James Miller

Scapa Flow was one of the world's great naval bases and the scene of many of the major events of twentieth-century naval history. During both World Wars, the Royal Navy made Scapa the home for its capital ships, and thousands of servicemen and women were posted to Orkney. From here the Grand Fleet sailed for Jutland in 1916, from here the escorts for the Russian convoys set off, and it was in this beautiful, bleak anchorage that the German High Seas fleet committed the greatest act of suicide ever seen at sea – 'The Grand Scuttle' – before being later raised and scrapped in the most astonishing feat of maritime salvage in history. It was also in Scapa that the last photographs of Kitchener were taken as he boarded HMS Hampshire, shortly before she was sunk by mine off Marwick Head. Scapa is also the grave of many who fought for their country in both World Wars. In its silent waters lie the wrecks of the battleship Vanguard, blown apart by an explosion in 1917, and the Royal Oak, sunk by U-47 in a spectacular raid at the beginning of World War II . Here the first Luftwaffe raids on Britain occured, here too Italian prisoners-of-war built both the spectacular Churchill causeways and the exquisite chapel on the island of Lamb Holm. In this book, illustrated with over 130 archive photographs, James Miller traces the story of this remarkable place, weaving together history, eyewitness accounts and personal experience to capture the life and spirit of Scapa Flow when it was home to thousands of service personnel and the most powerful fleet in the world.

A prizewinning historian and journalist who has covered the pop music scene for more than three decades, James Miller brings a powerful and challenging intellectual perspective to his recounting of some key turning points in the history of rock. Arguing that the music underwent its full creative evolution in little more than twenty-five years, he traces its roots from the jump blues of the forties to the disc jockeys who broadcast the music in the early fifties. He shows how impresarios such as Alan Freed and movie directors such as Richard Brooks (of Blackboard Jungle) joined black music to white fantasies of romance and rebellion, and then mass-marketed the product to teenagers. He describes how rock matured as a form of music, from Chuck Berry and Elvis Presley to the Beatles, Bob Dylan, and Marvin Gaye, defining a decade of rebellious ferment. At the same time, he candidly recounts how trendsetting rock acts from Jim Morrison and the Doors in the late sixties to the Sex Pistols in the late seventies became ever more crude, outrageous, and ugly -- "as if to mark," writes Miller, "the triumph of the psychopathic adolescent." Richly anecdotal and always provocative, Flowers in the Dustbin tells the story of rock and roll as it has never been told before.

On June 12, 1962, sixty young student activists drafted a manifesto for their generation—The Port Huron Statement—that ignited a decade of dissent. Democracy Is in the Streets is the definitive history of the major people and ideas that shaped the New Left in America during that turbulent decade. Because the 1960s generation is now moving into positions of power in politics, education, the media, and business, their early history is crucial to our understanding. James Miller, in his new Preface, puts the 1960s and them into a context for our time, claiming that something of value did happen: “Most of the large questions raised by that moment of chaotic openness—political questions about the limits of freedom, and cultural questions, too, about the authority of the past and the anarchy of the new—are with us still.”

‘The interpretours of Plato,’ wrote Sir Thomas Elyot in The Governour (1531), ‘do think that the wonderful and incomprehensible order of the celestial bodies, I mean sterres and planettes, and their motions harmonicall, gave to them that intensifly and by the deepe serche of raison beholde their coursis, in the sondrye diversities of number and tyme, a forme of imitation of a semblable motion, which they called daunsigne or sltation.’ The image of the planets and stars engaged in an ordered and measured dance is an ancient one. Plato articulated it in a passage in the Timaeus, where he likened the apparent motions of the planets and stars to ‘choreiai’ (choral dances). Through the centuries the analogy has challenged Plator’s interpreters to define and elaborate the image. Miller has examined a range of poetic and philosophical texts influenced by Plato cosmology, and has discovered frequent comparisons of the cosmic order to ‘daunsigne.’ He suggests that the vision of the cosmic dance did not develop at random in Western intellectual history but originated in a specific philosophical context and passed through stages of evolution that reflect Gnostic, Christian, Stoic, and Neoplatonic responses to Plato. He argues that the historical variations of the image were often closely related to adaption or criticisms of Plato’s theories of visual perception and intellectual vision. The dance, in conjunction with images such as the Great chain of Being and the Lyre of the Heavens, became the dominant image of a peculiarly Late Antique world-view which Miller (after Augustine) has called the ‘poetic universe’; a world where metaphors, metonymies, and personifications could exist in fact as well as in word. The result of Miller’s analysis is vast in scope. The nine chapters of the book each present a thesis on a particular author, but all function together like links in a chain. Miller has been described as ‘an historian of visions’; the book has been likened to Auerbach’s Mimesis. It is a remarkable contribution to an understanding of the complex interaction of ideas and images in time.