They called themselves the Motherfuckers; others called them a "street gang with an analysis." Osha Neumann's thoughtful, funny, and honest account of his part in ’60s counterculture is also an unflinching look at what all that rebellion of the past means today. The fast moving story follows the establishment of the Motherfuckers, who influenced the Yippies and members of SDS; makes vivid the art, music, and politics of the era; and reveals the colorful, often deeply strange, personalities that gave the movement its momentum. Abbie Hoffman said the Motherfuckers were "the middle-class nightmare . . . an antimedia media phenomenon simply because their name could not be printed." In the few years of its existence the group forced its way into the Pentagon during a war protest, helped occupy one of the buildings in the Columbia University takeover, and cut the fences at Woodstock to allow thousands in for free, among many other feats of radical derring-do. Progressing from a fractured family of intellectuals to rebellion in the streets of New York and on to communes in California, Newmann shows us a view of a life led in rebellion, anger, and eventually a tentative peace.

This book examines the social atti-tudes that distinguish today's youth from their predecessors, identifies the sources of these attitudes in the social experiences of today's youth, and analyzes the stereotype implied in the term "Anti-American Generation." These essays show clearly that the issue between the dissenting, primarily middle-class youth and their elders and most of the working class (regardless of age) is a difference of opinion not about Americanism but about moral behavior and the scope of moral judgment. What distinguishes the generations is not so much their feelings about their country, as' their feelings about what people should do about their feelings and the role feelings should have in the conduct of one's life. The at-titudes of the young are largely in conflict with an older cultural tra-dition that promotes the subordi-nation of impulse and personal conviction to rational control for the sake of common purposes and future acceptability and effective-ness.

First published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.

Peter Bayer was seventy-three. He’d taught at the school just up the road for most of his life and, when the wall came down, saw no reason to move. Nobody could say life had been easy, and when it was built, he’d lost contact with many friends, but he’d learnt to enjoy life as best he could and had had the good fortune of a happy marriage to Elsa. It’s 2006. Peter Bayer and his wife, Elsa, live on the East side of Berlin, as they’ve always done, even when that wasn’t an attractive proposition. What limits Peter’s freedom nowadays isn’t a concrete wall but often feels like one. Elsa has dementia and barely recognises him, so his life is not only hard work, but it’s lonely. What makes it lonelier is that his wife’s illness has given her a distorted view of the past and one that would horrify the woman he married. When Helen, a recently widowed English woman, rents the flat Peter owns nearby, he experiences the kinds of conversations that used to be normal for him, which makes his current reality all the more painful. Helen’s come to Berlin to find out more about her husband’s past in the city and learns things from their German friends that she was unaware of when he was alive. During her struggle to come to terms with her present life, Helen sees that the terrible demands on Peter’s life are almost impossible to endure. Other stories in the book show the toll of war, as fear is passed from one generation to another and we see how the power of secrecy never disappears. They also reveal how gratitude can take various forms and how intergenerational friendships really are all they’re cracked up to be. The Writing on the Wall and Other Stories is a collection of tales, spanning the 1980s to the present day, that will appeal to fans of Anne Tyler, Alan Bennett and Alice Munro, whom Penny Edwards takes inspiration from.

"Yellowknife writer Heather MacLeod masterfully binds together aboriginal and white myth. Crow and raven keep company with Hag-Woman and Noah in his ark, an Indian Shaman with the Christian Virgin. Many nations inhabit the northern world she explores in powerfully plain language. The northern Canadian family in her poems is a source of great pain - but also a place of love and belonging."--Back cover.