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Blaise Pascal, the precociously brilliant contemporary of Descartes, was a gifted mathematician and physicist, but it is his unfinished apologia for the Christian religion upon which his reputation now rests. The Penseés is a collection of philosohical fragments, notes and essays in which Pascal explores the contradictions of human nature in pscyhological, social, metaphysical and - above all - theological terms. Mankind emerges from Pascal's analysis as a wretched and desolate creature within an impersonal universe, but who can be transformed through faith in God's grace. 

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

• Sales Rank: #56929 in Books
• Published on: 1995-12-01
• Released on: 1995-12-01
• Original language: French
• Number of items: 1
• Dimensions: 7.80" h x .90" w x 5.10" l, .60 pounds
• Binding: Paperback
• 333 pages

Language Notes
Text: English (translation)
Original Language: French

About the Author
Blaise Pascal was born in Clermont in 1623, the son of a government official. During his short life he left his mark on mathematics, physics, religious controversy and literature. A convert to Jansenism, he engaged with gusto in a controversy with the Jesuits, which gave rise to his Lettres Provincialeson which, with the Pensées, his literary fame chiefly rests. A remarkable stylist, he is regarded by many as the greatest of French prose artists. He died, after a long illness, in 1662.

Dr. A.J. Krailsheimer was born in 1921 and was Tutor in French at Christ Church, Oxford, from 1957 until his retirement in 1988. His publications are Studies in Self-Interest (1963), Rabelais and the Franciscans (1965), Three Conteurs of the Sixteenth Century (1966), Rabelais (1967), A. J. de Rancé, Abbot of La Trappe (1974), Pascal (1980), Conversion (1980), Letters of A. J. de Rancé (1984), Rancé and the Trappist Legacy (1985) and Correspondance de Rancé (1993). He has also translated Flaubert’s Bouvard and Pécuchet and Salammbo and Pascal’s The Provincial Letters for the Penguin Classics.

From AudioFile
After the death of French scientist/polemicist Blaise Pascal (1623-1662), his friends discovered among his papers a variety of jottings on religion. These they arranged and published as PENSÉES ("Thoughts"), which has come down to us as the liveliest, most eloquent apology of Christianity ever written. You wouldn't know it by the indifferent reading of William Sutherland. He reads with comprehension of individual lines and phrases, but with no sense of how they relate to one another. Y.R. © AudioFile 2002, Portland, Maine-- Copyright © AudioFile, Portland, Maine

Most helpful customer reviews

167 of 184 people found the following review helpful.
Read Pascal's Pensees.
By Craig G Cram
I always thought of Pascal as a great scientist, but as a somewhat dated Christian apologist. The general treatment of Pascal by both science and humanities is at best an unreflective nod to the importance of his scientific discoveries and a momentary and uncomfortable glance at his `other' writings.
The lack of serious consideration given to Pascal's `other' writings by philosophy and theology departments and their absence from science curriculums is indicative of major bias and ignorance. Why?
Pascal's science is embarassing to defenders of prevalent Darwinian atheistic science because of his zeal for the Christian faith. Pascal made some important discoveries but he "abandoned science for religion" and for that reason is tagged as an historical anachronism - he like many of the scientists of the 17th century were heavily tainted with `folk belief' and superstitions.
Pascal's Science and Faith is embarassing to those philosophers and theologians that cannot reconcile the two aspects of human Pensees - thoughts. They like to think of Pascal as an early `existentialist' like Kierkegaard who made a `leap' of faith against the atheistic dogmas of material science; but Pascal did not support their radical dichotomy of science versus faith.
Shunned on both sides for different reasons (for centuries!), Pascal is finally becoming more and more appreciated as someone who was `between' faith and science; a position becoming more fashionable.
All you have to do is read `The Pensees' to quickly see it as one of the most important, beautiful and penetrating books ever written. The Pensees (`Thoughts') are a long series of fragments on the the human situation, Jesus Christ, God, revelation, Infinity and finitude. But it is the little pieces that you find, like lost treasures, that ring through to your very being that sets Pascal's Pensees apart as a book for living and reflecting and not merely analyzing.
"We sail over a vast expanse, ever uncertain, ever adrift, carried to and fro. To whatever point we think to fix and fasten ourselves it shifts and leaves us; and if we pursue it it escapes our grasp, slips away, fleeing in eternal flight - Man's condition: inconstancy, ennui, unrest."
"The last step that Reason takes is to recognize that there is an infinity of things that lie beyond it. Reason is a poor thing indeed if it does not succed in knowing that."

