The autobiography of Alice Cooper as told to Steven Gaines.

The Autobiography of Alice Cooper as told to Steven Gaines.

“By the will of fate I came to play a part in not letting Hitler achieve his final goal of disappearing and turning into a myth… I managed to prevent Stalin’s dark and murky ambition from taking root – his desire to hide from the world that we had found Hitler’s corpse” – Elena Rzhevskaya

“A telling reminder of the jealousy and rivalries that split the Allies even in their hour of victory, and foreshadowed the Cold War” – Tom Parfitt, The Guardian

On May 2,1945, Red Army soldiers broke into Hitler’s bunker. Rzhevskaya, a young military interpreter, was with them. Almost accidentally the Soviet military found the charred remains of Hitler and Eva Braun. They also found key documents: Bormann’s notes, the diaries of Goebbels and letters of Magda Goebbels.

Rzhevskaya was entrusted with the proof of the Hitler’s death: his teeth wrenched from his corpse by a pathologist hours earlier. The teeth were given to Rzhevskaya because they believed male agents were more likely to get drunk on Victory Day, blurt out the secret and lose the evidence. She interrogated Hitler’s dentist’s assistant who confirmed the teeth were his.

Elena’s role as an interpreter allowed her to forge a link between the Soviet troops and the Germans. She also witnessed the civilian tragedy perpetrated by the Soviets. The book includes her diary material and later additions, including conversations with Zhukov, letters of pathologist Shkaravsky, who led the autopsy, and a new Preface written by Rzhevskaya for the English language edition.

Rzhevskaya writes about the key historical events and everyday life in her own inimitable style. She talks in depth of human suffering, of bittersweet victory, of an author’s responsibility, of strange laws of memory and unresolved feeling of guilt.

The elusive narrator of this beautifully written, complex, and powerfully disconcerting novel is the scion of a decayed aristocratic family from the farther reaches of the defunct Austro-Hungarian Empire. In five psychologically fraught episodes, he revisits his past, from adolescence to middle age, a period that coincides with the twentieth-century’s ugliest years. Central to each episode is what might be called the narrator’s Jewish Question. He is no Nazi. To the contrary, he is apolitical, accommodating, cosmopolitan. He has Jewish friends and Jewish lovers, and their Jewishness is a matter of abiding fascination to him. His deepest and most defining relationship may even be the strange dance of attraction and repulsion that throughout his life he has conducted with this forbidden, desired, inescapable, imaginary Jewish other. And yet it is just his relationship that has blinded him to — and makes him complicit in — the terrible realities his era.Lyrical, witty, satirical, and unblinking, Gregor von Rezzori’s most controversial work is an intimate foray into the emotional underworld of modern European history.

Нина Ивановна Гаген-Торн (1900–1986). Дочь профессора, выпускница Петербургского университета, поэт и прозаик, ученый-этнограф — и политзаключенная, лучшие годы жизни которой прожиты в сталинских тюрьмах, колымских и мордовских лагерях, на пересылках, этапах, в ссылке…«В страшной жизни, где люди носили платье с номерами, не имели связи с нормальным бытием, встретить человека, как бы витающего над всем лагерным ужасом, — чудо. И этим чудом была встреча с Ниной Ивановной Гаген-Торн…» (К. С. Хлебникова-Смирнова, бывшая заключенная.)«Она прожила долгую жизнь, прожила ее с честью, но, если бы была возможность писать и, главное, увидеть опубликованными плоды своих раздумий, — жила бы еще долго. Крепкий была человек…» (Галина Гаген-Торн, дочь).«Ужасно жаль, что в наше время, запутавшееся в далеко не диалектических противоречиях, Ваших стихов нельзя опубликовать. Но не падайте духом: придет и для них время — иное, освобождающее…» (Илья Сельвинский).

Нина Ивановна Гаген-Торн занимает видное место среди авторов женской «лагерной» прозы (наряду с Е. Керсновской, Е. Гинзбург, Т. Петкевич), в дневниках и воспоминаниях которых отразились судьбы людей, ставших жертвами сталинских репрессий. Известный ученый, стоявший у истоков советской этнографии, Н. И. Гаген-Торн была также талантливым поэтом, писателем и мемуаристом. Ее юность и студенческие годы прошли под знаком Серебряного века и первых лет советской республики; ей довелось услышать, как читал свои стихи Александр Блок, она участвовала в семинарах Андрея Белого и бывала на заседаниях знаменитой Вольфилы (Вольной философской ассоциации, ставшей средоточием духовной жизни Петрограда 1920-х годов). На взлете научной работы, в 1936 году, была арестована и осуждена на пять лет колымских лагерей. На воле остались две маленькие дочери. После освобождения успела защитить диссертацию – и новый срок, еще пять лет лагерей, а затем ссылка… Но какими бы тяжкими ни были испытания, Н. И. Гаген-Торн удалось сохранить и твердость воли, и ясность ума, и жадный интерес к миру, и желание рассказать о пережитом, «чтобы остался хоть тоненький следок, как отпечаток куликовой лапки на песке у реки, в огромных песках Вечности».Помимо воспоминаний, публикация которых стала возможной лишь в 1994 году, после смерти автора, издание включает стихи, написанные в разные годы жизни, и отрывки из дневников и писем, подготовленные Галиной Гаген-Торн, а также вступительную статью Мариэтты Чудаковой.В формате PDF A4 сохранён издательский дизайн.

