WOW. I read this play for an english class and irght now we are watching a production of it. As an activist I have to say this play captures many of the tensions in all schools of the left. Performed in the early 60s, it reveals the debate that raged between the 'old' and 'new' left. All I can say is unbeleivable.

Written in the early sixties, the play frequently abbreviated as Marat/Sade is set in 1808, yet many of the comments are distinctly directed toward current events, notably the upheavals in Eastern Europe. Now, with the fall of the Soviet Union behind us, the play takes on even greater significance. Despite the reassurances of the asylum director, whether a mere fifteen years or well over two hundred years have passed, the nature of revolutions, and the fanatics who cause them, has not changed. Combining historical events with modern theatrics, Weiss has produced what has been and will continue to be one of the most disturbing, as well as one of the most important works ever to be performed on stage.

Filled with stories, legends, songs, and recipes, The Everything Christmas Book is a fun read, as well as an authoritative reference. The editors observe that the true spirit of Christmas is a sense of wonder and "this book is intended as a celebration of that wonder."

They begin with the history of Christmas and how it "evolved over many centuries, enduring occasional tribulation, scrutiny, and abolishment along the way." Folklore, such as why red and green are Christmas colors, complements the historical facts. They also explain how decorated trees and Santa Claus became a part of contemporary Christmas celebrations.

The chapters on stories and poems include such well-known tales as Dickens' "A Christmas Carol" and Moore's "'Twas the Night Before Christmas," in addition to other favorites. Music and complete lyrics are provided for forty Christmas carols. The list of Christmas videos contains more than fifty titles.

Do you know in what year "A Charlie Brown Christmas" was first broadcast or when "Miracle on 34th Street" was first released in movie theaters? These are two of the 106 questions included in "The Ultimate Mass-Media Christmas Trivia Quiz." (Answers are at the end of the chapter!)

If you're up to a little traveling, check out the section on local festivities. Tree-lighting ceremonies, parades, Yule log celebrations, feasts, and lighting festivals are available all across the States. The editors provide times and contact information for each event listed.

No Christmas is complete without lots of good food, and the editors have selected a tantalizing sample of holiday recipes, including wassail and "Special Green and Red Vegetable Salad." Recipes are divided into sections for breakfasts and brunches, appetizers, side dishes, main courses and accompaniments, sweets and desserts, and drinks.

The next chapter offers recipes for gift-giving. And yes, it does include fruitcakes!

The editors conclude with a section on how Christmas is celebrated in other parts of the world and a discussion of Hanukkah and Kwanzaa.

The Everything Christmas Book is an ideal gift for people of all ages and interests. Be sure to get a copy for yourself also--it will soon become a treasured favorite.

One of the most powerful readings of my life. I'd never heard of Weiss though I knew about the holocaust. Thinking of the death of millions of jews, gypsies, communists, mentally retarded and other 'undesirables' is always hard. A Series of Cantos from the transcripts of trials of Nazis in Germany after WWII. Weiss focuses on inviduals from this mass of innocent victims producing a tale to chill the heart, make any human cry and fill up with rage at the same time. The monstrous nazis have no shame or sense of guilt. Those who have survived the butchery give their case to the derision of those in the dock. Prosiac in language, overwhelming in tragedy. The sadistic ... Nazis are exposed. The simple humanism of their victims is eloquent and the reading is unforgettable

There are so many photobooks about nudes but not too many I really enjoy as a new experience. Peter's book is one of these rare experiences. It is a wonderful journey in black and white, a photo- journey through female beauty, strength and humour. Peter managed to show his models just as they are- as women. not as models, women proud and strong, sensible and thoughtful, funny and serious. however he did it - they showed their best - and that's what is characteristic for them and not for the normal, boring beauty of- how-you- have- to- be - beautiful. there seems to be a friendship between him and them, no shame, no posing, just enjoying together being what we are. and as female reader I feel touched and proud with them.