89 of 98 people found the following review helpful.
Pascal is hard to pigeonhole
By J. F Foster
This book, representing Pascal's 'pensees', or thoughts, contains many provocative views that have managed to arouse critics from many different perspectives. And while there are several strains of Pascal's thought that I considerably dissent from, it can hardly be denied that in many ways, Pascal's insights into human character as it relates to the divine are not easily dismissed, at least intellectually.
Because this work is a collection of thoughts rather than a systematic presentation, which is what Pascal ultimately had in mind but his illness and subsequent death prevented, the reader will likely find Pascal to be quite quotable. There are quite a few 'one liners' in here that are profound to the point of being humorous when one thinks about how insightful his thoughts are. And Pascal, in arguing in favor of the truth of Christianity, makes a very big investment in fulfilled prophecy and the history of the Jews that readers should find interesting. His 8 page discourse on indifference at the beginning of the second section is among the best 8 pages I've ever read and have succeeded in providing a noticeable amount of discomfort for atheists for three centuries now.
The portion of Pensees that is the most well known is Pascal's wager argument early in the second section. Personally, this argument, while interesting, is not the most compelling argument he makes and I consider it a shame that the wager argument has really overshadowed what I believe to be Pascal's most provocative argument in favor of the Christian religion - his anthropological argument. While not stated in this manner, section 1 of Pensees spends considerable time developing the notion that the extreme paradox of humanity (as Pascal sees it) of both immense greatness and horrible evil demand an explanation. How can man be both, and what worldview best explains this clear reality? These are the questions that Pascal presents, and he argues that only the Biblical narrative of man from creation forward provides an intelligent framework upon which to explain the human condition adequately. It is a very provocative argument that a number of thoughtful theologians from Groothuis to McKenzie have opined upon quite recently, and it is an argument that deserves extensive thought not just about the Christian religion, but about the very nature of man and whether Pascal's grasp of it is correct or not. I have found that one can take the sketches of the argument put forward by Pascal here and get into some very deep anthropological water that is healthy, even if one ultimately takes issue with Pascal's paradox.
Being a Jansenist, Pascal was not as willing as mainstream Roman Catholicism to rely on human reason, believing that man's 'wretchedness' calls such reason into question. As such, the reader will notice that Pascal tends to employ a general polemic against reason, even though he clearly refutes the complete abandonment of reason. But as part of this general polemic, he clearly distrusts natural theology as well as the rationalizations of the philosophers (which is kind of ironic), believing that philosophical rationalizing is ultimately an impediment to faith. It is in these basic areas (and a few others) which I respectfully dissent from Pascal in varying degrees. Pascal intends here to walk a fine line between what he believed to be the logical absurdity of faith in complete contradiction to reason, but also of the bankruptcy as he saw it of reason alone becoming the basis for our faith. In my own reading of the book, my view is that Pascal devoted more energy to dealing with the latter concern than the former.
A highly provocative book that has, and will continue to arouse thought and contemplation at the deepest levels.

38 of 40 people found the following review helpful.
Rough but insightful.
By Wesley L. Janssen
Pascal, the brilliant mathematician, physicist, and engineer, presents in his posthumously titled Pensees, his philosophy of religion and a paradox rich and challenging defense of Christian faith. Says Pascal, "Knowledge has two extremes which meet; one is the pure natural ignorance of every man at birth, the other is the extreme reached by great minds who run through the whole range of human knowledge, only to find that they know nothing... but it is a wise ignorance which knows itself. Those who stand half-way... pretend to understand everything... they get everything wrong."
The book is a collection of unfinished writings; arguments and ideas which he had scribbled, intending to then develop and elaborate. As such, the text is disjointed and even mysterious; statements are abrupt, incomplete, dogmatic. Yet, out of respect for the intellectual accomplishments of the great French mathematician, these notes were published essentially as he had left them. They contain many gems; profound statements which stand like islands in a sea of sometimes jumbled thoughts.
Pascal's themes are: the nature of human knowledge, the affliction of pride, the blindness and tyranny of self, the boundaries of reason, the hiddenness of God, and his own argument for "wagering" not only on God, but on the Christian faith. Two things are obvious; (1.) the arguments are not in the form in which Pascal intended to offer them, therefore, (2.) this is not a definitive apologetic. However, Pascal's arguments are rather unique and as such they are interesting even in their [often] crude form. Read this book in conjunction with the writings of C.S. Lewis, Augustine, or Sundar Singh.

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Pattern Magic is the cult pattern-making book from Japan. Taking inspiration from nature, from geometric shapes, and from the street, this book harnesses the sheer joy of making and sculpting clothes. The book takes a creative approach to pattern making, with step-by- step projects for fashion designers and dressmakers to enjoy. Each project is beautifully illustrated with clear diagrams and photographs showing the stages of construction, the muslins, and the finished garments.

• Sales Rank: #27168 in Books
• Brand: Nakamichi, Tomoko
• Model: BCAC25548
• Published on: 2010-10-06
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x .50" w x 7.50" l, .80 pounds
• Binding: Paperback
• 104 pages

About the Author
After serving many years as a professor at Bunka Fashion College, Ms. Nakamichi currently delivers lectures and holds courses on fashion design, both in Japan and overseas. This book brings together the results of the research on garment patterns she has carried out to help instruct her students.

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212 of 215 people found the following review helpful.
A brilliant book for advanced pattern making
By Donald McCunn
It has been a long time since I have found a pattern making book that I have found as exciting as this book.

Once you get beyond the basics of creating patterns that fit, commonly called slopers, what do you do with them? Most designs I see on the street, in catalogs, and in the stores are so easy to execute that the design process is not challenging at all.

But there are a few designs that have me scratching my head thinking "How did they do that?" I have taken to calling them "Pattern Puzzles." This book is full of these designs. Each one is uniquely different but beautifully illustrated and explained in anywhere from one to three page spreads. Tomoko never takes more than three pages of illustrations to show how to make even the most complex and unusual design from a fitted sloper.

I am pleased to see her using the front bodice sloper for women that I now use in my online patternmaking classes. It has one dart for the bust to the waist and one to the armscye (arm hole). In my experience this configuration for the darts provides the optimum way of achieving an accurate custom fit. I also believe it is the best sloper for visualizing how to create the lines of original designs so you can convert from a two dimensional form to a three dimensional one.

She uses a technique for evaluating pattern shapes that I have found invaluable in my teaching which is to prototype design ideas in paper so you can assemble the shape before you even touch needle and thread.

Tomoko also shares another passion of mine for developing design ideas using dress forms in scale. All the photos in this book are of the designs on a half scale manikin.

