'. The specific area of interest is it's application by the Germans in their invasion of Holland, Belgium and France in the summer of 1940. The meat of the book is in the middle. Part 3 (Blitzkrieg: Weapons & Methods) looks at the development of the Blitzkrieg concept, originating, Deighton says with Prussian military doctrines. Ideas by English Tank experts such as J.F.C. Fuller and B.H. Liddel Hart were added later. This section of the book naturally spends a fair amount of time on the emergence of the Tank and it's use as one of the principal weapons of Blitzkrieg.

Blitzkrieg is defined as 'a swift, sudden military offensive, usually by combined air and land forces'. Deighton adds - 'and as evolved by Heinz Guderian and used by his forces', giving credit to the man who perfected the concept. Indeed, the German breakthrough at Sedan in May 1940 (see Part 4 'The Battle of The Meuse') and the subsequent routing of the French army is a spectacular example of the use of Blitzkrieg. Offcourse any discussion about battles in France in 1940 must conclude with the Germans surrounding and trapping over 250,000 men of the British Expeditionary Force (BEF) on the French coast near Dunkerque.

It is to do with Dunkerque that the most startling supposition emerges from the book. The introduction was written by Gen. Walther Nehring, who in 1940 was Guderians' Chief of Staff and was with him at Sedan. Nehring writes with conviction, and Deighton's arguments seem to support the view, that if not for a precipitous Halt Order by Hitler, the German forces could have captured the entire BEF. It is argued that the prospect of a 'Disaster at Dunkerque', rather than the miracle that we have come to know of, would have been too much for the British to stomach. The opportunity for sueing for peace and of obtaining an end to the war by May 1940, would have been a real possibility in such circumstances.

In this book Deighton looks at the political social, and econmic factors, as well as German military history in the 1930's to show how this led to development of the panzer division, and Blitzkrieg. Much of this book is spent decribing Hitler's rise to power, terms of the 1918 treaty, and the political games that were played out in the 1930's giving Germany it's new empire. This is important, because it had such a large effect on how Germany proceeded for the rest of the war. The book then goes into the development of tank warfare, how the tatic evolved from the shock troops at the end of WWI, how Germany's leaders had found new better ways to fight, and why the allies were still so backward in their thinking.

Dieghton points out that in May 1940 the only real difference between the German and allied armies was their leadership and tatics. Deighton gives a clear and easy to understand analysis tank warfare, as well as giving very good backgroung into the sorounding political and social situations that many WWII history books lack.

"Hitler and Stalin" places two of history's most destructive figures side by side, telling their stories both individually and (periodically) in comparison. Bullock's technique makes for some mighty interesting reading, with a thorough examination of just how so many people came to their deaths through the whims of two men. Using their political careers as a window into Hitler's and Stalin's personalities, Bullock emerges having drawn a portrait of the similarities and differences between the two men, and how their characters led to the the events that defined their lives. The book also paints the lives of the two men in human and historical terms, making sure to document just how they managed to cause suffering on such a grand scale.
From their humble beginnings, Bullock examines how Hitler and Stalin managed to gain positions of absolute power over their respective countries. Stalin is portrayed as an almost shadowy figure, spending his early career lurking in the background behind the public figure of Lenin, waiting his chance while expertly playing the game of power politics. Hitler, on the other hand, is depicted as a gambler, taking chances he wasn't expected to take, attempting to seize power through calculated boldness and his fiery public persona. With both men, however, Bullock stresses how they succeeded by going just a little farther than others, capitalizing on their enemies' perceptions of what they would and would not do.
Another comparison Bullock draws between Hitler and Stalin lies in the men's complete lack of anything that could appropriately be described as human feeling or comparison. To both, as Bullock says, other people were simply objects to be manipulated or obstacles to be eliminated. To Stalin the objective was getting and keeping power, to Hilter achieving his wild dreams of a German empire, with neither goal leaving any room for consideration of others. It seems to be this one characteristic, above all others, that Bullock sees as motivating the two dictators' action. The starving of the Russian peasants, the Holocaust, the purges, and the massive suffering of the war are all presented by Bullock as just extensions of Hitler's and Stalin's personal missions. He refers at one point to how casually Stalin was able to send to their deaths men with whom he had long worked, as if it required no more effort than the stroke of his pen. By discussing how easily both Hitler and Stalin brought such suffering upon others, Bullock provides a chilling view of just how inhuman these men were.
Bullock tells the tale of these two despicable, yet compelling figures with an expert balance of detatchment and emotion. Although he typically discusses his topic in a very matter-of-fact manner, he will occassionally pause and tell tales of the horrors of collectivization, or the purges, or the Holocaust, bringing an appropriate tone of righteous indignation to these events. Clearly, Bullock's intention in attempting to get inside these men's heads is to expose how truly evil they were, rather than attempt to put down some psychobabble to explain their actions. And one can't help but be moved in his epilogue, where he discusses his experiences in Jerusalem at the Holocaust memorials. If this book has a problem, it's its incredible density, but this is a very minor flaw. 4.5 stars.

