Winner, Arvey Award, Association for Latin American Art, 2001
Honorable Mention, Honorable Mention, George Wittenborn Memorial Book Award, Art Libraries Society of North America, 2001

The Aztecs and Mixtecs of ancient Mexico recorded their histories pictorially in images painted on hide, paper, and cloth. The tradition of painting history continued even after the Spanish Conquest, as the Spaniards accepted the pictorial histories as valid records of the past. Five Pre-Columbian and some 150 early colonial painted histories survive today.

This copiously illustrated book offers the first comprehensive analysis of the Mexican painted history as an intellectual, documentary, and pictorial genre. Elizabeth Hill Boone explores how the Mexican historians conceptualized and painted their past and introduces the major pictorial records: the Aztec annals and cartographic histories and the Mixtec screenfolds and lienzos.

Boone focuses her analysis on the kinds of stories told in the histories and on how the manuscripts work pictorially to encode, organize, and preserve these narratives. This twofold investigation broadens our understanding of how preconquest Mexicans used pictographic history for political and social ends. It also demonstrates how graphic writing systems created a broadly understood visual "language" that communicated effectively across ethnic and linguistic boundaries.

The Kuna Indians of Panama, probably best known for molas, their colorful appliqué blouses, also have a rich literary tradition of oral stories and performances. One of the largest indigenous groups in the South American tropics, the majority of them (about 70,000) reside in Kuna Yala, a string of island and mainland villages stretching along the Caribbean coast. It is here that Joel Sherzer lived among them, photographing and recording their verbal performances, which he feels are representative of the beauty, complexity, and diversity of the oral literary traditions of the indigenous peoples of Latin America.

This book is organized into three types of texts: humorous and moralistic stories; myths and magical chants; and women's songs. While quite different from one another, they share features characteristic of Kuna literature as a whole, including appreciation of their environment and a remarkable knowledge of their plants and animals; a belief in spirits as an important component of their world in curing, magic, and aesthetics; and, especially, great humor and a sense of play.

Vividly illustrated by a Kuna artist and accompanied by photographs that lend a sense of being present at the performances, the texts provide readers with a unique aesthetic perspective on this rich culture while preserving an endangered and valuable indigenous oral tradition.

Stories of Freedom in Black New York recreates the experience of black New Yorkers as they moved from slavery to freedom. In the early decades of the nineteenth century, New York City's black community strove to realize what freedom meant, to find a new sense of itself, and, in the process, created a vibrant urban culture. Through exhaustive research, Shane White imaginatively recovers the raucous world of the street, the elegance of the city's African American balls, and the grubbiness of the Police Office. It allows us to observe the style of black men and women, to watch their public behavior, and to hear the cries of black hawkers, the strident music of black parades, and the sly stories of black conmen.

Taking center stage in this story is the African Company, a black theater troupe that exemplified the new spirit of experimentation that accompanied slavery's demise. For a few short years in the 1820s, a group of black New Yorkers, many of them ex-slaves, challenged pervasive prejudice and performed plays, including Shakespearean productions, before mixed race audiences. Their audacity provoked feelings of excitement and hope among blacks, but often of disgust by many whites for whom the theater's existence epitomized the horrors of emancipation.

Stories of Freedom in Black New York brilliantly intertwines black theater and urban life into a powerful interpretation of what the end of slavery meant for blacks, whites, and New York City itself. White's story of the emergence of free black culture offers a unique understanding of emancipation's impact on everyday life, and on the many forms freedom can take.

India celebrates itself as a nation of unity in diversity, but where does that sense of unity come from? One important source is a widely-accepted narrative called the “bhakti movement.” Bhakti is the religion of the heart, of song, of common participation, of inner peace, of anguished protest. The idea known as the bhakti movement asserts that between 600 and 1600 CE, poet-saints sang bhakti from India’s southernmost tip to its northern Himalayan heights, laying the religious bedrock upon which the modern state of India would be built.

