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An unflinching account of Russia's brutal war in Chechnya by a reporter who was assassinated because of her work

Chechnya, a 6,000-square-mile corner of the northern Caucasus, has struggled under Russian domination for centuries. The region declared its independence in 1991, leading to a brutal war, Russian withdrawal, and subsequent "governance" by bandits and warlords. A series of apartment building attacks in Moscow in 1999, allegedly orchestrated by a rebel faction, reignited the war, which continues to rage today. Russia has gone to great lengths to keep journalists from reporting on the conflict; consequently, few people outside the region understand its scale and the atrocities—described by eyewitnesses as comparable to those discovered in Bosnia—committed there.

Anna Politkovskaya, a correspondent for the liberal Moscow newspaper Novaya gazeta, was the only journalist to have constant access to the region. Her international stature and reputation for honesty among the Chechens allowed her to continue to report to the world the brutal tactics of Russia's leaders used to quell the uprisings. A Small Corner of Hell: Dispatches from Chechnya is her second book on this bloody and prolonged war. More than a collection of articles and columns, A Small Corner of Hell offers a rare insider's view of life in Chechnya over the past years. Centered on stories of those caught-literally-in the crossfire of the conflict, her book recounts the horrors of living in the midst of the war, examines how the war has affected Russian society, and takes a hard look at how people on both sides are profiting from it, from the guards who accept bribes from Chechens out after curfew to the United Nations. Politkovskaya's unflinching honesty and her courage in speaking truth to power combine here to produce a powerful account of what is acknowledged as one of the most dangerous and least understood conflicts on the planet.

 

Anna Politkovskaya was assassinated in Moscow on October 7, 2006.

 

"The murder of the journalist Anna Politkovskaya leaves a terrible silence in Russia and an information void about a dark realm that we need to know more about. No one else reported as she did on the Russian north Caucasus and the abuse of human rights there. Her reports made for difficult reading—and Politkovskaya only got where she did by being one of life's difficult people."—Thomas de Waal, Guardian

“I was taught from the start not to be silent.”

For years, renowned activist and scholar Ilana Hammerman has given the world remarkable translations of Kafka. With A Small Door Set in Concrete, she turns to the actual surreal existence that is life in the West Bank after decades of occupation.

After losing her husband and her sister, Hammerman set out to travel to the end of the world. She began her trip with the hope that it would reveal the right path to take in life. But she soon realized that finding answers was less important than experiencing the freedom to move from place to place without restriction. Hammerman returned to the West Bank with a renewed joie de vivre and a resolution: she would become a regular visitor to the men, women, and children who were on the other side of the wall, unable to move or act freely. She would listen to their dreams and fight to bring some justice into their lives.

A Small Door Set in Concrete is a moving picture of lives filled with destruction and frustration but also infusions of joy. Whether joining Palestinian laborers lining up behind checkpoints hours before the crack of dawn in the hope of crossing into Israel for a day’s work, accompanying a family to military court for their loved one’s hearing, or smuggling Palestinian children across borders for a day at the beach, Hammerman fearlessly ventures into territories where few Israelis dare set foot and challenges her readers not to avert their eyes in the face of injustice.

Hammerman neither preaches nor politicks. Instead, she engages in a much more personal, everyday kind of activism. Hammerman is adept at revealing the absurdities of a land where people are stripped of their humanity. And she is equally skilled at illuminating the humanity of those caught in this political web. To those who have become simply statistics or targets to those in Israel and around the world, she gives names, faces, dreams, desires.
This is not a book that allows us to sit passively. It is a slap in the face, a necessary splash of cold water that will reawaken the humanity inside all of us.

Conceived in the 1960s, Walt Disney’s original plans for his Experimental Prototype Community of Tomorrow (EPCOT) outlined a utopian laboratory for domestic technology, where families would live, work, and play in an integrated environment. Like many of his contemporaries, Disney imagined homes that would attend to their inhabitants’ every need, and he regarded the home as a site of unending technological progress. This fixation on “space-age” technology, with its promise of domestic bliss, marked an important mid-twentieth-century shift in understandings of the American home. In A Small World, Davin Heckman considers how domestic technologies that free people to enjoy leisure time in the home have come to be understood as necessary parts of everyday life.