No hay otro libro donde uno puede entender la mentalidad de Weiss, un dramaturgo que a través de sus obras nos muestra documentos de guerras. El teatro documento, es una forma de mostrar esa realidad que muchos vivieron y otros no, denunciando los horrores de la guerra, moviendo la conciencia social mundial para que se conozcan estos crimenes, que hasta el día de hoy siguen y seguirán sucediendo.

W. G. Sebald, "On The Natural History of Destruction," Random House, NY, 2003, originally published in German as "Luftkrieg und Literatur," 1999, translated by Anthea Bell.

During World War II, Allied bombers attacked 131 German towns and cities destroying 3.5 million homes and killing or injuring 600,000 German civilians. In 1997, Mr. Sebald gave a series of lectures on the literature describing the effects of these attacks. He was surprised that so little had been written about them. He infers that Germans are still in denial about these horrors of war. This volume summarizes his lectures plus the letters he received in response to news reports of his lectures. Appended are three additional essays.

Central to his theme is the fire storming technique developed by the Allies to destroy major cities. Dresden, Hamburg, Cologne, Nuremberg, Ludwigshafen, Darmstadt, and Halberstadt are named as destroyed in this way. The destruction of Hamburg on July 27, 1943, by the RAF supported by the US Eighth Air Force, is described in gruesome detail. High explosive bombs weighing up to 4000 lb. were used to destroy windows and doors. They were followed by incendiary devices both light (to ignite upper stories) and heavy (to ignite lower floors). Within 20 minutes, massive fires were burning that created flames to a height of 2000 meters and hurricane force winds that stripped roofs from buildings and drove human beings along like torches. The fire burned intensely for three hours. Glass windows melted. Sugar stocks boiled. Corpses sank into molten asphalt streets. Survivors were found aimlessly wandering the streets-some carrying deceased infants. Numerous people died in bomb shelters, in cellars, and buried in the rubble. Flies, maggots and rats soon swarmed through the area. The stench of rotting corpses was everywhere. Eventually dense green vegetation grew over the ruins. Photos of the destruction at that stage are many. A selection of these photos is included in the book.

The letters Sebald received confirmed a general lack of detailed information. A few accounts were found in diaries and in several novels. Some accounts were privately published. An apparent taboo by publishers was reinforced by the poor commercial success of the few works that did make it into print. Considerable amounts of disinformation circulated in Germany making it difficult for individuals to know the facts of these raids. The author cites the traditional strict control of intimate feelings within the German family as one cause of the apparent lack of interest in the destruction caused by the war.

One book his letters did find is: Dr. Hans Joachim Schroeder, "Die gestohlenen Jahre-Erzaehlgeschichten und Geschichterzaehlung im Interview: Der zweite Weltkrieg aus der Sicht ehemaliger Mannschaftssoldaten, (The Stolen Years-Narratives and History in Interviews: The Second World War as Seen by Former Soldiers), Niemeyer, 1992. The author discounts this source as being surprisingly stereotypical.

Seebald's thesis may in fact be overdrawn. Numerous disasters-both natural and military-have occurred over the centuries. Few are described from the victim's viewpoint. The Japanese have publicized the effects of nuclear war using survivors' stories from Hiroshima and Nagasaki (seen here on public television), but similar accounts of the destruction of Tokyo or the Battle of Okinawa are lacking. Even reports of the London Blitz tend not to be told from the point of view of the victims.

The normal reaction to any tragic event is for people to get on with their lives as soon as they are able. Germans seem to have done that. Only Germans can decide whether they need to re-examine the pain of wartime destruction.

This volume is translated from German. It reads reasonably smoothly. Classical German is enamored with long, multi-clause, compound sentences. A few of these got by the translator. The second sentence of Chapter 1 runs 133 words. The Foreword ends with a 78 word sentence, followed by a 47 worder.

