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In its starred review, Publisher’s Weekly says: “Once again Halter crafts a completely logical and plausible explanation for the fantastic.” It is 1902 and in London’s infamously haunted East End there are rumours of a strange passageway which can swallow up anyone who ventures there at night and make them disappear. Kraken Street can only vanish and reappear, it can also conjure up visions of murders past and predict future ones. Who better to address this astonishing state of affairs than Owen Burns, a dandy aesthete who appreciates murder as a fine art and lends his services to Scotland Yard? This is LRI’s tenth Paul Halter translation. The author, a best-selling novelist in his native France, has written over thirty novels, almost all ‘locked room’ or ‘impossible crime,’ and is widely regarded as the successor to John Dickson Carr. He appeared on BBC Radio 4’s program ‘Miles Jupp in a Locked Room,’ broadcast on May 21, 2012. An earlier novel ‘The Crimson Fog’ was named one of Publisher’s Weekly’s Top Mysteries of 2013. Locked Room International also translates and publishes the works of other international impossible crime authors past and present. For information about signed and lettered editions of all living authors please contact pugmire1@yahoo.com or go to www.mylri.com.

• Sales Rank: #1810310 in Books
• Published on: 2015-07-16
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .38" w x 6.00" l, .55 pounds
• Binding: Paperback
• 168 pages

About the Author
Paul Halter was born in Hagenau, Alsace, in 1956. He pursued technical studies in his youth before joining the French Marines in the hope of seeing the world. Disappointed with the lack of travel, he left the military and, for a while, sold life insurance while augmenting his income playing the guitar in the local dance orchestra. Upon discovering the writings of John Dickson Carr, he gave up the guitar for the pen. He has since written over 30 novels, almost all “locked room,” including La Quatrieme Porte (The Fourth Door,) which won the Prix du Roman Policier in 1987, and Le Brouillard Rouge (The Crimson Fog,) which won the coveted French Prix du Roman d’Aventures in 1988, the prestigious Japanese Honkaku Mystery Award in 2005, and was named as one of the Publisher’s Weekly Top Mysteries of 2013. The Fourth Door and The Crimson Fog are both available in English, as are The Lord of Misrule, The Seven Wonders of Crime, The Demon of Dartmoor, The Seventh Hypothesis, The Tiger’s Head, The Invisible Circle and The Picture from the Past. M. Halter is a frequent contributor to Ellery Queen Mystery Magazine: The Call of the Lorelei, The Tunnel of Death, The Night of the Wolf, The Robber’s Grave, Nausicaa’s Ball, The Gong of Doom, The Man With the Face of Clay, Jacob’s Ladder, The Wolf of Fenrir and more to come. In 2006 his collection of short stories ‘The Night of the Wolf’ appeared in English, to critical acclaim. It was reprinted in 2012 as part of the LRI series For more information and articles about Paul Halter, please go to: http://lockedroominternational.com/

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3 of 3 people found the following review helpful.
A superb weird mystery
By Santosh Iyer
This book is the English translation of the French book La Ruelle Fantome by Paul Halter published in 2005 and features the series character Owen Burns.
Ralph Tierney, a diplomat,arrives distraught at the residence of Owen Burns in London and tells him a very strange story. The diplomat while wandering haphazardly through a labyrinth of dark streets in the night, entered a narrow alley called Kraken Street as per the street sign. He was accosted by a seemingly mad man and directed towards a house further down the alley. Here he saw a blind man selling grapes and a woman in red cloak sitting on the porch. The woman directed him to go to a room on the second floor of the house opposite, totally dark except for an oil lamp above the stairwell. On reaching there, he saw visions through the window. Frightened, he fumbled his way out and saw that the blind man and the woman in red were still there. He walked back up the alley and saw the mad man still there. He reached the main street. After a few steps , he noted that his lighter was missing. Thinking that he might have lost it in the alley, he retraced his steps but found that the narrow alley had vanished completely and in its place was a high brick wall without any openings !
Ralph is not the only person to have such a crazy experience. Previously also, two persons had generally the same experiences; only the visions were different. They also saw the mad man, the blind man and the woman in red. They were also directed to a room on the second floor of the opposite house where they saw visions.They also found that the alley had vanished completely after they came out. Also, prior to that, two other persons had disappeared in that area and it was rumoured that they had been swallowed by Kraken Street.
It is later found that the visions seen pertain to actual past events and in one case, even to a future event.
Can such weird happenings have a rational explanation? Who is/are behind this? What is the motive?
Owen Burns solves the case and gives a rational, ingenious solution. The central trick is really very clever.
The book is suspenseful and virtually unputdownable. A very enjoyable read despite some obvious plot holes.. Highly recommended. Not to be missed by mystery fans.

2 of 2 people found the following review helpful.
Owen Burns is Paul Halter's "Sherlock Holmes."
By Edward J. Cunningham
It's taken me a while to warm up to Owen Burns. Burns is one of two recurring detectives used by French mystery writer and impossible crime specialist Paul Halter. He's a wealthy dilettante who solves crimes as a hobby and believes that murder can be just as much a work of art as a painting or sculpture. The first time I read Burns was in the book The Seven Wonders of Crime where he and sidekick Achilles Stock had to solve a series of murders based on the seven wonders of the ancient world. Many reviewers thought that the murders were hit or miss, but I had less problems with them than with Owen Burns' behavior at the end of the book. For a supposedly brilliant detective, he seemed fairly dumb in the final chapter. However, I became more impressed with him in two of the short stories recounted in The Night of the Wolf. In one story, he solves an impossible murder set in the Old West, and in another he explains how not only is there really a Santa Claus, but that Santa Claus is a killer! Then I went on to read the last Owen Burns book available, which I avoided because it received lukewarm reviews on mystery books blogs, The Lord of Misrule. I found that those reviews were unfair, and that "Misrule" is actually a very good mystery. I found the behavior of the first victim believable (unlike another reviewer), and I was impressed with the presentation of the solution to the mystery, which mimics a famous trick done by Ellery Queen in two different books.

