A Psychological Analysis of Adolf Hitler is of historic value to students of personality and of psychoanalysis. Historians have questioned the validity of its sources; the contemporary reader will be amused by the explicit focus on psychosexual development; several of the report’s conclusions are dubious at best; its terminology varies widely from those of contemporary psychopathology. Nonetheless, the Analysis offers plausible reconstructions of Hitler’s history and self-image, and constitutes an imaginative reconstruction of Hitler’s psychological economy.
This monumental tome doesn’t just document the rise of the Nazis and the lifespan of the Third Reich – it also traces the roots of Nazism deep in German history. With meticulous research and mostly able narrative, Shirer offers compelling portraits of Hitler and his closest associates – from the competent and passionate Goebbels, to the vain and bungling Ribbentrop. Notwithstanding frequent back-and-forths in time, a prejudice against German culture as exceptionally repressive, and pejoratives typical of the time but nonetheless distracting to a contemporary reader – this is an impressive work of scholarship, accessible to a lay audience, and a comprehensive introduction to the Third Reich.
Hoffman’s memoirs offer an entertaining glimpse at life in the Nazi inner circle, and at Hitler himself. A light, brisk, anecdotal narrative chronicles Hoffman’s own artistic career, and the course of his professional relationship and personal friendship with Hitler. This modest, self-avowedly apolitical work nevertheless offers some key insights into Hitler and his associates, and makes for entertaining light reading.
What if Adolf Hitler came back to life in contemporary Germany? How would he go about getting a platform to work his way back to power? *Look Who’s Back* captures Hitler’s single-minded drive and prosy voice to present us with a personable if misguided leader. Vermes analyses the dynamics of profit-driven viewer-hungry media, and of a politically disenfranchised populace, in the (re)making of an extremist.
*A Creek Named Sorrow* is a competently narrated crime/mystery novel that juxtaposes the beauty of a rural New England landscape with human crime and misery. But a dizzying cast of mostly undeveloped characters, and a striking lack of sympathy for/insight into its criminal crharacters, make this novel a less-than-satisfying read.
*Tiny Novels In A Flash: 30 Short-Short Stories* delivers maximum story in minimum word-count. This book is a rainbow collection of characters and moods. Its themes range from comedy through life-lesson through love and loss. Its settings span the American landscape; most of the stories are contemporary; a few are set at various key moments in U.S. history. Each of these 30 standalone stories is a delectable read for a few spare minutes. Together, they demonstrate an impressive range from this debut author.
*Our Mutual Friend*, Dickens’s last finished novel, revives many familiar Dickens tropes, but unites them with lively social satire, a spare cast (by Dickens’s standard), and a mostly sound narrative. With characteristic ease, *Friend* traverses the socioeconomic spectrum from low to high. Its settings range from the grotesque and morbid, to scenes of fevered fancy and domestic bliss. *Friend*’s social satire is caustic as always. *Friend* is Dickens at his acme.
“My book has no thesis, and any conclusions to be found in it were reached only during the writing, perhaps the most meaningful being that Hitler was far more complex and contradictory than I had imagined. ‘The greatest saints,’ observes one of Graham Greene’s characters, ‘Have been men with a more than normal capacity for evil, and the most vicious men have sometimes narrowly evaded sanctity.’ Deprived of heaven, Adolf Hitler chose hell – if, indeed, he knew the difference between the two.”
“Nothing in the world is meaningless,” Wilde declares, “And sorrow least of all.” Wilde is writing De Profundis in his second year in prison. His first year was full of physical illness, bitterness, and cynicism. Wilde’s embrace of suffering now is motivated not by pessimism but, on the contrary, by self-love.
Joyce reputedly said that if Dublin were razed, it could be recreated from his descriptions of it in Ulysses. Dickens could’ve made the same claim regarding London and Sketches. Here, London emerges into the foreground as the main character. Dickens develops the city’s neighbourhoods, times-of-day, and inhabitants into the portrait of a vibrant city. It is a portrait monumentally detailed, full of humour and colour.