european

What distinguishes Russia in Pipes' eye is the tradition of "patrimonialism" -- as a political category, a coinage of Pipes' own, though with its roots in Weber, in Hobbes and Bodin, even in Aristotle. Pipes means to denote "a regime where the rights of sovereignty and those of ownership blend to the point of becoming indistinguishable, and political power is exercised in the same manner as economic power."

"Despotism," Pipes continues, "has much the same etymological origins, but over time it has acquired the meaning of a deviation or corruption of genuine kingship, the latter being understood to respect the property rights of subjects. The patrimonial regime, on the other hand, is a regime in its own right, not a corruption of something else."

This is a brave assertion, and Pipes remains faithful to it. Indeed, the core of the book is perhaps his chapter entitled "The Anatomy of the Patrimonial Regime," where Pipes tries to show how utterly different is the tradition of governance in Russia from the tradition in the West -- even in Western nations that we might think of as "reactionary."

There are other virtues to this book. His introductory chapter on the environment is perhaps worth the price of admission, as he retails the grim arithmetic of topsoil and grain production. His discussion of serfdom provokes all kinds of questions about the relationship between serfdom in Russia and slavery in the West.

A work of just 318 pages can hardly pretend to be the last word on the history of a great nation, and Pipes maintains no such pretention. I take it as given that much more could be said to inform, expand upon, or criticize, Pipes' perspective. But as a framework for approaching the study of Russia, it is hard for me to see how it could be bettered. As a provative contribution to the literature of political analysis generally, I should think its claim is equally strong.

According to the author, she went to Portugal and hobnobbed with the best Portuguese cooks, and brought back their recipes (in some cases making some minor changes) ready to be used by people over here.

I've personally used several of the recipes, and they are authentic, yummy, and easy to follow. I highly recommend this book!

George was a middle-class officer who had the luxury of a university education and was an avid reader of classic English literature. He juxtaposes the themes and ideas in this romantic poetry with the realities of life at the front to great effect. Although a tad repetitive in it's ideas (perhaps to get the point across clearly), this book is rewarding and still relevant this whole century later. As one character in the book says, "In war-time the word patriotism means suppression of truth" .

Sherston (Sassoon) was a rather spoiled and pampered young upper class Englishman. The war changed all that. Confronted with death, destruction and idiotic leadership from the High Command you sense the inner turmoil of Sherston.

Relieved when he is not involved with the fighting he is driven by guilt over the loss of the soldiers in his battalion. Consequently when his platoon is on the line he takes great risks in reconaissance of the German positions.

The effects of non-stop total war, stupid leadership and the complete contrast between England and the trenches (only a few hundred miles apart) is staggering to Sassoon. Sassoon becomes anti-war and considers becoming an objector, but his obvious connection to his comrades and loyalty to them wins out in the end. He hates the war but won't abandon his comrades in the field.

This is a great war memoir written by a poet who survived and was changed for life by his experiences in it.

These are 2 weighty tomes (6lb/3kg each!), but only in the physical sense - they are very readable. With a chapter devoted to each of the European countries, the authors give an introduction, an overview of the country's specialities and an in-depth look at each speciality:- how it is grown/made; different varieties; anecdotes from the area; useful snippets of information, as well as some wonderful recipes (not all of them well-known).

Obviously some countries get more coverage than others; France Spain & Italy each get far more attention than, say, Russia - but deservedly so, given their gastronomic heritage (although the wines of France are over-played, to my mind).

While I would not recommend this as a working cookery book, it is certainly a valuable addition to anyone's culinary library - an ideal present for that friend of yours who has a love of food and cooking; anyone would be over the moon to receive such a present!

Maldoror is the narrator, and sometime character when the narrative shifts unexpectedly into third person, and the alter ego of the mysterious young Comte de Lautreamont--which was the pen name of Isidore Ducasse. Dead by 24, he left behind this time-bomb. Maldoror is a sadist, a murderer, a philosopher, an outcast from the normal order of life. He encourages readers to kidnap a child and torture it, to taste its tears and its blood--all within the first 30 pages. Right on! You are not dealing with a rational, predictable mind here.

One of the book's most fascinating aspects is its continuous imagery of animals, both everyday and exotic, majestic and absurd: sharks, turkeys, crabs, eagles, octopi, tigers, wovles, insects, serpents. These creatures are presented with the sharp eye of the biologist. By likening humanity to animals, Lautreamont achieves a double effect: man comes off as debased and at the same time, elevated: to be like an animal man must be rid of all his pretensions and vanities. It is this pretense to culture and civilized behavior that sicken Lautreamont/Maldoror.

Many passsages still shock and disgust--and yes, entertain with their feverish intensity, particularly the one in which Maldoror copulates with a man-eating shark. A church lantern turns into an angel, deteriorates into pus when Maldoror licks its face, and is soon only "an enormous loathsome wound."

Maldoror also despises God--ostensibly the creator of all this human stupidity and vice. "My poetry shall consist of attacks, by all means, upon that wild beast, man, and the Creator, who should never have begotten such vermin!" When Maldoror confronts God, Maldoror metamorphosizes into a giant octopus and clamps his monstrous new tentacles around His body...

This anti-theistic viewpoint is startling and refreshing compared to the religious aspects of Rimbaud and Baudelaire. This work is a must-read for those interested in avant-garde, bizarre literature; it is also the springboard for Surrealism (with the passage, "As beautiful as the chance meeting on a dissecting table of a sewing maching and an umbrella," Andre Breton saw the future of his imagination). This edition contains a good introduction about the work itself, its language, what "Lautreamont" means, earlier mistranslations, etc. Lykiard's translation is fantastic. Don't hesitate, get this book today!