Considered Teffi’s single greatest work, Memories: From Moscow to the Black Sea is a deeply personal account of the author’s last months in Russia and Ukraine, suffused with her acute awareness of the political currents churning around her, many of which have now resurfaced.

In 1918, in the immediate aftermath of the Russian Revolution, Teffi, whose stories and journalism had made her a celebrity in Moscow, was invited to read from her work in Ukraine. She accepted the invitation eagerly, though she had every intention of returning home. As it happened, her trip ended four years later in Paris, where she would spend the rest of her life in exile. None of this was foreseeable when she arrived in German-occupied Kiev to discover a hotbed of artistic energy and experimentation. When Kiev fell several months later to Ukrainian nationalists, Teffi fled south to Odessa, then on to the port of Novorossiysk, from which she embarked at last for Constantinople. Danger and death threaten throughout Memories, even as the book displays the brilliant style, keen eye, comic gift, and deep feeling that have made Teffi one of the most beloved of twentieth-century Russian writers.

From this renowned philosopher comes a debut work of fiction, at once a brilliant précis of the history of philosophy, a semiautobiographical meditation on the absurd relationship between knowledge and memory, and a very funny story.A French philosopher dies during a savage summer heat wave. Boxes carrying his unpublished papers mysteriously appear in Simon Critchley’s office. Rooting through them, Critchley discovers a brilliant text on the ancient art of memory and a cache of astrological charts predicting the deaths of various philosophers. Among them is a chart for Critchley himself, laying out in great detail the course of his life and eventual demise. While waiting for his friend’s prediction to come through, Critchley receives the missing, final box, which contains a maquette of Giulio Camillo’s sixteenth-century Venetian memory theater, a space supposed to contain the sum of all knowledge. With nothing left to hope for, Critchley devotes himself to one final project before his death — the building of a structure to house his collective memories and document the remnants of his entire life.

“We saw the lightning and that was the guns; and then we heard the thunder and that was the big guns; and then we heard the rain falling and that was the blood falling; and when we came to get in the crops, it was dead men that we reaped.” —Harriet TubmanIn five years, Jesmyn Ward lost five young men in her life — to drugs, accidents, suicide, and the bad luck that can follow people who live in poverty, particularly black men. Dealing with these losses, one after another, made Jesmyn ask the question: Why? And as she began to write about the experience of living through all the dying, she realized the truth — and it took her breath away. Her brother and her friends all died because of who they were and where they were from, because they lived with a history of racism and economic struggle that fostered drug addiction and the dissolution of family and relationships. Jesmyn says the answer was so obvious she felt stupid for not seeing it. But it nagged at her until she knew she had to write about her community, to write their stories and her own.

Gerald Durrell was born in India in 1925. His family settled on Corfu when he was a boy and he spent his time studying its wildlife. He relates these experiences in the trilogy beginning with My Family and Other Animals, and continuing with Birds, Beasts and Relatives and The Garden of the Gods. He writes with wry humour and great perception about both the humans and the animals he meets.On leaving Corfu, Durrell returned to England to work at Whipsnade Park as a student keeper. His adventures there are told with characteristic energy in Beasts in My Belfry. A few years later, he began organizing his own animal-collecting expeditions. The first, to the Cameroons, was followed by expeditions to Paraguay, Argentina and Sierra Leone. He recounts these experiences in a number of books including The Drunken Forest. He also visited many countries while shooting various television series.In 1959 Durrell realized a lifelong dream when he set up the Jersey Zoological Park, followed a few years later by the Jersey Wildlife Preservation Trust, renamed the Durrell Wildlife Conservation Trust in 1999.Whether in a factual account of an expedition or a work of non-fiction, Durrell’s style is exuberant, passionate and acutely observed. Gerald Durrell died in 1995.