Caveat #1: These designs are unusual. If you are looking for the conventional, this is not for you. But if you step beyond "I wouldn't want to wear that" and move on to "What can I learn from this pattern design technique," I believe you will increase your pattern design skills exponentially.

Caveat #2: There are no sewing instructions. I would recommend when you try these ideas out you do what Tomoko does and try them in scale first. If you don't have a scale dress form, fashion dolls such as the ones Tomoko works with are an excellent medium to experiment with.

Bravo Tomoko--I can hardly wait until your volume 2 is translated into English. Although your illustrations are so clear, I am almost tempted to get the Japanese edition.

Don McCunn
Author of How to Make Sewing Patterns

112 of 114 people found the following review helpful.
Not for beginners!
By SSB
I am not sure why I bought this book since I do not sew anymore (arthritis) and I do not particularly like to look at or to wear modern Japanese clothing. The cover caught my eye, I guess. I have always been curious about the structure of some of the more complicated Japanese designs. This is an amazing book. The clothing is amazing, if largely unwearable, but could be the springboard for your own interesting designs. Many of the ideas could be adapted to Western clothing.

Even though I have 60 years sewing experience and a tech degree in pattern design, I don't think that I could readily draft or adapt any of the patterns, not to mention making most of them. While there is ample information about drafting the pattern, there is no instruction about sewing the garment, appropriate understructure, interfacing etc. The notation on the patterns is a little different that what I was taught so I found it a little confusing. One generally needs to sew a complicated garment in a specific sequence that is not given in the book. If one is going to make the dress on page 55, for example, out of a "soft woolen georgette", one is going to need to underline and interline. That is not mentioned. I suppose a seasoned pro would know. Have plenty of muslin on hand if you try these garments.

The book is not for beginners. If you are very experienced with pattern drafting and sewing, go for it. If you are not, buy the book and admire the skill and ingenuity that has gone into drafting these patterns and making these garments. I would call this a sewing equivalent of a beautiful coffee table book, hardly practical but very interesting and, perhaps, inspirational. Four stars for the inspiration. While I know that pattern books rarely mention these things, I subtracted a star for the lack of information regarding structure and construction since these designs are so very complex.

50 of 51 people found the following review helpful.
Magic is right
By Costume Designer
Brilliant book. You must know how to sew and have some experience to truly take advantage of this book. If you are into patterning you will love it because it takes you in an incredibly creative and unusual direction. I thought I knew how to move darts and then I read this book!

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This book accomplishes two important tasks. First, it presents the fundamentals of Master Scheduling in a clear, concise, and complete manner. It's simple and easy to understand. Second, it explains the relationship between Master Scheduling and Supply Chain Management, Lean Manufacturing, and Efficient Consumer Response. This book - simple, easy-to-understand, up-to-date - speaks to the needs of both the experienced professionals as well as people new to this field and this process. It will be an important addition to the personal libraries of practitioners and professionals in the world of Logistics, Demand Management, Manufacturing and Supply Chain Management.

• Sales Rank: #908747 in Books
• Brand: Brand: T. F. Wallace Company
• Published on: 2003-01-15
• Number of items: 1
• Binding: Paperback
• 220 pages

Features

• Used Book in Good Condition

About the Author
Tom Wallace has been involved with a substantial number of companies that have dramactically improved their forecasting processes and gained sharp improvements in customer service. Tom's other books include Sales Forecasting: A New Approach, Sales & Operations Planning: The How-To Handbook, and ERP: Making It Happen.

Bob Stahl has spent the last 30 years on leading edge processes for manufacturing, logistics, and supply chain management. He is a developer, teacher, writer, and consultant with an extremely strong track record of successes. Bob is a founding partner of the Supply-Chain Partnership.

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0 of 0 people found the following review helpful.
very good guide to Master Scheduling processes
By Alexey Cheslavsky
To say with simple words about such a complicated thing like Master Scheduling is an approach I liked so much. And I liked more that the book is not only about MPS tools but a part of it is about implementation of Master Scheduling. I recommend it to the persons who work in Order Fulfillment at demand or supply side or who are interested in SCM or who are going to be Master Scheduler.

1 of 2 people found the following review helpful.
Effective Book Explaining Concepts That ARe Often Misunderstood
By Shaun Snapp
As a consultant and working in different environments, I have found that one of the biggest challenges on projects is getting a shared understanding on terminology. S&OP, MPS, and master scheduling all seem to be interpreted as different things by different people. This book's biggest strength is that it explains both how master scheduling is different from master production scheduling, and also how master scheduling fits into S&OP. For that alone it is a worthwhile read.

0 of 0 people found the following review helpful.
Five Stars
By Luis E Hernandez C
Great!

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A stunningly ambitious and beautiful novel, perfect for fans of The Nightingale, Schindler’s List, and All the Light We Cannot See, about twelve-year-old Hannah Rosenthal’s harrowing experience fleeing Nazi-occupied Germany with her family and best friend, only to discover that the overseas asylum they had been promised is an illusion.

Before everything changed, young Hannah Rosenthal lived a charmed life. But now, in 1939, the streets of Berlin are draped with red, white, and black flags; her family’s fine possessions are hauled away; and they are no longer welcome in the places that once felt like home. Hannah and her best friend, Leo Martin, make a pact: whatever the future has in store for them, they’ll meet it together.

Hope appears in the form of the SS St. Louis, a transatlantic liner offering Jews safe passage out of Germany. After a frantic search to obtain visas, the Rosenthals and the Martins depart on the luxurious ship bound for Havana. Life on board the St. Louis is like a surreal holiday for the refugees, with masquerade balls, exquisite meals, and polite, respectful service. But soon ominous rumors from Cuba undermine the passengers’ fragile sense of safety. From one day to the next, impossible choices are offered, unthinkable sacrifices are made, and the ship that once was their salvation seems likely to become their doom.