What I came late to realize is that Owen Burns' is Paul Halter's Sherlock Holmes. Of course, Burns is patterned more after the Irish poet and wit Oscar Wilde---if Wilde was a ladies' man---than the famous detective of Baker Street, but I find Burns just as fascinating, but more likable. When Holmes says he's the smartest guy in the room, sometimes you want to punch him in the face. Burns would say the same thing but with a smile and with absolutely no malice. In fact, he's the type of guy who---after hitting on your wife---will have you buying him a drink and laughing with him after he discovers his mistake. There's nothing wrong with Dr. Alan Twist, who is Halter's OTHER series detective, but Twist is almost too unassuming and colorless. Burns lights up the room when he appears, and you miss him when he leaves the scene.

In this story, Owen Burns and his Watson, Achilles Stock, have to solve the mystery of a mysterious street that not only disappears out of thin air, but also has the power to show past and FUTURE murders. The method Paul Halter uses to explain the Kraken Street disappearances is very simple and clever, and I don't hold it against him that I was able to mostly figure it out. (I only have a problem with stories like They Do It With Mirrors: A Miss Marple Mystery (Miss Marple Mysteries Book 6) where the solution is so blatantly obvious that everyone in the book seems like an imbecile for not seeing it sooner.) If there is a weakness, it's that usually the case in impossible crimes that the solution to the "howdunit" inevitably points to "whodunit." That's not the case here, and I think the clues pointing towards the killer are actually very slight. That's why I wrote that I "mostly" got the solution right. I could figure out mostly HOW Kraken Street disappeared, but as to WHO did it, I only had an educated guess, and even then I wasn't so sure.

Still, this was a very good book, and it's almost as if Owen Burns was trying to make up for the ending to "Seven Wonders", because not only does he NOT look like an idiot, but his scheme to trap the murderer is brilliant. I especially like the way he pulls out a red herring from a seemingly abandoned plotline earlier in the book to show how this trap was possible on the very last page. I also think that this might be John Pugmire's best translating work to date. There aren't that many places in this book that make me stumble like "detestable souvenir" did in The Picture from the Past and if I didn't know better, I'd think this was written in English.

Actually, there is one LITTLE problem with this book. It took me two days to finish this book, and most readers will go through it in one. I was sad to finish this book so quickly because now I will have to wait a long time to get a new English translation of a Paul Halter book---or learn French myself so I can read the originals.

0 of 0 people found the following review helpful.
People are disappearing down a street that fades away in the dense London fog
By Patto
Some victims of Kraken Street are never seen again. Others report terrifying experiences. They tell of hallucinatory sensations -- and visions of violent events that took place in the past or come true in the future.

Scotland Yard gets involved. A disappearing street seems too fantastic to be believed, but disappearances have to be investigated.

This is just the kind of case bizarre enough to interest Owen Burns, art critic and amateur detective. He's been helpful to Scotland Yard before. His friend Achilles Stock acts as his Watson. Achilles is tough. His years in rough environments have taught him how to take care of himself in dangerous situations. He's ideal backup for the somewhat effete Burns. Another friend from America joins them in investigating. Amazingly Ralph happened upon Kraken Street just by chance, so he's a witness as well as an assistant.

The London setting is fun coming from a French author. Paul Halter makes the most of the pea-soup fog to create a sense of unreality and threat.

As usual with Halter mysteries, there's a logical explanation for the supernatural happenings. In this case, I found the plot a bit too contrived and convoluted for my taste. The characters are not very developed either. But readers who enjoy fantastic, serpentine mysteries should not be influenced by me. I give the book high marks for atmosphere, plot twists, and eerie effects.

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[A621.Ebook] Free Ebook Freedom: The Story of My Second Life, by Malika Oufkir

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Stolen Lives, Malika Oufkir's intensely moving account of her twenty years imprisoned in a desert jail in Morocco, was a surprise international best seller and the second non-fiction title ever selected for Oprah's Book Club.

In her highly anticipated follow-up, Malika reflects on the life she lived before and during incarceration and how dramatically the world had changed when she emerged. Malika Oufkir was born into extreme privilege as the daughter of the king of Morocco's closest aide, and she grew up in the palace as companion to the Moroccan princess. But in 1972, her life of luxury came to a crashing halt.Her father was executed for attempting to assassinate the king, and she and her family were locked away for two decades. After a remarkable escape, Malika and her family returned to the world theyd left behind, only to find it transformed.

Living for the first time as an adult, Malika writes candidly about adjusting to the world we take for granted, from negotiating ATMs to the excesses of shopping malls, to falling in love and sex. In Stolen Lives, Malika mourned the children she was not having as she wasted away in prison. When she is finally free, motherhood becomes crucial to Malika's ability to fully live her life: she adopts first her niece, then a baby boy from Morocco. Full of insight and piercing observations, as well as humor, Freedom is as masterful and thoughtprovoking as the original.

• Sales Rank: #1360524 in Books
• Published on: 2007-10-09
• Released on: 2007-10-09
• Format: Bargain Price
• Number of items: 1
• Dimensions: 8.00" h x .0" w x 5.19" l,
• Binding: Paperback
• 256 pages

Review
"It's refreshing when that rare memoir comes along, one with a truly compelling, harrowing narrative that also ventures beyond the writer's life to explore a greater context. Freedom by Moroccan writer Malika Oufkir is such a book. Considering the volatile and vulnerable era in which we now live, Oufkir's story of her years during (and after) her 24-year incarceration in a Moroccan prison raises provocative political questions. Above all, it's a tale of deprivation and survival in their rawest forms...With Freedom, Oufkir continues her engrossing, courageous journey...Never self-congratulatory, the life lessons she imparts with candor-about privilege, generosity, understanding and gratitude-might be forgettable were they not so hard-won. It's rare that someone's experiences prove genuinely inspiring, but Oufkir's book does. It might just lead you to change someone else's life for the better or, at the very least, your own."

About the Author

Malika Oufkir, born in 1953, lives in Florida with her husband and children. Her first book was published in 2001 and was an international bestseller.

