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It’s the summer of 1936, and the writer Stefan Zweig is in crisis. His German publisher no longer wants him, his marriage is collapsing, and his house in Austria—searched by the police two years earlier—no longer feels like home. He’s been dreaming of Ostend, the Belgian beach town that is a paradise of promenades, parasols, and old friends. So he journeys there with his lover, Lotte Altmann, and reunites with fellow writer and semi-estranged close friend Joseph Roth, who is himself about to fall in love. For a moment, they create a fragile haven. But as Europe begins to crumble around them, the writers find themselves trapped on vacation, in exile, watching the world burn. In Ostend, Volker Weidermann lyrically recounts “the summer before the dark,” when a coterie of artists, intellectuals, drunks, revolutionaries, and madmen found themselves in limbo while Europe teetered on the edge of fascism and total war.   Ostend is the true story of two of the twentieth century’s great writers, written with a novelist’s eye for pacing, chronology, and language—a dazzling work of historical nonfiction.  (Translated from the German by Carol Brown Janeway)

Original boards, gilt lettered spine, dust jacket, saome illustrations in b/w, 8vo.

The Zeebrugge Raid is one of the most exciting small actions, not just of the First World War but in British history. The purpose was to counter the U-boat menace. Submarine attacks on Allied shipping caused great difficulty. The Admiralty claimed that the war would be lost unless the submarine attacks were curtailed.Admiral Keyes proposed blocking the ports. At Zeebrugge, a diversionary landing on the Mole - an enormous breakwater - would divert attention from the blockships as they entered the harbor. The defenses were extremely strong. Surprise and daring were essential. Despite over 600 casualties, the attacks were a great boost to civilian morale in Britain. Eleven Victoria Crosses were awarded, eight of them for the Zeebrugge raid alone. Some recipients were chosen by the survivors, one of the very few times this has been done.

Destination Moon was first performed by Cory Band at the 2017 European Championships in Ostend, Belgium, and is inspired by the Belgian comic-book ...

Published in 1932, this spy thriller unfolds aboard the Orient Express as it crosses Europe from Ostend to Constantinople. Weaving a web of subterfuge, murder and politics along the way, it focuses upon the disturbing relationship between Myatt, the pragmatic Jew, and chorus girl, Coral Musker.

A gripping spy thriller that unfolds aboard the majestic Orient Express as it crosses Europe from Ostend to Constantinople. Weaving a web of subterfuge, murder and politics along the way, the novel focuses upon the disturbing relationship between Myatt, the pragmatic Jew, and naive chorus girl Coral Musker as they engage in a desperate, angst-ridden pas-de-deux before a chilling turn of events spells an end to an unlikely interlude. Exploring the many shades of despair and hope, innocence and duplicity, the book offers a poignant testimony to Greene's extraordinary powers of insight into the human condition.

Norbet Hostyn, curator of the Museum of Fine Art in Ostend, has produced a fascinating and comprehensive account of the world and ideas of the by turns celebrated and vilified James Ensor (1860-1949). He offers an illuminating introduction to the artist's life and oeuvre, accompanied by a selection of fifty representative works, each comprising a large, colour reproduction and an art-historical commentary. It is the story of a striking and controversial painter who was initially the focal point of a new school, but later became an eccentric with a finely tuned sense of image and business.

The Museum of Fine Arts Oostende owns by far the most important collection of works in public possession by the painter L,on Spilliaert (1881-1946) of Ostend. It's a collection that has been systematically set up since the 1930s. L,on Spilliaert, Life and Work brings an extensive biography about the artist and fifty numbers from the collection, predominantly painting in mixed techniques, but also some of his many lithographies. The collection spans the entire career of the artists, and thus also shows his production from the interbellum period with the many theme switches. Text in English, German, French and Dutch.

They thought of themselves as the "Cinderella Army," and international correspondents agreed. This was because First Canadian Army had been relegated to the left flank of the Allied advance toward Germany from the Normandy beaches and given the tough, thankless task of opening the Channel ports from Le Havre to Ostend in Belgium. Then suddenly in early September 1944, securing these ports became an Allied priority, as this would allow Field Marshal Montgomery to drive to the Rhine with Operation Market Garden and win the war before Christmas. Given only scant access to the Allied supply chain, the Canadians and their British partners in I Corps tackled the task assigned. Just getting to the ports proved a terrific undertaking fought against brutal German resistance. And once there, they faced fortresses that had been prepared for years to defeat an attack. "Lost outposts," the Allies called them, but the Germans within were not going to give up easily. And so over the month of September, the Canadians set about fighting for control of each port, scrambling for supplies while under constant military pressure to get those ports open now. For Canada this was the Cinderella Campaign, the battle for the Channel ports. For those who fought it, the sacrifice of comrades dead and wounded would never be forgotten.

Tarrasch was the dominant force in European chess in the early 1890's and his ability to win top level tournaments continued via his huge triumph at Vienna 1898 on to the "World Tournament Championship" of Ostend 1907. Tarrasch was rightly regarded as the teacher of generations of European and world Masters, hence his title Praeceptor Germaniae - the Professor from Germany.

“Jolly good fun, complete with car chases, torture chambers, and a Q-packed bag of assassination goodies.”―PlayboyA cloud hangs over James Bond as he guides his Bentley Mulsanne Turbo through the streets of Ostend at the start of a well-earned spell of leave. Rome is his destination.The incident on the cross-channel ferry, when the vessel stops while a search is made for a couple of skylarking youngsters who, it was thought, had gone overboard, makes him unaccountably jumpy. As, unobserved, he operates the secret panel in the dashboard to check his 9mm ASP automatic and the spare ammunition clips, and withdraws the small Concealable Operations Baton in its soft leather case,he reflects on M’s parting advice to be “especially careful.”The sharp, steely look in his chief’s eyes had given Bond the odd feeling that M had been deliberately hiding something from him.It is just a few hours, rather than days, after disembarking at the Belgian port, that the first grisly move is made in a bewildering game of cat-and-mouse, with Bond as the prey.What could be the purpose behind the personal vendetta unleashed by an assailant whom Bond, at first, fails miserably to identify?

Published in 1932, this spy thriller unfolds aboard the Orient Express as it crosses Europe from Ostend to Constantinople. Weaving a web of subterfuge, murder and politics along the way, it focuses upon the disturbing relationship between Myatt, the pragmatic Jew, and chorus girl, Coral Musker.

Published in 1932, this spy thriller unfolds aboard the Orient Express as it crosses Europe from Ostend to Constantinople. Weaving a web of subterfuge, murder and politics along the way, it focuses upon the disturbing relationship between Myatt, the pragmatic Jew, and chorus girl, Coral Musker.

It was never a sure thing that James Ensor, the great Belgian painter of macabre and ghoulish scenes, would become a nationally revered figure. James Ensor was unusual in many ways. Apart from his training in Brussels, he spent his entire long life in Ostend, seemingly the opposite of cosmopolitan. Later on he was expelled by the group Les XX for a particularly controversial canvas: "The Entry of Christ into Brussels", which he had painted in 1889. An expressionist before the term was coined, he used the iconography of masks and skeletons to point up the essential horrors of life, and often underwrote his images with a sardonic gallows humour. It has been said that he appropriated the subject matter of a Bosch or Bruegel and revisioned them using the techniques of Manet or Rubens. But this is to diminish his own unique take on both art and experience. A genuine maverick in the way that so many Belgian artists are (lest we forget Magritte), James Ensor can claim a dark and distinctive place in the art histories of the last hundred years.