All of this is closely related to German efforts to come to terms with World War II. That process seems to be moving along. The current volume is a glimpse of that dialog. The book does demonstrate the difficulties Germans have writing about World War II-even 60 years after the event. Sebald retells the story of animals injured in the bombing of the Berlin zoo. Published soon after the war, that report reeks of Nazi propaganda. Later, in an apparent effort to ward off charges of Neo-nazism, he replies to a letter with charges of pseudo-intellectualism and with strongly anti-Nazi comments. No matter how innocent, any discussion of the war risks the suspicion of spin meisters. References. No index.

This posthumous volume of Sebald's non-fiction writing is a major contribution to German literary criticism and politico-cultural analysis. Accompanying his reflections on the traumatic impact of the air war against German cities are essays studying the very diverse reactions of three 'witnesses' of that time as reflected in their post-war literary works. In AIR WAR AND LITERATURE, originally presented as the Zurich Lectures, Sebald delves deeply into some very uncomfortable questions. The air war on 131 German cities killed some six hundred thousand civilians and destroyed more than the homes of seven and a half million people. Why have these events resulted mostly in public silence for decades? Why have so few literary works attempted to speak to the traumatic impact on the population? Most Germans seem to have tried to come to terms with the realities of the war years by suppressing their immediate pain and the longer-term suffering. Sebald has thoroughly researched a multitude of authors, both in fiction and non-fiction. Yet, he deems their explanations unsatisfactory. Heinrich Boell is cited as one of the early exceptions, yet publication of his book, The Silent Angel, was delayed by forty years.

Sebald contemplates the different causes for this persistent silence. For example, basing himself on a range of contemporary sources, he confronts the reader with a detailed description of the Hamburg firestorm. As disturbing as his account is, Sebald's reflective style makes it readable. His objective reporting neither criticises the Allies' campaign nor does he apologise for German actions leading to the war. He wonders, though, whether the depth of the traumatic experiences of this and other air attacks may have left many people numb and dazed, unable to express their reactions for a long time. The account of a young mother wandering through the station confused and stunned is one of several examples. Her suitcase suddenly opens onto the platform revealing the charcoaled remains of her baby.

Sebald's intent is not to shock but to explain the deep sense of loss that must have been felt by people like her. He further contends that at that time in the war, the growing acceptance of guilt for the Nazi's atrocities led in many civilians to an acknowledgment of justified punishment by the Allied forces. Last, not least, after the war many Germans experienced a 'lifting of a heavy burden' that they felt they had lived under during the Nazi regime. Concentrating on building the new Germany focused their minds on a better future. The publication (in German) of his Lectures in 1997 resulted in a range of reactions from readers. He reflects their varied views and comments in a postscript, thereby adding a fascinating 1990's dimension to his "rough-and-ready collection of various observations, materials, and theses".

The three authors who are the subject of the essays in this volume may be better known to students of German literature and culture. They represent a fine example of Sebald's skill as a contemplative and sensitive literary critic. At the same time, these essays complement Sebald's Lectures in a more fundamental way. In terms of coming to terms with the Nazi period and its atrocities, each one represents a specific type of German with his own means and ways of dealing with the recent past. Alfred Andersch is presented as having reinterpreted his personal history to fit his vision of self-importance in post-war Germany. Jean Amery, of half Jewish parentage, suffered through SS torture and survived various concentration camps. For the rest of his life, which he ended himself, he did not lose the nightmares of his torment. It was not until the mid-sixties, that he found his voice to impart his experiences in the form of essays on exile, genocide and resistance. Peter Weiss, who had lived in exile most of his life, found his self-expression mainly through painting and theatre productions until he published late in life his major fiction work, Aesthetics of Resistance.