Heckman’s narrative stretches from the early-twentieth-century introduction into the home of electric appliances and industrial time-management techniques, through the postwar advent of television and the space-age “house of tomorrow,” to the contemporary automated, networked “smart home.” He considers all these developments in relation to lifestyle and consumer narratives. Building on the tension between agency and control within the walls of homes designed to anticipate and fulfill desires, Heckman engages debates about lifestyle, posthumanism, and rights under the destabilizing influences of consumer technologies, and he considers the utopian and dystopian potential of new media forms. Heckman argues that the achievement of an environment completely attuned to its inhabitants’ specific wants and needs—what he calls the “Perfect Day”—institutionalizes everyday life as the ultimate consumer practice.

Hamid Naficy is one of the world’s leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran’s peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.

Volume 1 depicts and analyzes the early years of Iranian cinema. Film was introduced in Iran in 1900, three years after the country’s first commercial film exhibitor saw the new medium in Great Britain. An artisanal cinema industry sponsored by the ruling shahs and other elites soon emerged. The presence of women, both on the screen and in movie houses, proved controversial until 1925, when Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling until 1941, Reza Shah implemented a Westernization program intended to unite, modernize, and secularize his multicultural, multilingual, and multiethnic country. Cinematic representations of a fast-modernizing Iran were encouraged, the veil was outlawed, and dandies flourished. At the same time, photography, movie production, and movie houses were tightly controlled. Film production ultimately proved marginal to state formation. Only four silent feature films were produced in Iran; of the five Persian-language sound features shown in the country before 1941, four were made by an Iranian expatriate in India.

A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010

Hamid Naficy is one of the world’s leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran’s peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.

Volume 2 spans the period of Mohammad Reza Shah’s rule, from 1941 until 1978. During this time Iranian cinema flourished and became industrialized, at its height producing more than ninety films each year. The state was instrumental in building the infrastructures of the cinema and television industries, and it instituted a vast apparatus of censorship and patronage. During the Second World War the Allied powers competed to control the movies shown in Iran. In the following decades, two distinct indigenous cinemas emerged. The more popular, traditional, and commercial filmfarsi movies included tough-guy films and the “stewpot” genre of melodrama, with plots reflecting the rapid changes in Iranian society. The new-wave cinema was a smaller but more influential cinema of dissent, made mostly by foreign-trained filmmakers and modernist writers opposed to the regime. Ironically, the state both funded and censored much of the new-wave cinema, which grew bolder in its criticism as state authoritarianism consolidated. A vital documentary cinema also developed in the prerevolutionary era.

A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010

Hamid Naficy is one of the world’s leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran’s peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.

In Volume 3, Naficy assesses the profound effects of the Islamic Revolution on Iran's cinema and film industry. Throughout the book, he uses the term Islamicate, rather than Islamic, to indicate that the values of the postrevolutionary state, culture, and cinema were informed not only by Islam but also by Persian traditions. Naficy examines documentary films made to record events prior to, during, and in the immediate aftermath of the revolution. He describes how certain institutions and individuals, including prerevolutionary cinema and filmmakers, were associated with the Pahlavi regime, the West, and modernity and therefore perceived as corrupt and immoral. Many of the nation's moviehouses were burned down. Prerevolutionary films were subject to strict review and often banned, to be replaced with films commensurate with Islamicate values. Filmmakers and entertainers were thrown out of the industry, exiled, imprisoned, and even executed. Yet, out of this revolutionary turmoil, an extraordinary Islamicate cinema and film culture emerged. Naficy traces its development and explains how Iran's long war with Iraq, the gendered segregation of space, and the imposition of the veil on women encouraged certain ideological and aesthetic trends in film and related media. Finally, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the new evolving cinema.

A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010

Hamid Naficy is one of the world's leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran's peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.

The extraordinary efflorescence in Iranian film, TV, and the new media since the consolidation of the Islamic Revolution animates Volume 4. During this time, documentary films proliferated. Many filmmakers took as their subject the revolution and the bloody eight-year war with Iraq; others critiqued postrevolution society. The strong presence of women on screen and behind the camera led to a dynamic women's cinema. A dissident art-house cinema—involving some of the best Pahlavi-era new-wave directors and a younger generation of innovative postrevolution directors—placed Iranian cinema on the map of world cinemas, bringing prestige to Iranians at home and abroad. A struggle over cinema, media, culture, and, ultimately, the legitimacy of the Islamic Republic, emerged and intensified. The media became a contested site of public diplomacy as the Islamic Republic regime as well as foreign governments antagonistic to it sought to harness Iranian popular culture and media toward their own ends, within and outside of Iran. The broad international circulation of films made in Iran and its diaspora, the vast dispersion of media-savvy filmmakers abroad, and new filmmaking and communication technologies helped to globalize Iranian cinema.

