The story of globalization in the nineteenth and early twentieth centuries as experienced by ordinary people in the Chinese river town of Zhenjiang.

Fear swept Zhenjiang as British soldiers gathered outside the city walls in the summer of 1842. Already suspicious of foreigners, locals had also heard of the suffering the British inflicted two months earlier, in Zhapu. A wave of suicides and mercy killings ensued: rather than leave their families to the invaders, hundreds of women killed themselves and their children or died at the hands of male family members. British observers decried an “Asian culture” of ritual suicide. In reality, the event was sui generis—a tragic result of colliding local and global forces in nineteenth-century China.

Xin Zhang’s groundbreaking history examines the intense negotiations between local societies and global changes that created modern China. In the nineteenth and early twentieth centuries, world-historic political, economic, and technological developments transformed the textures of everyday life in places like Zhenjiang, a midsize river town in China’s prosperous Lower Yangzi region. Drawing on rare primary sources, including handwritten diaries and other personal writings, Zhang offers a ground-level view of globalization in the city. We see civilians coping with the traumatic international encounters of the Opium War; Zhenjiang brokers bankrolling Shanghai’s ascendance as a cosmopolitan commercial hub; and merchants shipping goods to market, for the first time, on steamships.

Far from passive recipients, the Chinese leveraged, resisted, and made change for themselves. Indeed, The Global in the Local argues that globalization is inevitably refracted through local particularities.

According to security elites, revolutions in information, transport, and weapons technologies have shrunk the world, leaving the United States and its allies more vulnerable than ever to violent threats like terrorism or cyberwar. As a result, they practice responses driven by fear: theories of falling dominoes, hysteria in place of sober debate, and an embrace of preemptive war to tame a chaotic world.

Patrick Porter challenges these ideas. In The Global Village Myth, he disputes globalism's claims and the outcomes that so often waste blood and treasure in the pursuit of an unattainable "total" security. Porter reexamines the notion of the endangered global village by examining Al-Qaeda's global guerilla movement, military tensions in the Taiwan Strait, and drones and cyberwar, two technologies often used by globalists to support their views. His critique exposes the folly of disastrous wars and the loss of civil liberties resulting from the globalist enterprise. Showing that technology expands rather than shrinks strategic space, Porter offers an alternative outlook to lead policymakers toward more sensible responses—and a wiser, more sustainable grand strategy.

Noble verse.

The Greek poetry of the archaic period that we call elegy was composed primarily for banquets and convivial gatherings. Its subject matter consists of almost any topic, excluding only the scurrilous and obscene. In this completely new Loeb Classical Library edition, Douglas Gerber provides a faithful translation of the fragments and significant testimonia that have come down to us, with full explanatory notes.

Most substantial in this volume is the collection of elegiac verses to which Theognis’ name is attached. Drinking and merry-making are frequent themes in these poems; there are also more reflective and philosophic pieces and love poems. Together they offer an interesting picture of an aristocratic man’s views about life, friendship, fate, and daily concerns. Also notable in this volume is the martial verse of the Spartan Tyrtaeus and the poetry of Solon, Athens’ famous lawmaker.

Scurrilous verse.

The poetry of the archaic period that the Greeks called iambic is characterized by scornful criticism of friend and foe and by sexual license. The purpose of these poems is unclear, but they seem to have some connection with cult songs used in religious festivals—for example, those honoring Dionysus and Demeter. In this completely new Loeb Classical Library edition of early Greek iambic poetry, Douglas E. Gerber provides a faithful and fully annotated translation of the fragments that have come down to us.

Archilochus expressed himself in colorful and vigorous language. Famous throughout antiquity for his winged barbs, he is often considered the archetypal poet of blame. Other major poets in this volume are Semonides, best known for a long misogynistic poem describing ten types of wives; and Hipponax, who was much admired by the poets of Hellenistic Alexandria, in part for his depictions of the licentious and seamy side of society.

Precious snippets of ancient song.

This volume contains the poetic fragments of the two illustrious singers of early sixth-century Lesbos: Sappho, the most famous woman poet of antiquity, whose main theme was love; and Alcaeus, poet of wine, war, and politics, and composer of short hymns to the gods. Also included are the principal testimonia, the ancients’ reports on the lives and work of the two poets.

The five volumes in the Loeb Classical Library edition of Greek Lyric contain the surviving fragments of solo and choral song. This poetry was not preserved in medieval manuscripts, and few complete poems remain. Later writers quoted from the poets, but only so much as suited their needs; these quotations are supplemented by papyrus texts found in Egypt, most of them badly damaged. The high quality of what remains makes us realize the enormity of our loss.

Volume I presents Sappho and Alcaeus. Volume II contains the work of Anacreon, composer of solo song; the Anacreontea; and the earliest writers of choral poetry, notably the seventh-century Spartans Alcman and Terpander. Stesichorus, Ibycus, Simonides, and other sixth-century poets are in Volume III. Bacchylides and other fifth-century poets are in Volume IV along with Corinna (although some argue that she belongs to the third century). Volume V contains the new school of poets active from the mid-fifth to the mid-fourth century and also collects folk songs, drinking songs, hymns, and other anonymous pieces.

One of the most horrific innovations of the twentieth century was the deliberate strategy of total warfare--the obliteration of entire civilian populations. The first and in many ways the most striking use of this extreme measure came nearly 70 years ago when the ancient Basque hilltop town of Guernica was destroyed by the bombs of the German Condor.

Ian Patterson begins with a graphic account of what happened in Guernica on April 26, 1937, and its place in the course of the Spanish Civil War. This event focused the spotlight of media attention on the town of Guernica, and established Picasso's painting as the most famous modern image of the horrors of war. Yet Picasso's Guernica was only one of a huge number of cultural artifacts--paintings, films, novels, poems, plays--to explore the idea of indiscriminate death from the air. From the Blitz to Hiroshima to the destruction of the World Trade Center to daily carnage in Darfur and Iraq, war has been increasingly directed against civilians, who constitute an ever larger proportion of its casualties. Patterson explores how modern men and women respond to the threat of new warfare with new capacities for imagining aggression and death. An unflinching history of the locationless terror that so many people feel today, Guernica and Total War will engage anyone interested in the survival of cultures amid the disasters of war.