This collection of "mediations on natural guilt, national victimhood, and the universal consequences of denying the past" is a significant socio-political document. Its importance for today's reader goes beyond the concrete German situation. As it addresses more fundamental issues of dealing with a society's traumatic past experiences, Sebald also confronts the need to develop the capacity to heal while learning and sharing the lessons from that past. [Friederike Knabe, Ottawa Ontario]

I found Sebald's descriptions of the Allied firebombing to be moving. One reviewer faults Sebald for his inclusion of several pages on the destruction of the zoo, because the reviewer thinks the original description that Sebald uses gives comfort to neo-Nazis. Perhaps it does, but that doesn't make it invalid. And if you look at the totality of this work, it certainly does not in any way condone Germany's Nazi past.

What Sebald is discussing is human memories of the bombings, and the repression of those memories. He isn't discussing the rights or wrongs of the bombings, which he mentions only briefly in what he calls a postscript. I don't think this should be used, as another reviewer has, to argue that he is minimizing German guilt. You could take the other point of view equally well: that he is minimizing Allied guilt by not discussing criticisms of the Allied bombing campaign. These issues are not germane to his narrowly-defined topic. In other words, the book is not a history of bombing, nor is it a discussion of the ethics of bombing civilians; rather, it is a description of what people remember about these events in later years.

I found the second part of the book, a discussion of Alfred Andersch, to be equally interesting. Here is a man who, according to Sebald, used his novels to rewrite the story of his life, and he wrote it as he probably should have lived it, rather than as he did live it. And he did this without ever apologizing for (or even admitting) his less than heroic behavior in real life.

The last two essays were less interesting to me than the rest of the work. They might be more useful to specialists in modern German literature. This brings me to what I consider a defect in this book. Surely the people about whom Sebald is writing are not household names in the U.S. I think that the translator or publisher should have included brief biographies of these individuals.

And while we are on this subject, I think the translator could have added to Sebald's footnotes too. In the section on Andersch, we are told that he divorces his wife in 1943 because she is Jewish, thus leaving her and their daughter at the mercy of the Nazi regime. But, although we are told of the fate of Andersch's mother-in-law, we are never told what happens to his ex-wife & daughter.

All in all, however, I think this work is well worth reading. It's not one that you will forget once you have finished reading it.

For a family member of a person recently diagnosed with Hodgkin's Lymphoma, this book is a valuable resource for understanding this rare condition. It's a difficult read, but the book is organized into managable sections. For a lay person, it is probably best read in conjunction with less-technical material to provide definitions and context. Topics covered include historical perspectives of diagnosis and treatment, current research, and up-to-date treatment options.It provides in-depth explainations of the role of various diagnostic techniques in classification and staging. Additional topics include the relationship between Hodgkin's and the non-Hodgkin's lymphomas as well as the association with Epstein-Barr virus. The issues of pediatric Hodgkin's and long-term complications of treatment are also covered. The book's strongest recomendation is that it is one of the few available with current information specific to Hodgkin's, as opposed to the non-Hodgkin's lymphomas. It provides the lay person with requisite information to discuss Hodgkin's with the medical team, in sufficient detail to make informed decisions.

As a layperson not familiar with medical terms and theories I found the book hard to follow and understand at first. After a bit of slow reading and comprehension it became a wonderful source of knowledge about cancer and hodgkin's disease

This timely review of the literature on Hodgkin's diseasereplaces the venerable work by Henry S. Kaplan and betters the master.The section written by Richard Hoppe, M.D. carries on the finest traditions of radiation oncology at Stanford. This is a very fine work and one anyone in the field of oncology should have on his/her book shelf.

Like the New York JobBank 2000, this book is very useful. If they give a CD with all the addresses in the Book, that would be more helpful. Except in few companies (that I checked), info is upto date.

The Marat Sade is truly misery made beautiful, where else can the hero be made to suffer as much as Marat does. Through the course of the reading one can not help but desire to emulate the characteristics of Marat, this and the conflict between Marat and Sade are the elements of the story that keeps interests and stimulates thoughts. Weiss argues both the points of view of Marat and Sade well and ultimately delivers an interesting message.