"L'œuvre poétique de Mistral est un monument… Ce qui, grâce à lui, ne périra point de son pays est incommensurable" (Léon Daudet). Au terme de sa vie, Mistral, pour faire revivre la Provence de sa jeunesse, illustrer ses beautés et léguer au monde à venir son image immortelle, confia dans ce complément en prose à ses chefs d'œuvre poétiques, ses souvenirs les plus chers et les plus intimes. Les dessins de la figure lumineuse de sa mère et des traits austères de son père, le maître du "Mas du Juge", de tous ceux qui ont entouré son enfance, les récits des épisodes de la vie familiale, l'évocation des antiques maisons aux décors immuables, arrêtent la fuite du temps et ressuscitent pour le bonheur du lecteur, les douces heures enfuies et l'essence même des beaux fours évanouis.

Концепция стратегического истребителя известна со времен Первой мировой войны, когда и немцам и антантовцам потребовался самолет-истребитель, способный совершать глубокие рейды и эскортировать бомбардировщики. В то время уровень развития авиационной науки и техники не позволял разработать такой самолет, тем не менее, интерес к стратегическому истребители военные не утратили и в 20-е годы. Реальным же создание стратегического истребителя стало в середине 30-х годов и больше всего преуспели в этом деле немцы. Однако, немцы не были ни первыми, ни единственными…

Необыкновенная история группы Metallica, которая рассказывает о создании всех девяти студийных альбомов и лучших композициях, о событиях, повлиявших на каждую песню.

Бескомпромиссная биография группы с почти сорокалетней историей и более чем 110 миллионами проданных копий альбомов «Metallica» от одного из самых известных музыкальных журналистов в мире Мика Уолла. Почему один из абсолютных лидеров группы Ларс Ульрих выбрал именно игру на ударных? Как группа подбирала идеальный состав? Почему музыканты на определенный период отказались от сотрудничества с лейблами? Что такое веселье в духе трэш-метал? Кто из участников коллектива имел проблемы с законом и был совершенно невыносимым в обычной жизни? Об этом и многом другом читайте в острой, провокационной и сумасшедшей книге «Metallica. Экстремальная биография группы».

Jean-Paul Belmondo a aujourd’hui décidé de tout raconter. Son enfance marquée par la guerre, sa mère courage, l’atelier de son père, et ses premières amours.Il nous entraîne dans les pas dilettantes de son service militaire en Algérie. Il nous invite aux comptoirs de la rue Saint-Benoît, pour y faire les quatre cents coups avec ses copains de toujours, Jean-Pierre Marielle, Jean Rochefort, Michel Beaune, Pierre Vernier, Charles Gérard. Jean-Paul Belmondo se raconte ici pour la première fois, nous livrant la certitude que, oui, mille vies valent mieux qu’une.

Updated and Revised 2015 Edition of the Best-Selling Creative Non-Fiction Crime Story “Cat and Mouse – Mind Games with a Serial Killer”.As seen recently on British TV Show “Born to Kill”In this startling, twisting, turning story of murder, mayhem, and self-discovery, convicted mass murderer and baby killer Bill Suff “The Riverside Prostitute Killer” is your guide to exploring your personal demons.This is a unique book containing everything that was heretofore known and suspected but meticulously kept “off the record”, as well as details that that only the killer knew until now. There are interviews with principals; transcripts of the illegal police interrogation of Bill; excerpts from the cookbook, poetry, and writings of Bill; a step-by-step reconstruction of the mental chess game between Bill and Brian; and appreciation for how “friendship” with this serial killer led to death for some but salvation for others.For seven years—1985 to 1992—Bill hid in plain sight while terrorizing three Southern California counties, murdering two dozen prostitutes, mutilating and then posing them in elaborate artistic scenarios in public places—he’d placed a lightbulb in the womb of one, dressed others in men’s clothes, left one woman naked with her head bent forward and buried in the ground like an ostrich; he’d surgically removed the right breasts of some victims, and cut peepholes in the navels of others.When the newspapers said that the killer only slayed whites and hispanics, Bill ran right out and raped, torutred and killed a pregnant black woman. When a film company came to town to make a fictional movie about the then-uncaught killer, Bill left a corpse on their set. And, as the massive multi-jurisdictional police task force fruitlessly hunted the unknown killer, Bill personally served them bowls of his “special” chili at the annual Riverside County Employees’ Picnic and Cook-off.William Lester “Bill” Suff. He says he’s innocent, says he’s been framed, says he’s the most wronged man in America, maybe the world. He’s easygoing, genial, soft-spoken, loves to read, write, draw, play music and chat endlessly. He describes himself as a lovable nerd and a hope-less romantic, and he fancies himself a novelist and poet.Brian first connected with Bill on the basis of writer to writer, and that’s when the mind games began. Even in jail, Bill was the master manipulator, the seducer who somehow always got way. But Brian was determined to lose himself in Bill’s mind, in Bill’s fantasies, to get at the truth of who and what Bill Suff is. Only then would he know the truth of how close we are all to being just like Bill.Some readers wrote that the book was “personally important and life-changing”, others that it was “the only serial killer book with a sense of humor”, and others that they wished the author dead or worse. The son of one of Suff’s victims held on to the book as life-preserving testimony to the goodness of his fatally flawed mother and the possibility that his own redemption would eventually be in his own hands.Meanwhile, TV series and movies continuously derive episodes and plots from the unique details of the murders and the spiraling psyches of the characters as laid out in the book.When it was first released, Brian Alan Lane’s genre-bending bestseller “Mind Games With a Serial Killer” was simultaneously hailed and reviled.“Highly recommended: the creepiest book of the year… A surreal portrait of a murderous mind.” (Details Magazine)“This book is an amazing piece of work—it’s like Truman Capote on LSD.” (Geraldo Rivera on The Geraldo Rivera Show)“A masterpiece… that needs to be sought out and savored by all those with a truly macabre sensibility… A post-modernistic objet trouvé… that could have been concocted by Vladimir Nabokov.” (The Boston Book Review)“A new approach to crime… absolutely riveting, utterly terrifying.” (Forensic Science Bookstore)