Challenging this canonical narrative, John Stratton Hawley clarifies the historical and political contingencies that gave birth to the concept of the bhakti movement. Starting with the Mughals and their Kachvaha allies, North Indian groups looked to the Hindu South as a resource that would give religious and linguistic depth to their own collective history. Only in the early twentieth century did the idea of a bhakti “movement” crystallize—in the intellectual circle surrounding Rabindranath Tagore in Bengal. Interactions between Hindus and Muslims, between the sexes, between proud regional cultures, and between upper castes and Dalits are crucially embedded in the narrative, making it a powerful political resource.

A Storm of Songs ponders the destiny of the idea of the bhakti movement in a globalizing India. If bhakti is the beating heart of India, this is the story of how it was implanted there—and whether it can survive.

Multinational enterprises—what they are and the challenge they pose to national objectives—have never been so clearly delineated. Raymond Vernon cuts through polemic and propaganda to place in perspective the spread of large companies from their home bases to foreign countries. He draws upon the variety of recent studies and his own vast scholarly endeavors and firsthand experience to answer such questions as: Are multinational enterprises and nation-states incompatible in goals and outlook? Should their economic (and political) behavior differ in underdeveloped countries as compared to modernized states?

After reviewing the growing interrelationships of the world's economies, Vernon takes a close-up look at multinationals, commenting on their size, business activity, and patterns of management and control. He identifies the real problems these large enterprises generate, sorting them out from the ills that are associated with industrialization in general. He traces these problems in the developing world and in industrialized countries. In the process, he explores the ramifications of the multinational double identity—each enterprise must comport itself as a national of the country that sanctioned its creation, while at the same time it must respond to the link that ties it to units of the same company in other countries.

Finally, Vernon reviews proposals that have been made to alter the relationship between the enterprises and their host countries, and he suggests scenarios for the future. The issues run deep and the threat of conflict grows, he asserts, and if policymakers hope to deal constructively with problems associated with multinational enterprises, they will have to recognize some of the basic difficulties that have so far blocked progress. His book, by setting forth the issues clearly and without special pleading, makes significant progress in pointing the way to solutions.

Reaching 20,320 feet into and above the clouds, the peak of Denali is the highest and coldest summit in North America. In this novel of adventure, adversity, and ambition by renowned mountaineer and writer Nicholas O’Connell, four men set out to conquer it. Among the sharply drawn team members is narrator John Walker, a family man trying to choose between domestic stability and mountaineering’s uncertain glory. In the course of their ascent the group battles avalanches, fierce winds, and mind-numbing cold before their bond begins to splinter, leading inexorably to tragedy.

This work unfolds the idea of “nothing” out of a Titian painting of Danaë and the shower of gold. Michele Jaffe’s philological and pictorial argument links, across several languages, such seemingly disparate concepts as money, coins, mothers (through the mint’s matrix), subjects, courtiers, prostitutes (through etymologies that join minting, standing-under, standing-for), ciphers, codes, and the codex form.

This ambitious book is a cultural history of the “cipher” zero as code and as nothing, as the absence of value and the place-holder constructing value. It traces the wide-ranging implications of “nothing”—not only in mathematics but also in literature. Along the way, it makes important points about the orthography and editing of early modern texts, and about the material affinities of these texts with painting and minting.

Jan Karski’s Story of a Secret State stands as one of the most poignant and inspiring memoirs of World War II and the Holocaust. With elements of a spy thriller, documenting his experiences in the Polish Underground, and as one of the first accounts of the systematic slaughter of the Jews by the German Nazis, this volume is a remarkable testimony of one man’s courage and a nation’s struggle for resistance against overwhelming oppression.

Karski was a brilliant young diplomat when war broke out in 1939 with Hitler’s invasion of Poland. Taken prisoner by the Soviet Red Army, which had simultaneously invaded from the East, Karski narrowly escaped the subsequent Katyn Forest Massacre. He became a member of the Polish Underground, the most significant resistance movement in occupied Europe, acting as a liaison and courier between the Underground and the Polish government-in-exile. He was twice smuggled into the Warsaw Ghetto, and entered the Nazi’s Izbica transit camp disguised as a guard, witnessing first-hand the horrors of the Holocaust.

