“Whenever I open it, I find another marvelous tidbit, like Viereck’s description of uses for soft, acidic plant sphagnum, or peat moss, the plant often found chinking the walls of log cabins…” - Fairbanks News-Miner This guide to Alaskan wild plants, native and introduced, is a great way to acquaint people with Alaskan wild plants that can be used to promote health and healing, use for emergency first-aid care, or to maintain wellness. More than fifty plant species are described with information on habitat and distribution as well as general information on how each one can be used as medicine. This natural history of some of Alaska’s medicinal plants is not intended to serve the purpose of a self-care manual of medicine, but rather be useful to persons in cities, on farms, and in the wilderness, whether they are in Alaska for recreation, hunting, fishing. or work. Others, inadvertently stranded as a result of an accident or disaster, may find themselves in need of help from healing plants. Dr. Eleanor G. Viereck presents useful and fascinating information about trees, flowers, and shrubs accompanied by accurately rendered line drawing of the vegetation. There are additional notes on history and folklore, poisonous species that can be easily confused with useful ones, and Dr. Viereck's experience with the plants. She tells where to find each plant and discusses plant collecting in general and how to brew healthful herb teas. An illustrated glossary, cross-references of therapeutic uses of specific plants, and a thorough bibliography completes this valuable contribution to plant lore.

Peter Viereck, poet and historian, is one of the principle theoreticians of conservatism in modern American political thought. In this classic work, Viereck undertakes a penetrating and unorthodox analysis of that quintessential conservative, Prince Metternich, and offers evidence that cultural and political conservatism may perhaps be best adapted to sustain a free and reasonable society.According to Viereck's definition, conservatism is not the enemy of economic reform or social progress, nor is it the oppressive instrument of the privileged few. Although conservatism has been attacked from the left and often discredited by exploitation from the right, it remains the historic name for a point of view vital to contemporary society and culture. Divided into three parts, the book opens with a survey of conservatism in its cultural context of classicism and humanism. Rejecting the blind alley of reaction, Viereck calls for a discriminating set of principles that include preservation through reform, self-expression through self-restraint, a fruitful nostalgia for the permanent beneath the flux, and a preference for historical continuity over violent rupture.Viereck locates our idea of Western political unity in Metternich's Concert of Europe whose goal was a cosmopolitan Europe united in peace. This ideal was opposed by both the violent nationalism that resulted in Nazism and the socialist internationalism that became a tool of Soviet Russian expansionism. While not ignoring the extremely negative aspects of Metternich's legacy, Viereck focuses on his attempts to tame the bellicosity of European nationalism and his little-known efforts to reform and modernize the Hapsburg Empire.

In this classic volume, written at the height of the Cold War, with a new preface of 2006, Peter Viereck, one of the foremost intellectual spokesmen of modern conservatism, examines the differing responses of American and European intellectuals to the twin threats of Nazism and Soviet communism. In so doing, he seeks to formulate a humanistic conservatism with which to counter the danger of totalitarian thought in the areas of politics, ethics, and art.The glory of the intellectuals was the firm moral stance they took against Nazism at a time when appeasement was the preferred path of many politicians; their shame lay in their failure to recognize the brutality of Stalinism to the extent of becoming apologists for or accomplices of its tyranny. In Viereck's view, this failure is rooted in an abandonment of humane values that he sees as a legacy of nineteenth-century romanticism and certain strands of modernist thought and aesthetics.Among his targets are literary obscurantism as personified by Ezra Pound, the academicization of literary culture, the rigidity of adversarial avant-gardism, and the failure of many writers and cultural institutions to conserve the very heritage their political freedom and security depend on. Viereck represents their attitude in a series of satirical dialogues with Gaylord Babbitt, son of Sinclair Lewis' embodiment of conservative philistinism. Babbitt Junior is as unreflective as his father, but the objects of his credulity are the received ideas of liberal progressivism and avant-garde mandarinism. Ultimately, Viereck's critique stands as a timely rebuke to the extremism of both left and right.

This book explores the lives of two writers, one born in Germany (Viereck) and one born in England (Crowley), who were both influenced by decadent French writers such as Baudelaire and Mirbeau and English poets such as Swinburne and Wilde. They both wrote decadent poetry early in their careers before becoming known in literary circles as two of the most wicked writers in America (Viereck) and the world (Crowley). By their twenties, their reputations as rebels against the restrictive and stifled cultures they inhabited were firmly established. Both men enjoyed breaking with the status quo by writing poetry, short stories, and plays with exotic scenes that celebrated the beauty of the female body. Both writers were captivated by the femme fatale and her deleterious effect on her male victims, robbing them of their opportunity for transcendence into a spiritual realm. Their work, especially their love poetry, their science fiction works dealing with vampires, and articles and essays concerning the onset of the Great War are still very readable today. What is also intriguing is that, in 1915, both men were working together in New York, where Viereck was the editor of two pro-German magazines, The Fatherland and The International. Searching for an editorial position at that time, Crowley learned about an opening and was hired by Viereck. There is speculation that Crowley’s “discovery” of the job opening for these pro-German magazines was a clever plan on the part of the British secret service to place one of their agents inside the German spy network in America, of which Viereck was a key player. Propaganda, intrigue, cover-ups, and the American declaration of war on Germany all make this alliance between the two very decadent poets, and perhaps spies or even double agents, worth knowing more about.