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3 of 3 people found the following review helpful.
Absurdities of 21st century life
By Harrington
Oufkir shares her struggles to catch-up with the world that left her behind for 20 yrs. With fresh eyes she points out how we too often pollute our freedom with absurdities, all told with gentle humor and disarming openness. Hope there is much more to follow -- hopefully tales of her Berber ancestry.

24 of 28 people found the following review helpful.
A victim no more but a writer acquiring her own voice
By C. Perry
As one reviewer has commented, this book does not recount a "story" in the sense that one might expect from the word. If Malika Oufkir's first book, "Stolen Lives," was mostly a chronological account of "facts" (as co-author Mich�le Fitoussi required), "Freedom" is the retelling of an inward and intimate journey, from victimhood to the strenuous apprenticeship of a self in the "normal" world beyond prison. Although Malika Oufkir's humor, wit, and genuine warmth shine through this book, her account is not necessarily meant to be a heartwarming or comforting "story," it is the witnessing of another kind of struggle than the one we read in 2001, as the author makes her often painful and occasionally joyful way toward a renewed self.

The publication of "La Prisonni�re" in 1999, and subsequently of its English translation in 2001, thrust Malika Oufkir into stardom. This proved to be a mixed blessing since the media tended to package her in the confining role of a "victim," a role designed to elicit compassion and sympathy. At one point, she recounts in "Freedom", she "felt like a strange creature being exhibited for the civilized white man" (p. 217). In her second book, she attempts to free herself from this role, as she repeatedly asserts. We have to take such declarations seriously. This is a woman who managed to survive extreme adversity in great part through her ability to imagine another life and to create fictional characters or settings through which she could momentarily forget her circumstances. Now she is dipping into this pool of creativity in order to become the writer that she potentially was in prison. "Listening" to her voice, which rings with authenticity in the French original (a quality that no translation, not even a good one as in this case, can fully convey), I sense that Malika Oufkir is acquiring her own, distinct personality as a writer. Rather than living in her imagination with no product to show for such intense inner activity, she has found writing as a critical means of discovering her identity, beyond that of victim and prisoner, and of constructing herself. It is of course significant that this book represents her first achievement as a writer on her own.

If at times Malika Oufkir appears to judge the "free world" in severe or condescending terms, she hardly spares herself either. Apart from a gentle form of revenge against this world for having ignored her family while they were in prison, there is great honesty in her account. Naturally drawn to the homeless in Paris and to their "desperate" way of grasping the world, for instance, she then measures her own limits when attempting to help people in distress, and she goes so far as to accuse herself of cowardice. She is aware of her own contradictions as well, even blaming herself for having participated (however indirectly) in the tyranny that plagued Morocco, her country of birth, under King Hassan II. At no time does Malika Oufkir claim to give an entirely objective account of her life or of her surroundings. Instead, she focuses on her perceptions and emotions as a way of understanding herself and her surroundings through the process of writing. After the publication of her first book in 1999, she spent years speaking in public to raise people's awareness about the atrocities that had been perpetrated in her country. The time then came for her to turn her "mission" inwards. What we take as self-evident, she has had to learn, slowly and often agonizingly. Who, never having undergone circumstances remotely similar to the ones she endured, can evaluate the laborious nature of such a renewal?

Malika Oufkir accomplishes other goals in this book. By providing updates on her brothers, sisters, and mother, she responds to the concern expressed by many readers of "Stolen Lives" over the fate of her family. Through nuanced judgments, she also aims to redress the overly negative perception of Morocco that her first book precipitated. And she aims to correct mistaken perceptions of herself; though raised like a princess at the royal Moroccan court, for instance, she stresses that she comes "from the people" (p. 126).

The process of literary creation surfaces in this book as well. Malika Oufkir discreetly shows that she is a reader, the precondition for being a writer, as when she describes herself reading in the (symbolic) underground world of Parisian subways. Echoes of Proustian reminiscences and mistaken perceptions, for example, infuse the hilarious account of her experience in a Parisian caf� washroom. Or take the opening chapter of the book, entitled "Adam." Here, the English translation loses the subtlety of the French original, for the chapter is literally entitled "The First Man of My Life" ("Le premier homme de ma vie"). This first man is Adam, Malika Oufkir's adopted son, whose name also serves as the first word of the book. This aptly chosen figure of renewal is present in other passages, reminding us of the author's purpose in writing her book: "Now that I have Adam, I know that I'm through being a victim" (p. 107-08).

Provided its essential purpose remains clear in the reader's mind, this book will be of compelling interest to those who cared about "Stolen Lives," but also to those who care about survivors and their ways of coping once they are freed from the hardships that taught them to forge a defiant identity in order to resist their circumstances.

7 of 7 people found the following review helpful.
Is It Natural To Live With Freedom?
By FQH
Note: The voice in FREEDOM is different than that in STOLEN LIVES because only Oufkir wrote this book, whereas two other authors contributed to STOLEN LIVES.

In the memoir FREEDOM: THE STORY OF MY SECOND LIFE (a sequel to STOLEN LIVES) author Malika Oufkir describes relearning how to live as a free person. She was 19 when she, her mother, and her brothers and sisters were confined to a Moroccan prison. Before that she was adopted by the king and basically locked up in the king's court. She was 39 when she escaped; she later moved to Paris, France. She talks about her fear, present even after she's safe:

"Even though I am now far from my jailers, shielded by the media [the media learned about her family's imprisonment then spread the word], I'm afraid everything could collapse around me in instant. What exactly am I afraid of? I don't even know myself. Certain terrors are so deeply rooted that they defy all logic. Even now, I sometimes wake up in the middle of the night, in those eerie hours when you can't quite tell whether you are awake or still dreaming, and I think I hear footsteps out in the hall... the apartment door opens and out of nowhere my jailers come to get me for crimes I haven't yet committed. Perhaps innocence begets its own guilt, planting suspicion both in oneself and in the eyes of others. That fear of being punished for things I haven't done, or haven't done yet, intensifies the hellish whirlwind of doubt. Like a battered child, I throw my arms up over my face, warding off blows and caresses, in order not to see what awaits me...."