Karski’s courage and testimony, conveyed in a breathtaking manner in Story of a Secret State, offer the narrative of one of the world’s greatest eyewitnesses and an inspiration for all of humanity, emboldening each of us to rise to the challenge of standing up against evil and for human rights. This definitive edition—which includes a foreword by Madeleine Albright, a biographical essay by Yale historian Timothy Snyder, an afterword by Zbigniew Brzezinski, previously unpublished photos, notes, further reading, and a glossary—is an apt legacy for this hero of conscience during the most fraught and fragile moment in modern history.

Following his acclaimed life of Dickens, Robert Douglas-Fairhurst illuminates the tangled history of two lives and two books. Drawing on numerous unpublished sources, he examines in detail the peculiar friendship between the Oxford mathematician Charles Dodgson (Lewis Carroll) and Alice Liddell, the child for whom he invented the Alice stories, and analyzes how this relationship stirred Carroll’s imagination and influenced the creation of Wonderland. It also explains why Alice in Wonderland (1865) and its sequel, Through the Looking-Glass (1871), took on an unstoppable cultural momentum in the Victorian era and why, a century and a half later, they continue to enthrall and delight readers of all ages.

The Story of Alice reveals Carroll as both an innovator and a stodgy traditionalist, entrenched in habits and routines. He had a keen double interest in keeping things moving and keeping them just as they are. (In Looking-Glass Land, Alice must run faster and faster just to stay in one place.) Tracing the development of the Alice books from their inception in 1862 to Liddell’s death in 1934, Douglas-Fairhurst also provides a keyhole through which to observe a larger, shifting cultural landscape: the birth of photography, changing definitions of childhood, murky questions about sex and sexuality, and the relationship between Carroll’s books and other works of Victorian literature.

In the stormy transition from the Victorian to the modern era, Douglas-Fairhurst shows, Wonderland became a sheltered world apart, where the line between the actual and the possible was continually blurred.

A breathtaking country of rugged mountain peaks, uninhabited desert, and spectacular river canyons, Big Bend is one of the United States' most remote national parks and among Texas' most popular tourist attractions. Located in the great bend of the Rio Grande that separates Texas and Mexico, the park comprises some 800,000 acres, an area larger than the state of Rhode Island, and draws over 300,000 visitors each year.

The Story of Big Bend National Park offers a comprehensive, highly readable history of the park from before its founding in 1944 up to the present. John Jameson opens with a fascinating look at the mighty efforts involved in persuading Washington officials and local landowners that such a park was needed. He details how money was raised and land acquired, as well as how the park was publicized and developed for visitors. Moving into the present, he discusses such issues as natural resource management, predator protection in the park, and challenges to land, water, and air. Along the way, he paints colorful portraits of many individuals, from area residents to park rangers to Lady Bird Johnson, whose 1966 float trip down the Rio Grande brought the park to national attention.

This history will be required reading for all visitors and prospective visitors to Big Bend National Park. For everyone concerned about our national parks, it makes a persuasive case for continued funding and wise stewardship of the parks as they face the twin pressures of skyrocketing attendance and declining budgets.

This literally "refreshing" collection is based on the notion that the future of bioethics is inseparable from its past. Seminal works provide a unique and relatively unexplored vehicle for investigating not only where bioethics began, but where it may be going as well. In this volume, a number of the pioneers in bioethics—Tom Beauchamp, Lisa Sowle Cahill, James Childress, Charles E. Curran, Patricia King, H. Tristram Engelhardt, William F. May, Edmund D. Pellegrino, Warren Reich, Robert Veatch and LeRoy Walters—reflect on their early work and how they fit into the past and future of bioethics. Coming from many disciplines, generations, and perspectives, these trailblazing authors provide a broad overview of the history and current state of the field. Invaluable to anyone with a serious interest in the development and future of bioethics, at a time when new paths into medical questions are made almost daily, The Story of Bioethics is a Baedeker beyond compare.