For most of the past century, there have been two schools of thought about Hitler and Stalin. One states that Stalin wasn't really so bad, because he fought the Fascists; the other insists that Hitler wasn't really so bad, because he fought the Communists. Alan Bullock leaves both viewpoints in the dustheap of history, where they belong. Both Hitler and Stalin came as close to pure evil as human beings ever get; both stood for the utter repression of the human spirit and the annihilation of anyone who might possibly be suspected of standing in their way. Bullock demonstrates this in exhaustive, but never exhausting, detail. More people should read this book, if only to be cured forever of any temptation to support any form of totalitarianism, any time, anywhere.

What is most fascinating about this novel dual biographical approach toward understanding both Hitler and Stalin is the startling degree to which such an unorthodox approach illuminates one's understanding not only of their remarkable similarities, but also their philosophical, tactical, and personal differences. This truly is a fascinating and absorbing book, and it is well enough written that the narrative seems to spin along on its own strength, and we find ourselves captivated by the degree to which these two seem star-crossed in terms of their destinies. As Bullock deftly illustrates, the main differences between the two dictators were found in their personalities. Yet, even after all these crucial differences in both personal style and substance are considered, the degree to which they were similar is both remarkable and frightening to comprehend.

Stalin was a creature of bureaucracy, the ultimate insider, someone who knew how to use the organization bonding the Communist Party together for his own rise to prominence and power, an increasingly clever, adroit, and masterful practitioner of power politics. He was nothing if not careful, cautious, deliberate, and shrewd. Hitler, on the other hand, was a gambler, a masterful politician, a bold, easily bored, and endlessly distracted dreamer whose natural ability to charm, captivate, and enchant helped him to rise by extraordinary means. In many ways, these men came to prominence in quite different ways; Stalin, by mastering the art of bureaucratic manipulation and quietly assuming key roles within the organization that gave him friendships, alliances, and information that he used masterfully to rise through the ranks of the faithful, and Hitler, the manic-depressive natural leader whose charismatic popular appeal and desperate, authoritarian, and often violent measures were used to gain political power through extraordinary means.

Yet Bullock shows how similar both men were in terms of the way they used their power once established to execute their national responsibilities, and in the way they ruthlessly pursued their goals without mercy, remorse or any concern for others who suffered for their sake. Both used extralegal means to maintain position, both cruelly purged potential rivals through purges or political overthrows. Both bordered on being psychotic; Hitler coming close to being declared certifiably insane, and Stalin by having all the symptoms of classic paranoia. Certainly both had personal histories that can most kindly be described as bizarre in terms of the ways in which they treated those close to them as well as the populace in general. Both also seemed convinced of their own central and unique role in terms of their country's destiny, and indeed each identified his own importance in terms of succeeding in accomplishing that historical mission. Also, both were guilty of massive crimes against humanity, both against the opposing forces they captured and their own subjects. Hitler persecuted German citizens who were Jewish, Gypsies, or otherwise "undesirables", while Stalin persecuted Ukrainians in general and peasant farmers in particular, not to mention the systematic purges of thousands of Army, Navy, and Air Force officers he or his cronies suspected of potential disloyalty.

This is a wonderful book in terms of its insights, unusual research sources, and provocative speculations regarding each of these two quite unique historical figures. The narrative carries itself in an entertaining, edifying, and comprehensible fashion, and his use of photographs and maps serves the text well. All in all, I would have to describe this book as a must-read for anyone seriously interested in how the personalities and characteristics of these two key leaders in 20th century history figured into the unholy calculus of madness and mayhem, otherwise referred to as World War Two. I highly recommend it. Enjoy!

During the 1930's it was fashionable to include small photographs of Hitler attached to cigarette packages. You would then paste the photos sequentially into an album that included glowing textual references to Hitler and the Third Reich. I own the original version of this 1936 book and this new offering is considerably less powerful than the German version. Still, this is an effective way for people of our era to understand and grasp the enormous importance of propaganda in the Third Reich.