Seven decades later in New York City, on her twelfth birthday, Anna Rosen receives a strange package from an unknown relative in Cuba, her great-aunt Hannah. Its contents will inspire Anna and her mother to travel to Havana to learn the truth about their family’s mysterious and tragic past, a quest that will help Anna understand her place and her purpose in the world.

The German Girl sweeps from Berlin at the brink of the Second World War to Cuba on the cusp of revolution, to New York in the wake of September 11, before reaching its deeply moving conclusion in the tumult of present-day Havana. Based on a true story, this masterful novel gives voice to the joys and sorrows of generations of exiles, forever seeking a place called home.

• Sales Rank: #11651 in Books
• Published on: 2016-10-18
• Released on: 2016-10-18
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.40" w x 6.00" l, .0 pounds
• Binding: Hardcover
• 368 pages

Review
“Fascinating . . . a brilliant entrée into the souls, terrors, ardors, endeavors and hopeless valor of people who have been written off. . . . Now, in a new age of people in peril and adrift on the world’s seas, this magnificent novel—and the unexpected and intricate tragedies of its powerfully imagined characters—bespeaks this eternal injustice.” (Thomas Keneally, Bestselling author of Schindler’s List)

“An unforgettable and resplendent novel which will take its place among the great historical fiction written about World War II. Hannah Rosenthal will remain in your heart and her determination to tell the story of what she saw, lived, and lost will change the way you look at the world.” (Adriana Trigiani, bestselling author of The Shoemaker's Wife)

“powerful and affecting…that sheds light on a sorrowful piece of Holocaust history.” (Kirkus Reviews)

 “I found myself unable to put the book down.  I was able to identify with what my parents must have experienced first in Germany and later the St. Louis. . . . beautiful and heartbreaking.”  (Judith (Koepple) Steele, survivor of the St. Louis)

 "It was so true to our many life experiences… I became enthralled with the descriptions of the emotional turmoil that these characters endured.” (Eva (Safier) Wiener, survivor of the St. Louis)

 “A vital tribute to liberty, love and justice…one of the most fascinating and extraordinary literary events of recent times.” (Zoé Valdés, international bestselling author of The Weeping Woman)

“Profound and moving …  This novel touched me personally, especially because it is written from the point of view of a girl, just like me, on the ship. This tragedy, ignored for so many years, contains a lesson the world must learn and never forget: compassion for refugees.” (Ana Maria (Karman) Gordon, survivor of the St. Louis)

"A timely must-read." (People)

About the Author
Armando Lucas Correa is an award-winning journalist, author, and the editor-in-chief for People en Español, the top-selling Hispanic magazine in the United States. Correa is the recipient of various journalistic awards from the National Association of Hispanic Publications and the Society of Professional Journalism. He is the magazine’s primary spokesperson and regularly appears on national Spanish-language television programs. The German Girl is his first novel.

Excerpt. © Reprinted by permission. All rights reserved.
The German Girl Hannah Berlin, 1939
I was almost twelve years old when I decided to kill my parents.

I had made up my mind. I’d go to bed and wait until they fell asleep. That was always easy to tell because Papa would lock the big, heavy double windows and close the thick greenish-bronze curtains. He’d repeat the same things he said every night after supper, which in those days had become little more than a steaming bowl of tasteless soup.

“There’s nothing to be done. It’s all over. We have to leave.”

Then Mama would start shouting, her voice cracking as she blamed him. She’d pace the whole apartment—her fortress at the heart of a sinking city; the only space she’d known for more than four months—until she wore herself out. Then she’d embrace Papa, and her feeble moans would finally cease.

I’d wait a couple of hours. They wouldn’t put up any resistance. I knew Papa had already given up and was willing to go. Mama would be more difficult, but she took so many sleeping pills, she’d be fast asleep, steeped in her jasmine and geranium essences. Although she had gradually increased the dose, she still awakened during the night crying. I would rush to see what had happened, but all I could make out through the half-open door was Mama inconsolable in Papa’s arms, like a little girl recovering from a terrible nightmare. Except that, for her, the nightmare was being awake.

Nobody heard my cries anymore; nobody bothered about them. Papa told me I was strong. I would survive whatever happened. But not Mama. The pain was gnawing away at her. She was the child in a house where daylight was no longer allowed. For four months, she had been sobbing each night, ever since the city was covered in broken glass and filled with the constant stench of gunpowder, metal, and smoke. That was when they started planning our escape. They decided we’d abandon the house where I was born, and forbade me to go to school, where nobody liked me anymore. Then Papa gave me my second camera.

“So that you can leave a trail out of the labyrinth like Ariadne,” he whispered.

I dared to think it would be best to be rid of them.

I thought about diluting aspirin in Papa’s food or stealing Mama’s sleeping pills—she wouldn’t last a week without them. The only problem was, first of all, my doubts. How many aspirin would he have to swallow to give him a lethal ulcer, internal bleeding? How long could Mama really survive without sleep? Anything bloody was out of the question, because I couldn’t bear the sight of blood. So the best thing would be for them to die of suffocation. To smother them with a huge feather pillow. Mama made it clear that her dream had always been for death to take her by surprise while she slept. “I can’t bear farewells,” she would say, staring straight at me—or, if I wasn’t listening, she would grab me by the arm and squeeze it with the little strength she had left.