Freedom isn't the gift she expects it to be; she is often confused about how to manage aspects it, particularly time: "Most free people are painfully dependent on their watches and alarm clocks, an almost physical addiction that makes them cling to each second as if were their last. I have all the time in the world." She contrasts free people's perceptions with her own: "I had to relearn everything. I had trouble with the notion of time, not knowing when I had to hurry and when I had time to spare, not understanding the imperatives of schedules."

Oufkir describes her struggles to figure out what a motion sensor sink is or how to operate an ATM--things people in Paris have probably used for more than 15 years--which is about the same as you or me trying to use laundry facilities in a foreign country when all the directions are written in a language we don't understand; this only beomes humorous later. These struggles are listed to illustrate what it means to straddle the gap between "what was" and "what is."(The German film "Good Bye, Lenin!" offers a funny take on this concept; the characters go to great lengths to keep someone from seeing "what is.")

FREEDOM's strength is Oufkir's focus on the small things that make up, for her, freedom. It's beautifully written and translated from French. Read FREEDOM first, then go back and read STOLEN LIVES. FREEDOM raises questions that are, to this reader's delight, answered in STOLEN LIVES.

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• Sales Rank: #3584136 in Books
• Published on: 1994
• Binding: Paperback
• 120 pages

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0 of 0 people found the following review helpful.
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• Published on: 2004-02-14
• Binding: Hardcover

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[G930.Ebook] PDF Download British Armour in the Normandy Campaign (Military History and Policy), by John Buckley

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The popular perception of the performance of British armour in the Normandy campaign of 1944 is one of failure and frustration. Despite overwhelming superiority in numbers, Montgomery's repeated efforts to employ his armour in an offensive manner ended in a disappointing stalemate. Explanation of these and other humiliating failures has centred predominantly on the shortcomings of the tanks employed by British formations. This new study by John Buckley challenges the standard view of Normandy as a failure for British armour by analysing the reality and level of the supposed failure and the causes behind it.

• Sales Rank: #4010818 in Books
• Published on: 2004-09-01
• Original language: English
• Number of items: 1
• Dimensions: 9.21" h x .69" w x 6.14" l, 1.31 pounds
• Binding: Hardcover
• 312 pages

About the Author
John Buckley is Senior Lecturer in War Studies and History at the University of Wolverhampton. He is the author of The RAF and Trade Defence 1919-1945: Constant Endeavour (1995) and Air Power in the Age of Total War (1998).

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11 of 12 people found the following review helpful.
Outstanding analysis of Montgomery's failures in Normandy
By DarthRad
I got this book nearly five years ago because I was curious about one thing - what exactly happened with the British forces in Normandy? Why did it take the British so long to slog through the German forces, when the original D-Day plans were for the British forces to have taken Caen by D-Day +2 (June 8, 1944)?

Reading this terrific book, the answers jumped out at me. The answer was quite simply the severe failure of generalship on the part of Field Marshal Bernard Montgomery (later Viscount Montgomery of Alamein), commander of the Allied 21st Army Group.

I've pointed this out in a few debates with Montgomery's diehard fanboys in other forums, and I am always amazed that these people failed to read the same book that I read. It is simply that Buckley takes care to just tell the facts and rarely criticizes Montgomery by name.

So, for those of you who speed read through this book and failed to see the obvious, here are the exact spots where Buckley nails Montgomery right between the eyes and pinpoints his severe failings of generalship that led to the numerous debacles and high British casualties during the Normandy campaign:

-----------------------------------------
(reprint of a reply to a Montgomery fan in the Amazon History forum - I will post the links to this debate in the Commentary section)

The proof of any military commander's greatness or incompetence are the results. And Montgomery had uniformly poor results in Western Europe, either under-performing expectations (most of the time) or engaging in outright disasters (Market Garden).

Montgomery's tight control of his subordinates had the result of thoroughly populating his 21st Army Group with subordinates who were timid yes-men, afraid to deviate from any battle plan in the face of changing circumstances. It goes without saying that in the rapid, complex, and unpredictable nature of mechanized warfare in WWII, set-piece battles RARELY went according to plan. Successful conclusions to set piece battles in fact frequently depended upon individual initiatives and the bravery of small units and their commanders who found solutions to a tough German problem.

From p.66 of British Armour in the Normandy Campaign (Military History and Policy) :

"General Alexander had already commented upon the lack of initiative and thrust on the part of subordinate commanders as early as 1942, and German opponents still noted similar traits throughout the Normandy campaign. Gen. Diestel, GOC 346th Infantry division, who arrived in Normandy on 8 June, recorded a lack of originality on the part of the British, who always followed set patterns of attack and lacked imagination and drive.

p. 57
"....a primary concern for Montgomery was maintaining firm control of unfolding battles and this required subordinates to do only that for which he had briefed them. The concept of the set-piece battle and the rigid predetermined plan was designed to ensure that little could go wrong."

And here was the problem. Montgomery's clumsy and poorly planned set piece battle plans USUALLY DID GO AWRY. And then the subordinate commanders were too timid and enured to being subjugated by Montgomery's will to attempt any creative and bold solutions to the problems on their own.

And what if the original battle plan was an outright disaster waiting to happen? That was Operation Market Garden, in a nutshell, but the roots of this incompetent tactical planning by Montgomery and his staff can be seen in Operation Goodwood, which was a disaster for the tanks of the 21st Army Group.

P. 36
"although many were later recovered, the British had lost well over 400 tanks, in excess of a third of their total frontline strength during Goodwood."

