Best Selling Books by Charles Carter

Most text-books, including the one for which I am personally responsible, are mainly of an analytical character and do not attempt to guide the reader far along the path that leads to proficiency in horoscopic delineation. In fact, few attempts have been made to attack this problem, and for a good reason-it is so difficult. Delineation is an art and it cannot be taught as one teaches merely factual knowledge. It comes with experience, if the student have the right inborn aptitudes; that is all that can be said. However, there seems to me to be a sort of border-land that lies beyond the realms of purely text-book teaching and yet is within the scope of instruction. No one can make a student into a good delineator, and, on the other hand, almost anyone with moderate teaching ability can inculcate the alphabet of astrology: between these two extremes there is a field wherein, I think, experience can help inexperience and some general principles can be formulated and explained. This is what I have attempted here, illustrating my ideas in separate chapters that deal with important classes of psychological condition. This book is designed to follow The Principles of Astrology and may be read in conjunction with The Astrological Aspects and The Encyclopaedia of Psychological Astrology. Charles E.O. Carter

Agreements between nations constitute the fundamental framework for the ordering of international affairs; and their successes and failures have led to some of the great turning points in modern history. The result of a unique collaboration by historians and political scientists, this book delineates, defines and assesses the idea of pacts and alliances as a key model of political organisation. Anchored by leading academics in the field, it presents numerous case studies covering a broad chronological sweep. Through theoretical and empirical methodology, the contributors address pacts and alliances from the fifteenth century onwards including, among others, the Korean-American and Moscow-Cairo alliances, the Sevres Pact, Turkey''s accession to NATO and US alliances around the world. Through a close reading of these historical diplomatic relationships, fundamental yet relatively unaddressed research questions are developed and explored. First, what are the common denominators shared by successful alliances? Second, why do pacts and alliances disintegrate? Third, is the eventual demise of pacts and alliances inevitable? Finally, what are the implications of these issues on pact and alliance making today? This is the first volume to address this wide range of issues, and to bring together researchers and theorists from the historical and political disciplines to provide original and groundbreaking theories of diplomacy. Together, these case studies explore why alliances succeed, why they fail and why it matters. Pacts and Alliances in History is therefore not only important reading for the next generation of policymakers, but will also help frame scholars'' enquiries as they try to understand key events in international relations and history.

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James McBey was born at Newburgh, a little fishing village on the Aberdeenshire coast, on December 23, 1883. Educated in the village school, he passed, at the age of fifteen, into the North of Scotland Bank, Aberdeen. He was seventeen when he first fell under the spell of what Samuel Palmer called the "teasing, temper-trying, yet fascinating art" of etching. The years 1902 to 1909 form the first phase of the artist''s career. To that , period- with a gap of two years (1906-7), when he gave all his spare time to painting - belong sixty prints. In July, 1910, McBey cut his cables, and embarked on his great adventure. With a few pounds in his pocket, he left the Bank, and sailed for Holland, to fling his hat to the windmills. "No man who is instinctively an etcher," Sir Frederick Wedmote once wrote, "can keep himself for ever absent from the great flat lands that inspired Rembrandt." No man was ever: more instinctively an etcher than McBey, and the result of his visit to the land of low-lying distances, and big skies, of canals and mills, was a Dutch Set of twenty-one plates. The work of 191 0 and 1911 forms a distinct second phase in McBey''s career, culminating with the first exhibition of his work, held at the gallery of Goupil & Co., in November, 1911. Well-known critics - notably Mr. James Greig of the Morning Post and Mr. Malcolm Salaman were quick to appreciate the newcomer, and wrote with enthusiasm of his work. In 1914, ''the inspiration of London''s river-not Whistler''s Thames, but a river of , bustling activity and movement--caused a new revelation of the artist''s power. In January, 1916, McBey'' war service began in France. There, though thwarted by rain, mud, and difficulties of transport, he found the material for five plates, etchings that will have lasting value as records of our Western Front and of all the grim tragedy of war. They show us the devastating activity of great howitzers; the pathos of the cemetery where crosses,'' row on row, marked the graves of unknown soldiers. The War over, and his "First Palestine Set" issued, McBey enjoyed the study of portraiture and character in the peaceful surroundings of his new studio in Bolland Park Avenue.The "Second Palestine Set;'' published in 1920, consists of eight plates giving a vivid, historic record of the march over Sinai in 1918, the crossing of the border, the Australian Camel Corps pushing on to the attack of Beersheba in an encircling cloud of dust, the first sight of Jerusalem, and that dramatic moment when the surrender of the Holy City was received by two sergeants of the London Division. At last McBey was free from all official obligations of the War, and at liberty to make what etchings he chose. He promptly translated a drawing he had made seven years before into that pregnant dry-point, A Flood in the Fens. . . .