Goebbels and Hitler were masterminds of this art and the book personifies their mastery of mass persuasion. In the photographs, Hitler is presented as a "normal guy" in civilian clothes, surrounded by adoring children at his retreat on the Obersalzberg. He is also presented as the omniscienet Fuehrer, presiding over mass rallies in Nuremberg, mesmerizing the audience. The photographs, all by Hitler's official photographer, Heinrich Hoffman, are excellent representations of a nation gone collectively mad, seduced by Hitler's paralyzing charisma.

One cautionary note: this book is not written by Propaganda Minister Joseph Goebbels. The text is incidental and was certainly not penned by Goebbels, who scarcely appears in this book. Despite the misleading title, this is an essential book for anyone with an interest in how Hitler effectively and brutally utilized propaganda in the 30's.

I've had this same book for many years only it was simply entitled "Adolf Hitler." I thought it was no longer in print until I finally found it here on Amazon. This is one of the most fascinating books I've read. It is a reproduction of the 1936 cigarette album many Germans had on their coffee tables during Hitler's years of victory. I have one of the original cigarette cards pictured in this book, and it is an excellent reproduction in detail and size. The book contains tons of photos (some in color) celebrating Hitler and the advancement of the German nation after he came to power. He is shown with children, giving speeches, relaxing (one photo has him peeling an apple), visiting wounded soldiers, at rallies, inspecting a Mercedes Benz racing car, visiting a factory, etc. Chapters celebrating different aspects of Hitler's successes and interests are provided by such important party members as Propaganda Minister Josef Goebbels (he penned the preface and four of the 13 chapters, which may be the reason he is listed as the author), Architect Albert Speer (who, of course, would become disillusioned with Hitler during the war), Hitler Youth leader Baldur von Schirach, Four-Year Plan head Fritz Todt, etc. There is no historical commentary, no afterward added from our benefit of hindsight, and no qualifications expect for the line "Lies told to the people" on the back. There is only the raw propaganda Germans were subjected to when the Nazis controlled the press and most of their thoughts and lives. One eerie piece is a memorial written by Rudolf Hess for SS Brigadefurhrer Julius Schreck who died in 1936. Schreck looks like a bloated Hitler with the characteristic mustache (decoy?). Of course, the whole book is eerie knowing where the happy people in these photos were headed. I am glad this book was preserved, translated into English, and put back into print so future generations can learn what powerful and all-encompassing propaganda can do to a nation.

I just got this book yesterday,and stayed up til midnight scan- ning it. The subject matter is repellent, the packaging and mar- keting of Adolf Hitler, for the German nation, but at the same time, it is fascinating to read. Dr. Goebbels utilized some very "modern" ideas to market Hitler, such as using paste-in stickers for booklets, showing Hitler using the then revolutionary concept of flying all over Germany to get to multiple sites for speeches. Giving the impression he was omnipresent, and concerned about all economic and age groups-where ever he popped up.

It is both horrifying to read, because you know what happens even tually, but strangely fascinating, watching how the devil's mar- keter packaged him, complete with glowing testimonies from people coming from all walks of life. In all the photo ops, der fuehrer is shown smiling benevolently, as ecstatic crowds greet him. Yes there are the requisite baby-kissing, attentively listening to children, etc.

So, if you wish to study the black side of marketing and packag- ing a political figure-read this book. And remember it's lessons well when you are asked to vote for someone that is packaged a little too smartly.....there lurks no friend, but a savage mask- ing behind a sheep's clothes.

Well worth the price for it's historical value, as well as the wrenching reality that one has seen such slick packing of polit- ical figures before-remember The Selling of the President?