One night I woke up during the night in tears, thinking my crime had already been committed. I could see my parents’ lifeless bodies but was unable to shed a single tear. I felt free. Now there would be no one to force me to move to a filthy neighborhood, to leave behind my books, my photographs, my cameras, to live with the terror of being poisoned by your own father and mother.

I started to tremble. I called out “Papa!” But no one came to my rescue. “Mama!” There was no going back. What had I turned into? How did I end up so low? What would I do with their bodies? How long would it take for them to decompose?

Everyone would think it was suicide. No one would question it. My parents had been suffering constantly for four months by then. Others would see me as an orphan; I’d see myself as a murderer. My crime existed in the dictionary. I looked it up. What a dreadful word. Just saying it gave me the shivers. Parricide. I tried to repeat it and couldn’t. I was a murderer.

It was so easy to identify my crime, my guilt, my agony. What about my parents, who were planning to get rid of me? What was the name for someone who killed their children? Was that such a terrible crime there wasn’t even a word for it in the dictionary? That meant they could get away with it. Whereas I had to bear the weight of death and a nauseating word. You could kill your parents, your brothers and sisters. But not your children.

I prowled through the rooms, which to me seemed increasingly small and dark, in a house that would soon no longer be ours. I looked up at the unreachable ceiling, walked down hallways lined with the images of a family that was disappearing little by little. Light from the lamp with the snowy-white shade in Papa’s library filtered out into the corridor where I stood disoriented, unable to move. I watched as my pale hands turned golden.

I opened my eyes and was in the same bedroom, surrounded by well-worn books and dolls I had never played with, nor ever would. I closed my eyes and sensed it wouldn’t be long before we fled without a set destination on a huge ocean liner from a port in this country where we had never belonged.

In the end, I didn’t kill my parents. I didn’t have to. Papa and Mama were the guilty ones. They forced me to throw myself into the abyss alongside them.



The apartment’s smell had become intolerable. I didn’t understand how Mama could live between those walls lined with moss-green silk that swallowed what little daylight there was at that time of year. It was the smell of enclosure.

We had less time to live. I knew it; I felt it. We wouldn’t be spending the summer there in Berlin. Mama had put mothballs in the closets to preserve her world, and the pungent odor filled the apartment. I had no idea what she was trying to protect, since we were going to lose everything regardless.

“You smell like the old ladies on Grosse Hamburger Strasse,” Leo taunted me. Leo was my only friend; the one person who dared look me in the face without wanting to spit on me.

Spring in Berlin was cold and rainy, but Papa often left without taking his coat. Whenever he went out in those days, he wouldn’t wait for the elevator but took the stairs, which creaked as he trod on them. I wasn’t allowed to use the stairs, though. He didn’t walk down because he was in a hurry but because he didn’t want to bump into anyone else from the building. The five families living on the floors beneath ours were all waiting for us to leave. Those who were once our friends were no longer friendly. Those who used to thank Papa or who tried to ingratiate themselves with Mama and her friends—who praised her good taste or asked for advice on how to make a brightly colored handbag match their fashionable shoes—now looked down their noses at us and could denounce us at any moment.

Mama spent yet another day without going out. Every morning when she got up, she would fasten her ruby earrings and smooth back her beautiful, thick hair—which was the envy of her friends whenever she appeared in the tearoom of the Hotel Adlon. Papa called her the Goddess, because she was so fascinated by the cinema, which was her only contact with the outside world. She would never miss the first night of any film starring the real screen goddess, “La Divine” Greta Garbo, at the Palast.

“She’s more German than anyone,” she would insist whenever she mentioned the divine Garbo, who was, in fact, Swedish. But back then motion pictures were silent, and no one cared where the star had been born.

We discovered her. We always knew she would be worshipped. We appreciated her before anybody else; that’s why Hollywood noticed her. And in her first talkie she said in perfect German: “Whisky—aber nicht zu knapp!”

Sometimes when they came back from the cinema, Mama was still in tears. “I love sad endings—in movies,” she explained. “Comedies weren’t meant for me.”

She would swoon in Papa’s arms, raise a hand to her brow, the other holding up the silk train of a cascading dress, toss back her head, and start talking in French.

“Armand, Armand . . .” she would repeat languidly and with a strong accent, like La Divine herself.

And Papa would call her “my Camille.”

“Espère, mon ami, et sois bien certain d’une chose, c’est que, quoi qu’il arrive, ta Marguerite te restera,” she would reply, laughing hysterically. “Dumas sounds ghastly in German, doesn’t he?”

But Mama no longer went anywhere.

“Too many smashed windows” had been her excuse ever since the previous November’s terrible pogrom, when Papa had lost his job. He had been arrested at his university office and taken to the station on Grolmanstrasse, kept incommunicado for an offense we never understood. He shared a windowless cell with Leo’s father, Herr Martin. After they were released, the two would get together daily—and that worried Mama even more, as if they were planning an escape she was not prepared for yet. Fear was what prevented her from leaving her fortress. She lived in a state of constant agitation. Before, she used to go to the elegant salon at the Hotel Kaiserhof, just a few blocks away, but eventually it was full of the people who hated us: the ones who thought they were pure, whom Leo called Ogres.

In the past, she would boast about Berlin. If she went on a shopping spree to Paris, she always stayed at the Ritz; and if she accompanied Papa to a lecture or concert in Vienna, at the Imperial:

“But we have the Adlon, our Grand Hotel on the Unter den Linden. La Divine stayed there, and immortalized it on screen.”