The Germans are estimated to have lost 75-100 tanks destroyed during Goodwood. A 4-1 or 5-1 loss ratio against the Germans is hardly the sign of a brilliant military commander, especially when those tanks did not even come close to achieving their final objectives, and so was as bad as or worse than what the Soviets accomplished against the Germans at Kursk.

p. 37 ***** THE SMOKING GUN PROOF OF MONTGOMERY'S TACTICAL INCOMPETENCE AT NORMANDY *****

"...the tactical considerations for British armour in Goodwood were considerable and quite alarming. Maj. Tony Sargeaunt, the tank expert attached to No. 2 Operational Research Section at 21st Army Group, was shocked when he first viewed the Goodwood plan. The final stages would be fought across a flat and open area of some 4,000 yards, which would offer the static anti-tank gunnery of the Germans a huge advantage whilst denying British armour any cover or hull-down firing positions. Allied tank guns attempting to knock out camouflaged enemy anti-tank guns needed to be at a range of some 800 yards or less to have a fair chance of rapid success. At ranges of some 2,000 yards, however, it would take Shermans and Cromwells some 15 rounds of high explosive (HE) to eliminate the target. Even with multiple tanks engaging the enemy, it was probable that four or five Allied tanks would be knocked out in the process. consequently, in the later stages of Goodwood, in the final push to the Bourguebus Ridge, Allied tanks would be at their most vulnerable just at the time when the effects of artillery and air support were likely to be diminishing."

p. 35
"Operation Goodwood also suffered unduly from poor all-arms co-ordination, partly a product of the nature of the plan, but which impacted severely on the armoured regiments...."

p.36
"...artillery support for the leading armoured units dwindled as the day went on. Moreover, air support also faded, despite the tremendous effects of the initial heavy bombardment. In part this was due to the great depth of the German Defences defeating the bombing plans of the Allied air forces, but also because the forward air controller (FAC) assigned to the 29th Armoured Brigade was badly wounded in sight of the Bourguebus Ridge and knocked out of the battle. Tactical air support from then on became sporadic and patchy, just at the crucial moment when it was most required. There is certainly a degree of misfortune over this incident, but the fact that only one FAC was allotted to the leading brigade of this major operation was a major error in judgement and planning."

In Normandy, the British-Canadian 21 Army Group was involved in multiple set piece operations - Perch, Epsom, Windsor, Charnwood, Jupiter, Goodwood, Spring, Totalise, and Tractable. Almost all of these operations came up short of completely accomplishing their planned objectives; combined together, they had the effect of steadily driving the Germans back and grinding down the numbers of German troops and armor in Normandy.

So it is only to be expected that the vain Montgomery would say that "attriting the Germans to allow the Americans to succeed" was his plan all along, when in fact the details of the original battle objectives of these operations prove him to be a liar. Had most of these operations, especially Goodwood, succeeded completely, the U.S. Operation Cobra at St. Lo, which did finally achieve the break out from Normandy that Montgomery failed to accomplish, would not have even been necessary. Ultimately, Montgomery would end up "attriting" more of his own British and Canadian forces than the German forces through sheer tactical incompetence.
--------------------------

This book is well worth reading, you just need to pay attention to the fine print, and keep asking yourself - WHY? Why did things go so badly for the British at Normandy?

One of Montgomery's greatest failings, as a commander of armored forces, was his petulant relationship with his own RAF tactical air commanders, Air Marshals Tedder and Coningham, which resulted in a severely stunted and limited use of British tactical air power to support his armored forces. Today, it is a given that armored forces need air superiority and tactical air support as tanks and AFVs out in the open are highly vulnerable to attack from the air and from well placed anti-armor defenses. The U.S. Army would in Normandy quickly learn this lesson and developed tactical air support to maximal effect, often working closely with the very same RAF tactical air groups that Montgomery ignored or made little use of. Montgomery's failure to make better use of the otherwise quite excellent RAF tactical air support and his tightly scripted battle plans that allowed for no individual initiative were key factors that led to the failures in Normandy and the later disaster of Operation Market Garden

For more reading see the commentaries for links.

7 of 9 people found the following review helpful.
An absolutely outstanding assessment of British armor in 1944
By Koba
The revisionist view of Allied armored operations in Normandy in 1944 is one of weakness -- the Allies had inferior armor, inferior doctrine, and less-highly motivated soldiers than the Germans -- counterbalanced by tremendous material superiority and overwhelming artillery and airpower. In particular the British are taken to task for failing to seize Caen right after the initial landings, and for failing to achieve a strategic breakout despite repeated, costly attacks. This criticism is found in B.H. Liddell Hart, Carlo D'Este, Max Hastings, and others. In this book, John Buckley provides a deeper analysis, and shows that revisionist views are incomplete, distorted, and based on the view that the British Army should have fought like the Germans despite the obvious fact that the British were not Germans.

Buckley shows that the Germans fought a different type of war from what the British expected them to fight. The British expected the Germans to fall back on prepared defenses with mobile reserves in support. However, the Germans tried to pin the Allies into the beachhead, and fed troops in piecemeal, forcing the Allies to batter their way through difficult terrain. The Allies adapted to this, in Buckley's view, successfully. Buckley also notes that even the Germans had great difficulty attacking in Normandy.

With regard to technical shortcomings, Buckley notes that most German tanks in Normandy were not much better than the Allied tanks facing them. The main British shortcoming was not lack of armored protection, but lack of firepower. However, even a tank with a highly effective gun would not necessarily have fared well on the offense against concealed, dug-in opponents; again, the Germans suffered heavy armored losses when they attacked in Normandy, even though their tanks had highly effective anti-tank weapons.

Buckley does not consider that British troops lacked morale and fortitude. In particular, the armored units had a lower level of battle exhaustion casualties than the infantry units. Furthermore, he shows that there is no convincing evidence that veteran formations had lower morale than inexperienced units. The 7th armored division performed poorly, but other veteran units performed well.

On the whole, this is an excellent book. He covers all the issues: doctrine, leadership, morale, and technical capability. In addition the book is a pleasure to read and is well-supported with factual evidence.

32 of 34 people found the following review helpful.
Full, balanced, and scholarly analysis of British armor
By Mannie Liscum
John Buckley's British Armour in the Normandy Campaign is a first rate tour de force work of military history that challenges conventional accepted wisdom that the British (and Canadian) armored forces in western France were ineffective and contributed little to the over campaign from D-Day to the Breakout. What makes Buckley's truly spectacular is the fact that he not only challenges this wisdom but uses thorough and detailed research to leave the reader with a clear picture that British armor was in fact effective and made a significant contribution within the doctrine and contexts they were employed.