Do we really need another book about "Der Fuhrer"? Surprisingly, if the book is this one, the answer is yes. Because this book looks at Hitler from a different angle- one that is pretty much unknown to the layperson: this book is about the "sensitive," "artistic," and "cultivated" Hitler. As you might expect when using such words in connection with Hitler, contradictions abound. The man who could weep while listening to the music of Wagner is the same man who, the moment he came to power, fired or drove into exile musicians and artists he didn't approve of: Jews, Bolsheviks, Modernists, etc. On the other hand, if he liked you personally and thought you were talented, he would sometimes look the other way- he supported, or at least didn't harass, several people who were Jewish or who disagreed with him politically. Some of you may have winced when I used the word "cultivated" in connection with Hitler. But, consider the following: he was very well read (and had a tremendous, possibly photographic, memory); he was a competent, though unimaginative, artist- he could draw and paint as well as your average art school student (and he was completely self-taught); he knew a tremendous amount about the operas of Wagner, and was a good judge of opera singers; he was knowledgeable about architecture, could make architectural sketches, and could intelligently discuss technical aspects of the craft, etc. Having said that, we must remember the flip-side- Hitler was very narrowminded. His love of art was pretty much limited to 19th century German Romantics and some of the painters of the Italian Renaissance. He thought all modern art- which for him started with the Impressionists- was trash, and decadent to boot. He loved opera, but only Wagner and Puccini. He didn't much care for other music- he wasn't really enthusiastic about Beethoven, Mozart, etc. He couldn't stand Brahms, although he eventually did develop a taste for Bruckner. He thought modern music, with its dissonances and atonality, was horrible. In architecture, he admired the Greeks and Romans- but in his building plans for the Third Reich everything had to be magnified to colossal size to awe people. Glass and steel structures left him cold, although he grudgingly realized he'd have to agree to build skyscrapers if only to show that National Socialist Germany could outdo America. Surprisingly, Hitler generally liked his culture "neat." He didn't want political messages- he wanted high-quality, beautiful, soul-elevating art/music/sculpture. Of course, he would tell you what qualified as high-quality, beautiful, and soul-elevating. It may seem odd, but Hitler was embarrassed by the crudity of his Nazi cronies. The vast majority of them had no interest in art, music and sculpture. They'd be dragged, although only silently kicking and screaming, to Bayreuth for the yearly dose of Wagner. They'd fall asleep and start to snore. No wonder the Little Corporal preferred the company of artists, musicians and sculptors. Perhaps the ultimate irony is that the man who wanted "art" with no political content- "art" that elevated people and helped them to get away from the problems, big and small, of everyday life, succeeded in politicizing culture to an unprecedented degree. This book is a brilliant achievement by Mr. Spotts. It forces us to look at Hitler not as a ranting, foaming-at-the-mouth, caricature, but as a fellow human being with, dare I say it, some positive qualities. Yes, the devil is given his due.....but Mr. Spotts never forgets who or what he is dealing with. Why did I give this review the title I did? Mr. Spotts mentions that it was agreed that, when the end of the "Thousand Year Reich" was at hand, the Berlin Philharmonic would add Bruckner's Fourth Symphony to the programme. On the night of April 13th, 1945, the symphony was finally played. As people filed out of the concert hall afterwards, Hitler Youth were in the lobby, hawking cyanide capsules to interested takers. Poor Bruckner probably turned over in his grave.

When I lived in Germany 45 years ago I simply could not understand how those decent and civilized people had allowed themselves to be taken in by Hitler. And amazingly in our many conversations they freely admitted that they still believed, up to a point, that Hitler had been "good" for Germany!

Since then I have turned over a whole library trying to find an answer to that question. Three books go a long way toward explaining the phenomenon of Adolf Hitler: Ian Kershaw's two-volume biography; "Hitler's Table Talk" edited by John Toland; and now Frederic Spotts' "Hitler and the Power of Aesthetics."

"Who is afraid of Adolf Hitler?" Frederic Spotts asks at the end of this extraordinarily revealing book. "Just about everyone," is his rhetorical response. Another question this book asks, tangentially, is "Who doesn't loathe Adolf Hitler?" Well, Hitler was personally responsible for the murder of millions of people and a war that destroyed Europe. All of this within living memory -- many of us were nurtured on the events of WWII. So how could any decent person admit to a shred of sympathy or even understanding for a monster like this Hitler? One would rather admit to sympathy for the Devil.

If you wish for any insight into a person's psychology, start with the music he likes and his taste in art. In this book Mr. Spotts makes the case that that these things were essential and central in Hitler's life and career and he does this convincingly. He also proves, to my satisfaction at least, that Adolf Hitler actually had some talent as a painter and an architect, not first-class by any means, but enough that he knew good stuff from trash and that he knew full well the "socialist" art produced during the Third Reich was trash. But one of the most revealing aspects of "Hitler and the Power of Aesthetics" is what it reveals about us, the readers. If we are honest with ourselves, we have to admit that much of the art and music and architecture Hitler liked, we like it too, and the stuff he didn't like, that turns us off also. Mr. Spotts concludes that Hitler's personality had many facets and the value of this book is that it forces us to look closely at them and open our eyes to the tiny glimmers of ourselves in there.

This is a thoroughly researched, and horribly fascinating, guide through the cultural interests and pretensions, and later the cultural policies, of Adolph Hitler. Spotts takes us through Hitler's mix of boundless ambition and lack of talent in the visual arts, through his interest in music, and his fascination with architecture. He outlines Hitler's attempt, once he'd gained power, to create a compliant community of artists in his nightmarish Reich, his efforts to get artists to produce what he wanted: the carefully controlled art-in-the-service-of-the-state, populist and uplifting, that Plato stipulated was the only kind of art that could be admitted into his Republic. (Was Plato a precursor of Nazism? Absolutely. An influence? Probably not.)