During those days, she would peer out the window, trying to find a reason for what was happening. What had become of her happy years? What had she been sentenced to, and why? She felt she was paying for the offenses of others: her parents, grandparents—every one of her ancestors throughout the centuries.

“I’m German, Hannah. I am a Strauss. Alma Strauss. Isn’t that enough, Hannah?” she said to me in German, and then in Spanish, and in English, and finally in French. As if someone were listening to her; as if to make her message entirely clear in each of the four languages she spoke fluently.

I had agreed to meet Leo that day to go take photographs. We would see each other every afternoon at Frau Falkenhorst’s café near Hackescher Markt. Whenever she spotted us, the owner would smile and call us “bandits.” We liked that. If either of us was later than expected, the first to arrive had to order a hot chocolate. Sometimes we’d arrange to meet at the café near the Alexanderplatz Station exit, which had shelves filled with sweets wrapped in silver paper. When he needed to see me urgently, Leo would wait for me at the newspaper kiosk near my home, allowing us to avoid running into any of our neighbors, who, despite also being our tenants, always shunned us.

In order not to disobey the adults, I bypassed the carpeted stairs, which were increasingly dusty, and took the elevator. It stopped at the third floor.

“Hello, Frau Hofmeister,” I said, smiling at her daughter, Gretel, who used to be my playmate. Gretel was sad, because not long before, she had lost her beautiful white puppy. I felt so sorry for her.

We were the same age, but I was much taller. She looked down, and Frau Hofmeister had the nerve to say to her, “Let’s take the stairs. When are they going to leave? They’re putting us all in such a difficult situation . . .”

As if I wasn’t listening, as if it was only my shadow standing inside the elevator. As if I didn’t exist. That’s what she wanted: for me not to exist.

The Ditmars, Hartmanns, Brauers, and Schultzes lived in our building. We rented them their apartments. The building had belonged to Mama’s family since before she was born. They were the ones who should leave. They were not from here. We were. We were more German than they were.

The elevator door closed, it started to go down, and I could still see Gretel’s feet.

“Dirty people,” I heard.

Had I heard it right? What have we done for me to have to endure that? What crime had we committed? I was not dirty. I didn’t want people to think of me as dirty. I came out of the elevator and hid under the stairs so I wouldn’t meet them again. I saw them leave the building. Gretel’s head was still bowed. She glanced backward, looking for me, perhaps wanting to apologize, but her mother pushed her on.

“What are you staring at?” she shouted.

I ran back up the stairs noisily, in tears. Yes, crying with rage and impotence because I could not tell Frau Hofmeister that she was dirtier than I was. If we bothered her, she could leave the building; it was our building. I wanted to hit the walls, smash the valuable camera my father had given me. I entered our apartment, and Mama could not understand why I was so furious.

“Hannah! Hannah!” she called out to me, but I chose to ignore her.

I went into the cold bathroom, slammed the door, and turned on the shower. I was still crying; or rather, I wanted to stop crying but found it impossible. Fully clothed and wearing my shoes, I climbed into the perfectly white bathtub. Mama kept on calling to me and then finally left me in peace. All I could hear was the sound of the scalding water cascading onto me. I let it flow into my eyes until they burned; into my ears, my nose, my mouth.

I started to take off my clothes and shoes, which were heavier because of the water and my dirtiness. I soaped myself, smeared on Mama’s bath salts that irritated my skin, and rubbed myself with a white towel to get rid of every last trace of impurity. My skin was red, as red as if it was going to peel. I turned the water even hotter, until I couldn’t take it anymore. When I came out of the shower, I collapsed on the cold black-and-white tiles.

Fortunately, I had run out of tears. I dried myself, scrubbing hard at this skin I didn’t want and which, God willing, would start to slough off after all the heat I’d subjected it to. I examined every pore in front of the steamed-up mirror: face, hands, feet, ears—everything—to see if there was any trace of impurity left. I wanted to know who was the dirty one now.

I cowered in a corner, trembling, shrinking, feeling like a slab of meat and bone. This was my only hiding place. In the end, I knew that however much I washed, burned my skin, cut my hair, gouged out my eyes, turned deaf, however much I dressed or talked differently, or took on a different name, they would always see me as impure.

It might not have been a bad idea to knock at the distinguished Frau Hofmeister’s door to ask her to check that I didn’t have any tiny stain on my skin, that she didn’t have to keep Gretel away from me, that I wasn’t a bad influence on her child, who was as blond, perfect, and immaculate as me.

I went to my room and dressed all in white and pink, the purest colors I could find in my wardrobe. I went looking for Mama and hugged her, because I knew she understood me; even though she chose to stay at home and so didn’t have to face anyone. She had built a fortress in her room, which in turn was protected by the apartment’s thick columns, in a building made up of enormous stone blocks and double windows.

I had to be quick. Leo must have already been at the station, darting all over the place, trying to stay out of the way of people running to catch their trains.

At least I knew that he thought of me as being clean.

Most helpful customer reviews

12 of 12 people found the following review helpful.
"We were the rejected on every continent"
By Sara Andrea
Since a very early age I made my mission to read and watch everything related to the Holocaust. And yet I had never heard about the St. Louis and her rejected Jewish passengers until recently. How could that be?

The German Girl talks about a story that many tried to swept under the rug because it speaks of the shared guilt of those who did nothing. Cuba, the United States, Canada. They all rejected the refugees from the St. Louis. Many other countries denied visas to thousands, millions of men, women and children trying to escape prosecution and certain death. We let them die.

