Jan Herman Brinks Book order

The collection features a series of late 20th-century stories aimed at future dissidents, exploring themes of rebellion and survival. Each tale, such as "Bad Boy" and "Exit From Fleet Street," delves into the complexities of human experience in challenging environments. The anthology also includes a biographical note about the author, providing insight into their perspective and inspiration. These narratives invite readers to reflect on societal issues and the resilience of the human spirit.

The collection features sonnets that evoke deep emotional resonance, likened to "dark diamonds" for their richness and complexity. These poems aim to enhance perception and evoke a sensory experience, appealing to the intellect and emotions alike. David Erdos praises their ability to restore a sense of appreciation for language and art, suggesting that they resonate with the timeless qualities found in the works of Blake.

The collection features free sonnets that capture profound experiences, evoking a sense of taste and perception. Each poem serves as a sensory exploration, inviting readers to savor the emotions conveyed. With rich imagery and depth, these works are described as "dark diamonds," suggesting a blend of beauty and complexity that resonates deeply, aiming to elevate the reader's awareness and appreciation of life.

When I wrote The Dutch, the Germans and the Jews, I did not realise that the article was to become so controversial. With regard to the wartime record of the Netherlands, the Dutch had, over the years, constructed a national image of heroic resistance against the German occupier. This image was complemented by a stress on Dutch support of its persecuted Jewish citizens. My article noted, however, that little was further from the truth. On virtually all levels, before and even during the war, a substantial number of Dutch people collaborated with Nazi Germany. The Jewish Dutch received only scant support. A good philosopher, according to Nietzsche, has to be the bad conscience of his time. I argue that this duty also applies to historians and journalists. I hope that my critique will be seen as an invitation to researchers to take a closer look at this black page in Dutch history.

The exploration of narrative as a form of truth is central to the eighteenth-century novel, prompting J. Herman to investigate how language conceals or reveals the origins of the stories it tells. By engaging with writing theories from Plato to Derrida, Herman presents a fresh lens for reading memoir-novels, particularly analyzing the recurring motif of the found child. This figure serves as both theme and metaphor for the text's quest for legitimacy. Through a detailed theoretical exposition and systematic analysis of key works by authors like Marivaux and Laclos, a new rhetorical decoding method emerges.

Written before 1989, when he was stationed in East Berlin with Dutch television and utilised his stay there to write this book as a dissertation for the University of Groningen, it shows how GDR party and historians had sought to reinterpret German history to legitimize their socialist dictatorship and in the process had manipulated history.

This is a powerful study of the growth of the right wing in a reunited Germany. Setting this in its historical context, and especially in the context of the end of the Cold War, the author examines the implosion of communism and of the growth of xenophobia and right-wing politics in modern and contemporary Europe. The backdrop of 20th century German history and of Germany’s position as the European regional super-power make this book an especially important and topical contribution.