Though, as with any murderous tyrant, it pleased Hitler to grant indulgences. He allowed some artists in the Third Reich to get away with defiance that would have had anyone else killed. But these indulgences, Spotts observes, were not enough to inspire many of the artists who remained in Germany with anything approximating courage. Musicians like Richard Strauss and Wilhelm Furtwängler made huge accommodations and moral compromises with the Reich, relying on pathetically miniscule gestures to salve their consciences.

No-one who has not been in the same circumstances has the right to condemn them too easily, but at a time when extraordinary courage was called for they showed only human weakness. Though Strauss composed _A Hero's Life_ and Furtwängler conducted it, neither lived it. If we are tempted to believe that artists have special claims to virtue, or that interest in art is likely to lead a person towards virtue, then Spotts' book is an antidote for that sad illusion. Spotts is rightly hard on those artists who, like Karajan in particular, helped put a civilised gloss on Nazi barbarism.

It has been objected that to focus on the arts in the Third Reich instead of, say, the war in Russia or the Holocaust, is to trivialise the evil of Nazism. That view is mistaken. To focus on one part of a catastrophe where the horrors are more subtle is not to trivialise other, still more atrocious, aspects. Instead it is to show how its distinctive and chilling lack of humanity pervaded every aspect of Nazism. In focussing belated attention on the Third Reich's cultural politics, Spotts does not diminish our appreciation of the horror of fascism but enhances it.

Some information in Spotts' book may provide unwelcome news for vested intellectual interests. For example, Spotts exposes the rose-coloured portrait of Hitler in August Kubizek's _Adolf Hitler: Mein Judengfreund_ ("The Young Hitler I Knew"), showing it to be as fraudulent as the "Hitler" of Hermann Rauschning's imaginary dialogues. Hitler apologists have long clung onto "Kubizek's book", with - from their point of view - good reason given Kubizek's romanticisation of the young Hitler, but Spotts makes it clear that "Kubizek's" book was merely a ghostwritten hoax.

Another myth that is dying hard (though dying) is the one promoted by Köhler, Rose, Zelinsky et alia, claiming Hitler formed his political views and dreams out of composer Richard Wagner's operas and prose. Spotts shows that Hitler was indeed impressed at a young age by Wagner's opera _Rienzi_. But Hitler failed to note that in this early Wagnerian opera (Wagner himself dismissed _Rienzi_ as a "pecadillo of my youth") the Roman Tribune Rienzi becomes puffed up by the pride of his early successes, and is brought down by that unheeding arrogance. Rienzi fails to show compassion for those killed on either side, including his own, in Rome's brief civil war, preferring to spend his time and money on grand costumes and ceremonies, and he fails (eventually) to show mercy for those who fought against him. As a direct result of these failings he is overthrown by the Roman people: Wagner's actual message was obvious. It was Wagner's ill-luck that an evil lunatic, active a century after Wagner's opera was written, liked the sound his music made but failed to take note of his operas' meanings and messages.

But Hitler did eventually get Wagner's message, Spotts reveals, finding Wagner unpalatable after the defeat at Stalingrad brought home the lesson taught in Wagner's _Ring_ cycle: that pursuit of power destroys love and leads to moral degradation and downfall. From then Hitler could no longer bear to listen to Wagner, and in his last years turned instead to the schmaltzy operettas of Franz Lehar. There was no such person as "Wagner's Hitler", Spotts concludes; to Hitler, Wagner was only an opera composer. As an aside, Spotts noted that, Hitler excepted, the Nazi Party as a whole preferred Beethoven.

It would have been good to see more on the Reich's use of radio and film. Spotts hardly touches on Leni Riefenstahl's films, nor on films by other Nazi directors with similar amounts of artistic ambition, or pretension, but none of Riefenstahl's regrettable talent. The theatre under the Third Reich is also only barely covered. But in its central fields - music, painting and sculpture, and architecture including the abstract art of the autobahns - Spotts is comprehensive and authoritative.

Finally, it's important to note that Spotts is not being quite as ambitious as the book's blurb might suggest. Spotts does not "explain" Hitler, still less explain him away, by showing the extent of his artistic interests, and of his artistic disappointment. He writes only about one aspect of the great "catastrophe" (as Spotts called Hitler), but an aspect that contains considerable illumination on the whole.

Spotts provides a great deal of valuable information and insight on the arts in Hitler's Germany, with much that is (so far as I can tell) new and - mirabile dictu! - authoritative and reliable.

Cheers!

Laon