The beauty in Armando Lucas Correa's fascinating book is that we get to know the St. Louis' story through the eyes of young Hannah Rosenthal and, many years later, her great niece Anna. We walk through the streets of Nazi-dominated Berlin, we run around with her and her best friend Leo as they see the world they know and love crumble around them, we feel their fear. And we wonder who were the worst victims, those who died or those who were left behind.

The 937 passengers of the St. Louis could be just a number. In The German Girl they finally have a voice. Hannah is their voice. Her dreams are their dreams, her heartbreaks are their heartbreaks.

Make the journey with her. Wander along her childhood streets, sail to Cuba, live with her and her memories and ghosts. And get to know the German Girl and try not to cry. I dare you.

4 of 4 people found the following review helpful.
A Masterpiece!
By ChazM
For a first novel, the bar has been set very high. The author was clearly meticulous in his research and it manifests itself in a gem of an historical novel. I had heard of the journey of the MS St Louis before but knew few of the details. The author tells its tale eloquently through the eyes of four generations of Rosethals, a fictional family who fled Germany prior to the start of the war but after their destiny was clear. If you have an interest in German, American or Cuban history this is a must read.

7 of 8 people found the following review helpful.
A disappointment
By TeacherGirl
I really wanted to like this book. The reviews posted led me to think it would be worth the $13, and Holacaust/WWII fiction is one of my go-to genres. I also feel guilty leaving a critical review of any Holacaust story, as I don't want to diminish their importance. So I really, really wanted to like this book.
Sadly, that did not come to pass. It's clear the author has skill, and talent, as well as an appreciation for the language; that said, I'm not sure that's enough to pass as a good storyteller. Very little that was written here seemed as intense as it ought to have been; I felt no terror in 1939 Berlin, no uncertainty on board the St. Louis, no grief in Cuba. And even though there are five senses, the author seems particularly stuck in describing smells. Even the references to the Twin Towers and 9/11 - why so cagey? - which usually bring me to tears as I think about that day - left me unmoved. The characters felt very one-dimensional and I couldn't understand why references to Nazis, Jews, etc were so indirect. I was eager to learn more about this piece of history, the St. Louis' voyage to Cuba, which I had not heard of before, but three quarters of the way through I felt like I was still waiting for the story to start. Then, zoom, fast forward through Hannah's next 70 years. And the bit about The German Girl magazine - completely disposable, the story could have been written without it. Those wonderful reviews evoked more emotion than the actual book.
So, in the end - being content to read the reviews here, which shared most of the plot more clearly than the actual book, and Wikipedia, which filled in the factual bits, could have saved me $13.

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• Sales Rank: #8802818 in Books
• Brand: Brand: Sams Publishing
• Published on: 1996-11
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 7.50" w x 2.00" l,
• Binding: Paperback
• 1136 pages

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From the Publisher
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Electrical Design of Overhead Power Transmission Lines, by Masoud Farzaneh, Shahab Farokhi, William Chisholm

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Complete coverage of power line design and implementation

"This text provides the essential fundamentals of transmission line design. It is a good blend of fundamental theory with practical design guidelines for overhead transmission lines, providing the basic groundwork for students as well as practicing power engineers, with material generally not found in one convenient book." IEEE Electrical Insultation Magazine

Electrical Design of Overhead Power Transmission Lines discusses everything electrical engineering students and practicing engineers need to know to effectively design overhead power lines. Cowritten by experts in power engineering, this detailed guide addresses component selection and design, current IEEE standards, load-flow analysis, power system stability, statistical risk management of weather-related overhead line failures, insulation, thermal rating, and other essential topics. Clear learning objectives and worked examples that apply theoretical results to real-world problems are included in this practical resource.

Electrical Design of Overhead Power Transmission Lines covers:

• AC circuits and sequence circuits of power networks
• Matrix methods in AC power system analysis
• Overhead transmission line parameters
• Modeling of transmission lines
• AC power-flow analysis using iterative methods
• Symmetrical and unsymmetrical faults
• Control of voltage and power flow
• Stability in AC networks
• High-voltage direct current (HVDC) transmission
• Corona and electric field effects of transmission lines
• Lightning performance of transmission lines
• Coordination of transmission line insulation
• Ampacity of overhead line conductors

• Sales Rank: #1855961 in eBooks
• Published on: 2012-09-03
• Released on: 2012-09-03
• Format: Kindle eBook

About the Author

Masoud Farzaneh, an internationally renowned expert in the field of power engineering, is a professor of Electrical Engineering at the Universite du Quebec a Chicoutimi (UQAC). Farzaneh, who receive a Doctor d'Etat in 1986, has taught more than 100 undergraduate and graduate course sessions in electric power engineering. He is a Fellow of the IEEE, IET, and Engineering Institute of Canada.

Shahab Farokhi, Ph.D., received his PhD in 2010. He has taught graduate-level courses in Advanced Power Network Transmission and Operating and Power System Analysis at the Université du Québec à Chicoutimi (UQAC). He joined the faculty of Glasgow Caledonian University in 2012.

William A. Chisholm, Ph.D., received a Doctorate in Electrical Engineering from the University of Waterloo. He has co-supervised more than ten graduate students and delivered industrial training and graduate courses on weather effects on overhead lines. Dr. Chisholm is Secretary of the IEEE Transmission and Distribution Committee and contributes a column to INMR, a quarterly technical magazine for the electrical industry.

Most helpful customer reviews

1 of 2 people found the following review helpful.
Just another William Stevenson book copycat
By Nick
The book is very basic and the line design part is not really covered in any way. The topics discussed can be found in any introductory power system book. No software implementation is considered for any of the topics covered within the book. Power system book by Hadi Saadat maybe a better option.

