I send these notes to you rather than to any other man. Why? First of all, because I know not where you are, so the missive will probably be lost. Doubtless that would be the best thing which could happen, especially for the man who would then be spared reading these pages! But it will also be well for me that these lines should lie--or be lost--in some other place than here. For here in Constantinople they may fall into certain dainty little well-kept hands, which possibly might gracefully wave an order to cut off my head--or some other useful portion of my anatomy to which I have been accustomed since my birth. But if I send these truths hence to the West, they will not be so easily seized by those dangerous little fingers which discover every secret in the capital, whenever they search in earnest. Whether you are living in your house at the foot of the Capitol, or with the Regent at Ravenna, I do not know; but I shall despatch this to Rome, for toward Rome my thoughts fly, seeking Cethegus.

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This story; published in Germany under the title of Gelimer is the third volume in the group of romances to which "Felicitas" and "The Captive of the Roman Eagles" belong; and; like them; deals with the long continued conflict between the Germans and the Romans. But in the present novel the scene of the struggle is transferred from the forests of Germania to the arid sands of Africa; and; in wonderfully vivid pen pictures; the author displays the marvellous magnificence surrounding the descendants of the Vandal Genseric.

In one of the most iconic images from World War II, a Russian soldier raises a red flag atop the ruins of the German Reichstag on April 30, 1945. Known as the Victory Banner, this piece of fabric has come to symbolize Russian triumph, glory, and patriotism. Facsimiles are used in public celebrations all over the country, and an exact replica is the centerpiece in the annual Victory Parade in Moscow’s Red Square. The Victory Banner Over the Reichstag examines how and why this symbol was created, the changing media of its expression, and the contested evolution of its message. From association with Stalinism and communism to its acquisition of Russian nationalist meaning, Jeremy Hicks demonstrates how this symbol was used to construct a collective Russian memory of the war. He traces how the Soviets, and then Vladimir Putin, have used this image and the banner itself to build a remarkably powerful mythology of Russian greatness.