The Marat Sade does have a captivating message, but much of the beauty in the delivery of the message may have been lost in the translation. Translations are difficult to accomplish, especially when many words do not translate from one language to another, and when verse or meter is concerned, especially verse or meter that rhyme it is nearly improbable. However, the story did have its moments of intrigue especially some of the monologues. To be truly understood The Marat Sade needs to be seen. This realization is probably what inspired someone to make the play into a film.

The film about was not stimulating aside from a few moments of irony in the simplest form made out to be humorous. The story is meant to be seen on the stage. The time period that the film was made in was not equipped well enough with special effects ,not that there was need for this in the Marat Sade but it could have made some kind of impact. The Low budget appearance of the film added to the melancholy of the film that appeared worse than the disorder of the mental patient playing Charlotte Corday and defiantly makes the viewer experience moments of sudden and involuntary sleep. If done today and well budgeted as well as directed the play could be portrayed through cameras in a most pleasing manner. Still, the play is meant to be seen on stage, this is the true way for the audience to feel the experience that Weiss wanted otherwise he would have written a film script.

I do not claim to be an expert on Marat Sade or some official critic or well read for that matter but neither is the general public and that is who an artiest should want to reach considering they are the majority, even though they fall to rule. This play is a product of the past. I feel that most American people would not be able to relate to it and they would fall to be lured into the story. The martyr roll has been over used - after all many people were force fed a similar story since birth.

When the character of Marquis de Sade shouts out at Marat, "Can't you see this patriotism is lunacy/Long ago I left heroics to the heroes/I turn my back on this nation/I turn my back on all the nations. . ." the reader can truly sense what the play of Marat/Sade is all about. As the reader gets lost in the production of a play within a play, the idea of surrealism presents itself almost at once. The reenactment of the killing of Jean-Paul Marat by Charlotte Corday seems to be a secondary plot alongside of the chanting and screaming of idealism concerning the revolution and liberty. A division of strategies regarding revolution develops between Marat and Sade. Marat advocates fast action, while Sade preaches that it is hopeless or fruitless to even bother to act. Of course, the cries of the asylum patients tend to distract, but it all adds to the surreal, bizarre nature of the play. I felt that one of the aspects the play touches on is how the revolution affects those living within it. The ideas of liberty, freedom, and revolution all make for interesting debate, but I felt one of the themes that struck me was the reality of revolution as it affects those who live around it day in and day out. One of the more striking scenes of the play, for me, came when Charlotte is in the middle of a monologue, describing children playing with toy-like guillotines. The very idea of children treating such a deathly object as a toy is disturbing, but also brings to life the desensitization that revolution brings about. The play reminds the reader that the death of masses makes the value of life and the impact of an individual death meaningless. That alone is a very somber and surreal thought. There are literary techniques throughout the play that seem to remind the reader that the dramatization depicts things which took place in the past, but threaten to become a part of our future. Marat/Sade attempts to mock the aristocratic classes that seem to catalyze such mass movements of revolution in the first place. The play seems to slap the hand of those in power through the action that takes place throughout. Every time that the characters in the play (the asylum patients) seem to become too excited or outspoken, when the truth behind their madness seems to get out of control, the "Herald" of the play speaks out to placate Coulmier, the director of the asylum. I believe that Weiss tries to make the play more socially acceptable by presenting it in a way that mocks and brings out the weakness of the debacle of government that followed, in this case, the French Revolution, but actually cuts across so many more layers than just one isolated revolution.

