検索キーワード： 著者 "Thomas Morris" すべてのカテゴリー

When the Great War broke out in August 1914, Thomas Mann, like so many people on both sides of the conflict, was exhilarated. Finally, the era of decadence that he had anatomized in Death in Venice had come to an end; finally, there was a cause worth fighting and even dying for, or, at least when it came to Mann himself, writing about. Mann immediately picked up his pen to compose a paean to the German cause. Soon after, his elder brother and lifelong rival, the novelist Heinrich Mann, responded with a no less determined denunciation.

Dublin, November 1856: George Little, the chief cashier of the Broadstone railway terminus, is found dead, lying in a pool of blood beneath his desk. He has been savagely beaten, his head almost severed; there is no sign of a murder weapon, and the office door is locked, apparently from the inside. Thousands of pounds in gold and silver are left untouched at the scene of the crime. Augustus Guy, Ireland's most experienced detective, teams up with Dublin's leading lawyer to investigate the murder. But the mystery defies all explanation.

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The United States is shocked. The world is shocked. This not the way we thought this was going to go down. China has told the rest of the world and especially the United States that their country is about to reunite and any country that gets in the way will be dealt with and sent back into the Stone Age.

"Delightfully horrifying."--Popular Science One of Mental Floss's Best Books of 2018 One of Science Friday's Best Science Books of 2018 This wryly humorous collection of stories about bizarre medical treatments and cases offers a unique portrait of a bygone era in all its jaw-dropping weirdness...

Always The Music is the fascinating story of Morris’ personal metamorphosis through the highest levels of the world of classical music, his learning and insights into how storied musical institutions function, great artists create, and audiences engage. Over the course of 34 years running the Boston Symphony and The Cleveland Orchestra, he had the growing realization that American orchestras had become ingrown on themselves, with rigid structures and cultures that conspired to perpetuate those structures rather than the music experiences they were built to create.