Gabriel Farrell tells the story of blindness historically and from a social point of view. He describes the achievements of sightless persons, and he emphasizes the responsibility of society toward the blind. Blindness may befall anyone, through accident at any age or through the normal degeneration of sight in old age. Farrell stresses the economic provision that must be made for the blind and he tells how the blind have been helped to overcome their deficiencies in various ways.

The author offers a comprehensive record of the work for the blind, including the deaf-blind, through the centuries, and in many countries. He approaches his subject both analytically and historically. Many interesting points are raised for their connection with the subject—such as the fact that the typewriter was invented as the result of searching for a writing machine for the blind. Of course the full story of braille is covered, as are many other educational matters that have been prepared and developed for use by the blind.

To open this book is to enter a world of living history, of pomp and pageantry, royal fiats and popular revolutions, naval exploits and mercantile triumphs, and soaring scientific achievements. This is the world of Greenwich, England, home of a now mysterious temple in the days of the ancient Romans and of the Millennium Dome in our own, biding its time on the Thames and, flush with the line of longitude zero, keeping the time of the world. Clive Aslet conducts us through the streets and byways of this storied city, showing us scenes from its prodigious history at every turn. His richly illustrated book is a journey through time as it has been lived, and marked, in this city like no other in the world.



Here Sir Walter Raleigh laid down his cloak for Elizabeth I. Here Elizabeth signed the death warrant for Mary, Queen of Scots. A place of royal haunts and regal courting, Greenwich was also the site of Wat Tyler's revolt in the fourteenth century. Home to the navy that supported the world's greatest maritime empire, the city saw the funeral of England's most celebrated naval hero, Admiral Horatio Nelson. Aslet revisits these events, immersing us in courtly drama and popular ferment, cosmopolitan grandeur and bustling commerce. He shows us the remarkable buildings that hold so much of Greenwich's history, from the palaces embellished by Henry VIII to the structures designed by England's renowned architects--from Christopher Wren and Inigo Jones--to the observatories that house the massive telescopes and nautical clocks that have put Greenwich at the forefront of scientific invention and discovery.



Whether recalling the literary marks that writers such as Marlowe and Dickens have left on the city, or tracking London's first railway into Greenwich, or recounting the tales of navigators and statesmen, monarchs and common and uncommon folk, this book tells the story of Greenwich for all time.

The literary jewel of Telegu civilization, translated for the first time into any language.

Manucaritramu, or The Story of Manu, by the early sixteenth-century poet Allasani Peddana, is the definitive literary monument of Telugu civilization and a powerful embodiment of the imperial culture of Vijayanagara, the last of the great premodern south Indian states. It is the story of Svarochisha Manu, who ruled over the previous cosmic age and who serves here as prototype for the first human being. Peddana explores the dramatic displacements, imaginative projections, and intricate workings of desire necessary for Manu’s birth and formation. The Story of Manu is also a book about kingship and its exigencies at the time of Krishnadevaraya, the most powerful of the Vijayanagara rulers, who was a close friend and patron of the poet.

The Story of Manu, presented in the Telugu script alongside the first translation into any language, is a true masterpiece of early modern south Indian literature.

Greek myths have long been admired as beautiful, thrilling stories but dismissed as serious objects of belief. For centuries scholars have held that Greek epics, tragedies, and the other compelling works handed down to us obscure the “real” myths that supposedly inspired them. Instead of joining in this pursuit of hidden meanings, Sarah Iles Johnston argues that the very nature of myths as stories—as gripping tales starring vivid characters—enabled them to do their most important work: to create and sustain belief in the gods and heroes who formed the basis of Greek religion.

By drawing on work in narratology, sociology, and folklore studies, and by comparing Greek myths not only to the myths of other cultures but also to fairy tales, ghost stories, fantasy works, modern novels, and television series, The Story of Myth reveals the subtle yet powerful ways in which these ancient Greek tales forged enduring bonds between their characters and their audiences, created coherent story-worlds, and made it possible to believe in extraordinary gods. Johnston captures what makes Greek myths distinctively Greek, but simultaneously brings these myths into a broader conversation about how the stories told by all cultures affect our shared view of the cosmos and the creatures who inhabit it.