Our society will always have people who have large amounts of material wealth, and those who do not. That is an injustice that we must rise above, and change ourselves. Whether our means of change is reached through violence and upheaval or through escape within oneself, this is the core dialectic that the play tackles. Although at times this play is a little hard to follow or even outlandish, the play offers a look at how society deals with its corruption and injustice once it escalates to what may seem to be a point of no return. The element that seems to be the most surreal in my mind is that the ranting of the characters within the play, although they are asylum patients, reveal more truth and brutal honesty than the audience would like to admit. I think Weiss is clever to choose some very clear and controversial themes and present them in a way that is socially appropriate. He does this by blatantly speaking out against established forms of government and rule, but discrediting the characters speaking by placing them in an insane asylum. It is true to say that there are many elements of the play that never seem to completely gel in the end, or come together nicely as in most plays. But to be honest, if the story had come together neatly in the end, the essence of the play would have been lost. I think the point of the play is to show that although people may have conflicting ideals of how to handle a revolution, whether of government or ideology, things do not always work out as we had hoped. People may preach liberty and justice, but when the reality is murder and riots, there are two conflicting messages being handled at once. I believe that is what this play shows rather well. In a very surreal and bizarre way, Weiss enables the reader to see that society hardly ever practices what they preach, and although our goal might be change, in the end, upheaval and disarray may be the only things truly achieved.

Marat/Sade, by Peter Weiss, is a play centering on the murder of Jean Paul Marat. Weiss sets the play in the Asylum of Charenton, where both Marat and the Marquis de Sade are inmates. Before reading this play, I did not have much knowledge of Marquis de Sade or Jean Paul Marat. The French Revolution was a topic that I had studied, however not these members specifically. For the reading of this work, not much understanding of these ideas is needed. Some knowledge of Modernism would be helpful for insight into the motivation and reasoning of the play, however that is not needed either. The plot of the play is very thin and does not do much for the reader. There does not seem to be much action involved in the play. The characters mainly discuss and wax philosophical about the French Revolution and whether or not it was successful. It is the characters themselves and the dialogue that are most intriguing. Characters that are patients in the asylum are the driving force of the work. Many off the wall topics and rants are shouted by any number of patients. Clever use of the director of the asylum gives the reader a better sense of how a play produced in an asylum might work out. The format of the work is what seems to be an extended poem. The rhyme scheme, which is at points non-existent, can be carried from one character to the next. This is at times confusing, however it does give the work a somewhat psychotic feel. The work is a relatively easy read, however it does at times get to be a bit confusing. Because the plot is so thin, the reader is bombarded with confusing dialogue, rather than constant flowing action. The work leaves something to desired, as the reader waits for some twist of fate or action that may create some interest. Personally, I was not impressed with the work as a whole from an entertainment aspect. However as a writer I could see the work is definitely that of a talented author. There is a political aspect to the work that focuses around Sade. The many conversations between Marat and Sade focus on the Revolution and its positives and negatives. Commentary is given on the state of affairs during this time, as well as the idea that revolutions do not work on a general basis. Other such ideals are discussed throughout the work, however Sade seems to be more of a reactionary and Marat seems to be more of an idealist. On a whole this work does accomplish its goals in discussing sadism and other such ideas. Modernistic works such as this, often do not have much entertainment value, however they are quite intellectual and original; the two best points of this work.

Peter Weiss' _The Investigation_ is a stark docu-drama. About ninety percent of the text actually came straight from texts from the 1964 Frankfurt war crimes trial, however, nearly all identifying details have been removed. It's very rare that names are used. Characters are simply noted as "Judge" , "counsel for the defense", "witness", etc. This has an odd effect on the reader, making one feel disconnected. It's difficult to form an identification with any character, so one is forced to focus on words and activities. Some believe this was intended to force readers to step back from the horrors of the Holocaust and try to investigate the real reasons behind Auschwitz. The effect is often disturbing and I've found that many people have to put the book down to step away from it after reading for too long. It's also disturbing to read about the words and auctions of the nazis being tried. Each one repeatedly insists that he was never involved in the killings he's accused of. At one point, I had to put the book down and said, "Apparently no one killed anyone at Auschwitz." I found it highly ironic and sick that each of these officers insisted he was never involved in killing, yet so many died at Auschwitz.

The text is difficult to get through at times, but it's definately a very different piece about the Holocaust worth looking into.