0 of 0 people found the following review helpful.
Transmission Power Line Design Book for Engineers
By rogernewengland
Nice PQ book for engineers.

See all 2 customer reviews...

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[N509.Ebook] Free PDF Double Stitch, by Erika Simmons, Simmons Monika

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Double Stitch, by Erika Simmons, Simmons Monika

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The simple techniques shown in this guide together with the flirty, sassy designs will have even beginners crocheting in no time. Projects are divided into two collections, with "Out and About" featuring casual daytime fashions to layer over T-shirts or wear with jeans, a look that migrates from a downtown coffeehouse to the beach with ease. From the webbed halter dress and hooded poncho to the remix T-shirt with crocheted sleeves, all these pieces radiate an irresistible bohemian charm. The evening collection, "Paint the Town," emphasizes unusual detailing, open-weave crochet, and playful colors in designs for a feather choker and matching cocktail bag, a gothic shawl, a glamorous full-length peek-a-boo dress, a slinky tailored shrug, and a corset with satin ribbon ties.

• Sales Rank: #751365 in Books
• Brand: Interweave Product
• Published on: 2008-05-01
• Original language: English
• Number of items: 1
• Dimensions: .39" h x 8.54" w x 8.94" l, .96 pounds
• Binding: Paperback
• 128 pages

From School Library Journal
Adult/High School—This book brings grandmother's crochet to the high-fashion world with more than 20 patterns for everything from leg and neck warmers to dresses. The authors deserve credit for the sheer creativity of the designs, even if they're not always practical (one choker necklace pattern incorporates feathers into the stitching, and others weave ribbons and buttons into patterns). Some of the ideas border on the ridiculous—the "hip hanger" looks like a sideways knitted apron worn over pants, and the patterns for fringed halters and bikinis are a little over-the-top even for those with the body confidence to pull off such a look. Projects are packaged and modeled by young "downtown" type women, giving this book a feel that is very different from the majority of craft books for young people these days—think club wear and hip-hop-inspired designs rather than the indie-hipster looks in books such as Amy Spencer's Crafter Culture Handbook (Marion Boyars, 2006). As such, it will appeal to different readers and crafters, and the wide range of projects guarantees that anyone will find at least a couple of patterns worth trying out. A caveat: Double Stitch has limited introductory instructions for absolute beginners.—Caitlin Fralick, Ottawa Public Library, ON
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review

"These fashions will freshen a stale wardrobe and likely change how you think about crochet garments." - Monsters and Critics.com

"Elegantly flirty, authoritatively saucy, these projects take full advantage of crochet's openwork and show a whole lot of skin." - Yarn Market News

"Takes crochet to new levels with the edgy, body-shaping designs the Chicago designers are known for creating." - Ebony

"The Double Stitch sisters have terrific, glamorous style that's shown off in this book. I'd call it the first really sexy, chic, club girl crochet." - Crochet Insider

"Wear an item made from a pattern in this book, and truly be prepared to stop traffic. The projects are modern, flirtatious, and fun." - Suite101.com

About the Author

Erika Simmons and Monika Simmons are partners in Double Stitch, a retail line of clothing and accessories. They were awarded the Style Makers and Rule Breakers award by Fashion Group International, and their work has been featured in Chicago Magazine, The New York Times, and Women's Wear Daily. Their collection was also selected by Macy's on State Street in Chicago for inclusion in the new Chicago Indie Designer Shop. They both live in Chicago.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Fun and refreshing twists for the classics
By pamela c. shorter
What I've enjoyed about this book is that it gave me a fresh, new appreciation for worsted weight yarn. For example, I love Red Heart Super Saver yarns because of their vibrant color palettes and availability, but they're not exactly pratical and tend make stiffer garments. This book has allowed me to use an array of yarns, including Red Heart, giving me wonderful results. The patterns are fairly easy to follow and this book takes care of that quick project "itich" when one wants somthing cute in a hurry. While some things in this book probably wouldn't work for me because i'm over 40, but having crocheted for over 30 years, I find this book refreshing. The only thing that I would suggest is that you read through the patterns. Although they're fairly straight forward and simple, like with any knitted or crocheted project, it's a good idea to understand exactly what you're dealing with. Nevertheless, play with the patterns and have fun!

0 of 0 people found the following review helpful.
Great way to spice up your wardrobe!
By Lashawn L. Doss
The double stitch twins have done it again, the book is great especially if you are looking for a way to add to your wardbrobe with new and fresh fashion. I've been crotcheting since I was a grade schooler, but stopped several years ago. I just recently picked it back up and I am now well past my refresher/beginner stage and looking for new and more challenging patterns to crotchet. I am not an arts and crafts person, I like making things that I can wear or give away for someone else to wear and appreciate, this book came right in handy. I have already spotted my next project and if I can finish it with success, I have Christmas gifts for a few people already scoped out! Thanks double stitch twins....I am looking forward to your next pattern book, hint..hint...

0 of 0 people found the following review helpful.
I wish I could give it more than 5 starts!!
By Trish
This book is like looking at a fashion magazine. The authors and designers, sisters, have produced some of the most modern and "doable" patterns I've seen in a long time. This is my favorite crochet book purchase in the past 10 years.
I appreciate the designers giving us their ideas and patterns. Their ideas encouraged me to create an extra edging of a piece I am working on currently. I am just dying to start one, two, or three of the patterns in this book. I also appreciate the convenience and ease of some the patterns. They use readily available yarns, many of which are inexpensive namebrands that you can find at your local craft store and there are patterns for Intermediate Beginners and up.
Love it!!! (Can you tell ;-)

See all 35 customer reviews...

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