British Armour in the Normandy Campaign is separated into nine logically distinct chapters:

1) Introduction - in this first chapter Buckley sets the stage of the book by introducing the aforementioned conventional wisdom and posing his thesis that this is an incorrect interpretation of the facts as told by the bigger picture. Brief discussions of several engagements are used as particular examples of how the believed ineffectiveness of British armor requires more detailed analysis. This is a very insightful chapter that sets the tone of the exceptional research and unbiased approach Buckley takes throughout the book.

2) Fighting the Campaign - In this chapter Buckley gives a lucid description of major engagements the British (and Commonwealth) armored forces took part in from June to Aug of 1944. There is also considerable discussion of the organization of the various armored forces employed and their Orders of Battle. Because Buckley's combat prose is presented from the standpoint of facts not the human component this chapter (and later battle discussions) is fairly dry reading. Yet, little is wasted on fluff and in many ways this is refreshing.

3) Operational Technique - Here Buckley presents a clear picture of the British operational doctrine and command structure. In the previous chapter combat was discussed, and in this chapter we get a sense of what British commanders were thinking and how they were trained doctrinally to think. In the following chapter these two pieces are put together.

4) Fighting the Battle - In this chapter Buckley discusses the engagements introduced in the second chapter within the context of doctrine and command (discussed in the previous chapter). In doing so Buckley paints a fuller and more critical picture of the British armor and their actions in Normandy.

5) The Tank Gap - Any discussion of armored actions are incomplete without a critical analysis of opponent capabilities. Again conventional wisdom is that the British (and Allies in general) were significantly out gunned, out armored, and tactically deficient when compared to the Germans. While the German armor had many features superior to those of the Allies this commonly held view is na�ve. Buckley clears the air on this topic very well and thoroughly. As should be pointed out in ALL discussions of armored clashes in northwestern Europe in the first couple of months following the invasion, a phenomenon Buckley terms "Tiger-phobia" is probably most responsible for the prevailing wisdom of Allied armor inferiority. In particular, most accounts of armored battles in Normandy point to the overwhelming power of Tiger and Panther tanks when in fact the tank most often encountered by Allied armor was the similarly shaped (but much smaller) Panzer Mark IV. The fear of Tigers and Panthers created a mystique related to German armor that has survived 60 plus years! Certainly these latter two AFVs (armored fighting vehicles) were fearsome machines but they suffered from many shortcomings. Moreover, there were simply too few of them deployed. In addition to clearing the air on this important topic, Buckley does a fair and balanced job describing the strengths and weaknesses of Allied armor. Additionally he makes a clear case that a less than ideal and relatively weak AFV does not therefore make a machine unable to win battles if employed within proper doctrinal boundaries. This chapter is quite amazing!

6) Design and Planning - This chapter continues the discussion of the previous chapter but explores the issue of armor, less from a technical standpoint (e.g. who's gun was bigger, who's armor less protective, etc.) and more from a logistics and strategic one. This is essential information for the reader as it places the study within a doctrinal context and the mindset of the command staff. Without knowing how the British came to the decisions they did about armor design, employment and improvement one can not fully appreciate the bigger picture - the British armor was effective and significant to the Allied offensive.

7) Production and Supply - This chapter is a logical extension of the previous chapter and explains much about why particular AFVs (e.g., the M4 Sherman) was employed en masse when potentially superior machines (e.g., A27M Cromwell) were part of the Allied repertoire. This chapter, like the previous one, is essential to gain a fair picture of the British armor in Normandy.

8) Morale and Motivation - This chapter addresses the human factor that makes or breaks any military unit: the solider, or in this case tankers and AFV fighting troops (including armored infantry). Once again Buckley questions a conventional wisdom: namely that British armored troops in Normandy exhibited poor morale and little will to fight. While there are certainly cases of poor morale and a fair number of AWOL and desertions cases the picture is not as simple as the tail of numbers. Again Buckley provides the larger pool of facts necessary to draw fair conclusions.

9) Conclusion - In the final chapter Buckley provides a concise summary of the questions at hand and the answers presented. Very nice ending to a fabulous book.

In the final analysis Buckley's British Armour in the Normandy Campaign is a wonderful read. Few historical works present a clear thesis that is followed through on in such a thorough fashion with fairness and virtual lack of bias. This book represents a guide for how this type of historical work should be approached. 5 HUGE stars!!!

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Relic: The #1 New York Times bestselling thriller by Douglas Preston's and Lincoln Child, with more than one million copies sold to date

Just days before a massive exhibition opens at the popular New York Museum of Natural History, visitors are being savagely murdered in the museum's dark hallways and secret rooms. Autopsies indicate that the killer cannot be human...

But the museum's directors plan to go ahead with a big bash to celebrate the new exhibition, in spite of the murders.

Museum researcher Margo Green must find out who--or what--is doing the killing. But can she do it in time to stop the massacre?

• Sales Rank: #7650 in Books
• Brand: Tor Books
• Published on: 1996-01-15
• Released on: 2003-12-30
• Original language: English
• Number of items: 1
• Dimensions: 6.75" h x 1.16" w x 4.25" l, .50 pounds
• Binding: Mass Market Paperback
• 480 pages

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• Great product!

Amazon.com Review
A series of bizarre and brutal murders is taking place in the halls of the New York Museum of Natural History, only days before a massive exhibition is set to open. Margo Green knows that the killer is something not human, something that's not even supposed to exist. Where did it come from, how did it get into the museum, and how can it be stopped?

From Publishers Weekly
A monster on the loose in New York City's American Museum of Natural History provides the hook for this high-concept, high-energy thriller. A statue of the mad god Mbwun, a monstrous mix of man and reptile, was discovered by a Museum expedition to South America in 1987. Now, it is about to become part of the new Superstition Exhibition at the museum (here renamed the "New York Museum of Natural History"). But as the exhibition's opening night approaches, the museum may have to be shut down due to a series of savage murders that seem to be the work of a maniac-or a living version of Mbwun. When the museum's director pulls strings to ensure that the gala affair takes place, it's up to a small band of believers, led by graduate student Margo Green, her controversial adviser and an FBI agent who investigated similar killings in New Orleans, to stop the monster-if the culprit is indeed a monster-from going on a rampage. Less horror then action-adventure, the narrative builds to a superbly exciting climax, and then offers a final twist to boot. With its close-up view of museum life and politics, plausible scientific background, sharply drawn characters and a plot line that's blissfully free of gratuitous romance, this well-crafted novel offers first-rate thrills and chills. Film rights optioned by Kennedy-Marshall Productions; audio rights to Brilliance Corp.
Copyright 1994 Reed Business Information, Inc.

