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The cover is clean but may show some signs of wear. Some pages may have folding.

This is the electrifying WWII bestseller from the master of the game. On the 30th April 1945, Russian radar reported a light aircraft leaving the vicinity of the Tiergarten in Berlin. But who was on board, and where was the plane going? Berlin was in ruins as the Russians moved relentlessly towards the concrete bunker where the Nazi administration was in ruins. But one man, Reichsleiter Martin Bormann, Adolf Hitler's secretary and eminence grise had a daring plan to escape. Far away to the sout-west, at Schloss Arlberg above the River Inn, five prisoners of war were contemplating their fate. Would they be murdered by their captors or liberated by the Russians? Unbeknown to them, Bormann has is own plans. They are about to become part of a mystery that has fascinated the world for over sixty years. What exactly did happen to Bormann and his prisoners?

An examination of the complex and subtle world on display in Rodney Graham's film of an LSD-inflected bicycle ride.Rodney Graham's Phonokinetoscope (2001) is a five-minute 16mm film loop in which the artist is seen riding his Fischer Original bicycle through Berlin's Tiergarten while taking LSD, to the soundtrack of a fifteen-minute song (written and performed by Graham) recorded on a vinyl LP. The turntable drives the projection of the film; the film starts when the needle is placed on the record and stops when the needle is taken off. Graham's ride evokes the Swiss scientist Albert Hoffman's famous 1943 bicycle ride home after an experimental dose of LSD as well as Paul Newman's backward-facing ride in Butch Cassidy and the Sundance Kid; the accompanying music presents a thicket of riffs and borrowings. As the images and visual details repeat in the film's endless loop, the artist's Phonokinetoscope refers to a surprising number of works of art and literature, displaying a world rich with subtle meaning.In this illustrated study of Phonokinetoscope, Shep Steiner describes the work as marking Graham's transition into a new medium. Steiner positions Graham's practice in relation to postminimalist practice and that of other artists including Dan Graham, but especially, Ian Wallace and Jeff Wall; considers Graham's rhetoric of playfulness; and finally, beyond the web of references, argues for a notion of allegory and memory theater keyed to the durational work yet satisfying the aesthetic standards of static art. Phonokinetoscope, Steiner argues, looks back to Graham's earlier works focusing on the notion of protocinema and forward to his later musical preoccupations.