'Miracles of Life' opens and closes in Shanghai, the city where J.G.Ballard was born, and where he spent the most of the Second World War interned with his family in a Japanese concentration camp. In the intervening chapters Ballard creates a memoir that is both an enthralling narrative and a detailed examination of the events which would profoundly influence his work. Beginning with his early childhood spent exploring the vibrant surroundings of pre-war Shanghai, Ballard charts the course of his remarkable life from the deprivations and unexpected freedoms of the Lunghua Camp to his return to a Britain physically and psychologically crippled by war. He explores his subsequent involvement in the dramatic social changes of the 1960s, and the adjustments to life following the premature death of his wife. In prose displaying his characteristic precision and eye for detail, Ballard recounts the experiences which would fundamentally shape his writing, while simultaneously providing an striking social analysis of the fragmented post-war Britain that lies behind so many of his novels. 'Miracles of Life' is an utterly captivating account of an extraordinary writer's extraordinary life.

Valentīns ZorinsMisteri miljardiŠī grāmato sarakstīta, izmantojot Savienoto Valstu vadošo un bagātāko rūpnieku un finansistu dinastiju dzīves gaitu ilggadigos pētījumus. Tā saistās ar agrāk publicēto gramatu par Amerikas nekronētajiem karaļiem. Šo grāmatu autors Valentīns Zorins, žurnālists un zinātnieks, padomju televīzijas un radio politiskais komentētājs, V. Vorovska prēmijas laureāts, vēstures zinātņu doktors, PSRS Zinātņu akadēmijas ASV institūta profesors, ne vienreiz vien apmeklējis Savienotās Valstis, ticies un runājis ar daudzām savas grāmatas personām. Šīs grāmatas pamatā ir pētījumu rezultāti, personiskie iespaidi un novērojumi.No krievu valodas tulkojis K. Strebeiko Mākslinieks A. Dlohs A. Luleres mākslinieciskā apdare©Tulkojums latviešu valodā, «Liesma», 1973IZDEVNIECĪBA «LIESMA» RIGA 1973Šī grāmata veltīta manai meitai Katerinai un viņas vienaudžiemЗорин Валентин Сергеевич МИСТЕРЫ МИЛЛИАРДЫ Второе дополненное издание«Молодая гвардия»Москва 1972Издательство «Лиесма»Рига 197311а латышском языкеПеревел с русского К. СтреОейкоХудожник А. ПлохХудожественное оформление А. Лутере

Автобиография одного из самых культовых музыкантов нашего времени – пугающе откровенная, чувственная, остроумная, грустная и смешная, охватывающая путь от беспросветной нищеты в трущобах до ошеломительного мирового успеха.

Моби не должен был стать ди-джеем или музыкантом, не должен был стать звездой, и на это была тысяча причин. Время начала его карьеры было временем наркотиков, прогрессивной клубной музыки, а сам он был бедным подростком-христианином из Коннектикута, трезвенником, помешанным на здоровом питании и любви к животным. У него не было ничего, и он даже нашел пути, как с этим смириться. Но, возможно, именно те годы в Нью-Йорке как раз и были такими, когда только нищета могла сохранить жизнь. Не без трагедии и драмы Моби нашел свой путь и вырвался на вершины музыкального мира.

Моби с поразительной честностью и романтической иронией пишет о любви и боли, взлетах и падениях, которые и составляют непредсказуемую амплитуду рок-славы.Книга содержит ненормативную лексику.