From School Library Journal
YA?This electrifying thriller opens in an unexplored, mysterious corner of the Amazon basin. A Museum of Natural History expedition is seeking the legendary Kothoga tribe in quest of the vile secret it conceals. The thoroughly terrified tribes nearby infer that the Kothoga and their malicious ways are too awful to discuss with outsiders, except to issue dire warnings. The expedition dissolves, with most of its members opting out of the territory with alacrity, only to perish in a plane crash. Two zealous individuals who heedlessly press on into the jungle vanish, but not before making the horrifying discovery they sought. The crates of the lost expedition, however, arrive back in New York City intact, and are consigned to the basement for cataloging. The story picks up back at the museum where murders have begun to occur with dreadful frequency. Forensics reveal the death blows were delivered with unusual strength, the corpses were dismembered with savage violence, and the perpetrator has mighty unusual DNA patterns. The NYPD, the FBI, and enterprising museum research assistants join efforts to solve the grisly murders but are stonewalled by officials in the head office who plan a revenue-generating exhibition of Amazonian artifacts, recklessly ignoring the impending danger to staff and visitors alike. While the story line contains a bit too much of museum politics and logistics that don't quite mesh, the suspense is sure to please fans of Michael Crichton and Stephen King.?Catherine Noonan, Fairfax County Public Library, VA
Copyright 1995 Reed Business Information, Inc.

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1 of 1 people found the following review helpful.
A Fast Paced and Very Detailed Thriller
By Ken T.
The novel starts off in the Amazon jungle as we accompany a very ill-fated scientific expedition. The expedition seems shelved for a bit, but is actually the basis for the novel. The reader quickly moves to New York's Museum of Natural History as the mysterious crates of this tragic scientific expedition become the focal point of brutal, bizarre homicide investigations. Bodies are found torn apart in the dark recesses and tunnels of the Museum.

We meet FBI agent Pendergast who joins forces with the NYPD's Vince D'Agosta to try and solve the murders before the Museum's big exhibition opening date. Pendergast is not stuffy and D'Agosta offers a bit of tongue in cheek sarcastic comic relief.
Dating back to the Amazon expedition we find the mass killer is basically an intelligent creature; not completely human.

The book is fast-paced and extremely detailed. The amount of detailed research which has gone into the world of scientific studies alone is impressive. The chase for the bizarre killer leads a few groups through the very lower depth labyrinths of the NYMoNH.

The characters are very well developed. The story has its share of twists. The largest twist comes in the Epilogue. Agent Pendergast's debut is certainly a good one.

2 of 2 people found the following review helpful.
Fantastic story to sink your teeth into.
By Miguelito
I read this book sometime in the late 90s when it first came out. I know I enjoyed the story and all the scientific talk, plus the characters were well-fleshed out and likable. However, I read it on the train while I commuted to work and the full flavor of the story didn't sink in. Since then I have read all the books these two fine authors have produced.

Fast forward 17 to 18 years and I have read this book again, this time using the convenience of the Amazon Kindle reader. This time it took me only a couple of days to read it and I love the rich atmosphere and the fast-paced story with all its suspense.

I guess now I will have to re-purchase all the other books from these authors in the series and re-read them. Yum!

2 of 2 people found the following review helpful.
Intriguing, intricate, and intelligent
By drtammy1511
Agent Pendergast is the perfect Southern Gentleman! But he is also an FBI agent with a score to settle! This character, along with Lieutenant D'Agusta and the others that make this tale come to life, establish a reality that is hard to find in works of this type. One walks right there beside them every step of the way as they explore the mystery of the Museum Beast. One of the best reads of my life!

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[Z923.Ebook] Download Ebook Minecraft -- Volume Alpha: Sheet Music Selections from the Video Game Soundtrack (Piano Solos)From Alfred

Download Ebook Minecraft -- Volume Alpha: Sheet Music Selections from the Video Game Soundtrack (Piano Solos)From Alfred

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With more than 20 million players worldwide, Minecraft ranks among the world's most popular video games. Its soundtrack by Daniel "C418" Rosenfeld is one of the world's most recognized and beloved video game scores, and this book lets pianists bring the music to life! Titles: Key * Door * Subwoofer Lullaby * Death * Living Mice * Moog City * Haggstrom * Minecraft * Equinoxe * Mice on Venus * Dry Hands * Wet Hands * Clark * Chris * Excuse * Sweden * Danny * Beginning * Droopy Like Ricochet.

• Sales Rank: #118658 in Books
• Brand: Alfred
• Model: 00-42252
• Published on: 2013-07-01
• Original language: English
• Number of items: 1
• Dimensions: 12.00" h x 9.00" w x .25" l, .1 pounds
• Binding: Paperback
• 44 pages

Features

• Category - Piano Collection
• Format - Book
• Instrument - Piano
• Version - Piano Solos

Most helpful customer reviews

4 of 4 people found the following review helpful.
True to the Recordings
By Mr. Exxion
This book is better than I even hoped it would be. Each one of these pieces is a carbon copy of the original songs as heard on C418's Minecraft: Volume Alpha. Original key signatures, rhythms, and time signatures are all kept. I haven't been able to find anything to the contrary, so it's likely this book was arranged by the composer himself. This is not a watered-down version, and so is NOT going to be suited for less-experienced pianists. (I'm looking at a piece with 6 flats, and there's another in 7/4 time... you get the idea) However, skimming through this I can tell that each of these pieces is totally playable if you're good enough or work hard enough.

However, I sincerely wish more piano adaptations of game/movie soundtracks were this accurate. I don't care that it's challenging. Heck, I'm thoroughly excited! If you like the original music, then you'll LOVE the opportunity to play them as you hear them, and will, with significant practice and discipline, learn a lot along the way.

I am by no means a pianist. I'm self-taught and have learned to play a small handful of what you might call intermediate-level pieces. This book has challenging parts, that's for sure, and I'll have to work up to them, but there is a good variety of difficulties present. At the moment, I'm just picking my way through the easier sections (there're plenty enough) and still getting to hear solid chunks of phrases that I totally recognize from the game. Eventually, I'll pick the song that seems the most reachable and do what I've done with all the other songs I've learned: practice and persevere! Someday I'll be able to play the whole book.

On another note, I would love to see a beginner-level book of this music. So many kids play this game, and if it gets a kid (or enthusiastic adult) actually wanting to learn the piano, then I'm all for it. I know a fair number of kids (mum teaches beginner-level piano) that would be all for it. She can't wait to show them this book, even if at the moment it will be just an incentive to keep learning. She may even water sections down herself, break it into a duet, etc. They'd love it.

For those with a Spotify account (you can make one for free), this is a link to the album on Spotify's web player:
http://open.spotify.com/album/3Gt7rOjcZQoHCfnKl5AkK7
That is what you'll be learning to play.

-Mr. Exxion

3 of 3 people found the following review helpful.
Intermediate to Advanced Mood Music
By B. Newman
Purchased for my teen daughters who have been playing piano for 8 years. As a point of reference they are on level four of the Faber method books and are accomplished on multiple instruments. They report this sheet music is definitely not for a beginner. My eldest could immediately play a number of them, some of them required a little noodling through. She says the key signatures of a number of the pieces would definitely be trickier for a less experienced student, and the left hand on a few of them is particularly challenging. With that said, the music is very enjoyable. Terrific mood music at just the right level to give them a slight challenge with something new and fun. Direct quote from her, "Some of them are easy to play fingering-wise but the key signatures are so bizarre they would be confusing for a beginner. For instance one of the pieces, Minecraft, has a fingering that is almost the same throughout but the key signature has 6 sharps which is probably a bit much for a beginner."

3 of 3 people found the following review helpful.
Good variety of songs
By Amazon Customer
Very advanced piano music, for at least 4th to 5th level. Bought this for my 12 year old, who is 3rd level piano player and been taking lessons for almost 4 years. He will not be able to play this for some time. Good variety of songs, but recommend for advanced player.

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[N790.Ebook] Ebook The Fictional Christopher Nolan, by Todd McGowan

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From Memento and Insomnia to the Batman films, The Prestige, and Inception, lies play a central role in every Christopher Nolan film. Characters in the films constantly find themselves deceived by others and are often caught up in a vast web of deceit that transcends any individual lies. The formal structure of a typical Nolan film deceives spectators about the events that occur and the motivations of the characters. While Nolan's films do not abandon the idea of truth altogether, they show us how truth must emerge out of the lie if it is not to lead us entirely astray.

The Fictional Christopher Nolan discovers in Nolan's films an exploration of the role that fiction plays in leading to truth. Through close readings of all the films through Inception, Todd McGowan demonstrates that the fiction or the lie comes before the truth, and this priority forces us to reassess our ways of thinking about the nature of truth. Indeed, McGowan argues that Nolan's films reveal the ethical and political importance of creating fictions and even of lying. While other filmmakers have tried to discover truth through the cinema, Nolan is the first filmmaker to devote himself entirely to the fictionality of the medium, and McGowan discloses how Nolan uses its tendency to deceive as the basis for a new kind of philosophical filmmaking. He shows how Nolan's insistence on the priority of the fiction aligns his films with Hegel's philosophy and understands Nolan as a thoroughly Hegelian filmmaker.

• Sales Rank: #1146004 in eBooks
• Published on: 2012-09-01
• Released on: 2012-09-01
• Format: Kindle eBook

Review
"Unassumingly brilliant and surgically incisive...." (Psychoanalysis, Culture, and Society)

"I am hugely impressed with this book and strongly recommend it. Not only is this the most important work to date on Christopher Nolan, it also numbers among the very best of Todd McGowan’s already impressive list of monographs. This book will have appeal to general readers with an interest in film studies, as well as specialists invested in psychoanalytic theory (especially Lacan) and continental philosophy. This is precisely the kind of book I would require in a graduate seminar or upper-division undergraduate capstone course. As with all of Todd McGowan’s work, the book makes important but very difficult theories accessible, while not sacrificing complexity or sophistication. This is a troublesome balancing act, but McGowan makes it seem easy. Intellectually, this work is a thrill to read." (Hugh S. Manon, Associate Professor and Director of Screen Studies, Clark University)

Review
"I am hugely impressed with this book and strongly recommend it. Not only is this the most important work to date on Christopher Nolan, it also numbers among the very best of Todd McGowan’s already impressive list of monographs. This book will have appeal to general readers with an interest in film studies, as well as specialists invested in psychoanalytic theory (especially Lacan) and continental philosophy. This is precisely the kind of book I would require in a graduate seminar or upper-division undergraduate capstone course. As with all of Todd McGowan’s work, the book makes important but very difficult theories accessible, while not sacrificing complexity or sophistication. This is a troublesome balancing act, but McGowan makes it seem easy. Intellectually, this work is a thrill to read." (Hugh S. Manon, Associate Professor and Director of Screen Studies, Clark University)

About the Author
Todd McGowan is Associate Professor of English at the University of Vermont, where he teaches film and cultural theory. He is the author of Out of Time: Desire in Atemporal Cinema, The Real Gaze: Film Theory After Lacan, and The Impossible David Lynch, among other books.

Most helpful customer reviews

4 of 4 people found the following review helpful.
Philosophical Look at Nolan
By Hunter
I am a fan of Nolan's work and style, so this was a great read. McGowan critically analyzes his films both individually and as subtexts to his overall filmmaking career so far. He frequently brings in philosophical ethics, especially Freud and Hegel, which can at times become challenging but is mostly well explained and understandable to those not versed in ethics. Overall, I really enjoyed this work and cannot wait to watch a Nolan film with friends and start explaining how the act of creating a fiction is really the pure representation of reaching truth. And stuff. The only downside is it stops at Inception!

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