A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010

In A Social History of Modern Art, a sweeping multivolume social history of Western art from the French Revolution to World War I, Albert Boime moves beyond the concern with style and form that has traditionally characterized the study of art history and, in the tradition of Arnold Hauser, examines art in a broad historical context. Into his wide-ranging cultural inquiry Boime incorporates not only frequently studied mainstream artists and sculptors but also neglected and lesser known artists and unattributed popular imagery. He examines popular as well as official culture, the family as well as the state, and the conditions of the poor as well as of the affluent that affected cultural practice.

This inaugural volume explores the artistic repercussions of the major political and economic events of the latter half of the eighteenth century: the Seven Years' War, the French Revolution, and the English industrial revolution. Boime examines the prerevolutionary popularity of the rococo style and the emergence of the cult of antiquity that followed the Seven Years' War. He shows how the continual experiments of Jacques-Louis David and others with neoclassical symbols and themes in the latter part of the century actively contributed to the transformation of French and English politics. Boime's analyses reveal the complex relationship of art with a wide range of contemporary attitudes and conditions—technological innovation, social and political tensions, commercial expansion, and the growth of capitalism.

"Provocative and endlessly revealing."—Christopher Knight, Los Angeles Herald Examiner

In this second volume, Albert Boime continues his work on the social history of Western art in the Modern epoch. This volume offers a major critique and revisionist interpretation of Western European culture, history, and society from Napoleon's seizure of power to 1815. Boime argues that Napoleon manipulated the production of images, as well as information generally, in order to maintain his political hegemony. He examines the works of French painters such as Jacques-Louis David and Jean Auguste Dominique Ingres, to illustrate how the art of the time helped to further the emperor's propagandistic goals. He also explores the work of contemporaneous English genre painters, Spain's Francisco de Goya, the German Romantics Philipp Otto Runge and Caspar David Friedrich, and the emergence of a national Italian art.

Heavily illustrated, this volume is an invaluable social history of modern art during the Napoleonic era.

Stimulating and informative, this volume will become a valuable resource for faculty and undergraduates.—R. W. Liscombe, Choice

How do we come to trust our knowledge of the world? What are the means by which we distinguish true from false accounts? Why do we credit one observational statement over another?

In A Social History of Truth, Shapin engages these universal questions through an elegant recreation of a crucial period in the history of early modern science: the social world of gentlemen-philosophers in seventeenth-century England. Steven Shapin paints a vivid picture of the relations between gentlemanly culture and scientific practice. He argues that problems of credibility in science were practically solved through the codes and conventions of genteel conduct: trust, civility, honor, and integrity. These codes formed, and arguably still form, an important basis for securing reliable knowledge about the natural world.

Shapin uses detailed historical narrative to argue about the establishment of factual knowledge both in science and in everyday practice. Accounts of the mores and manners of gentlemen-philosophers are used to illustrate Shapin's broad claim that trust is imperative for constituting every kind of knowledge. Knowledge-making is always a collective enterprise: people have to know whom to trust in order to know something about the natural world.

As a nineteenth-century think tank that sought answers to France’s pressing “social question,” the Musée Social reached across political lines to forge a reformist alliance founded on an optimistic faith in social science. In A Social Laboratory for Modern France Janet R. Horne presents the story of this institution, offering a nuanced explanation of how, despite centuries of deep ideological division, the French came to agree on the basic premises of their welfare state.
Horne explains how Musée founders believed—and convinced others to believe—that the Third Republic would carry out the social mission of the French Revolution and create a new social contract for modern France, one based on the rights of citizenship and that assumed collective responsibility for the victims of social change. Challenging the persistent notion of the Third Republic as the stagnant backwater of European social reform, Horne instead depicts the intellectually sophisticated and progressive political culture of a generation that laid the groundwork for the rise of a hybrid welfare system, characterized by a partnership between private agencies and government. With a focus on the cultural origins of turn-of-the-century thought—including religion, republicanism, liberalism, solidarism, and early sociology—A Social Laboratory for Modern France demonstrates how French reformers grappled with social problems that are still of the utmost relevance today and how they initiated a process that gave the welfare state the task of achieving social cohesion within an industrializing republic.

One of the most influential accounts of the French Revolution ever published, now available for the first time in paperback.

Jean Jaurès was the celebrated French Socialist Party leader, assassinated in 1914 for trying to use diplomacy and industrial action to prevent the outbreak of war. Published just a few years before his death, his magisterial A Socialist History of the French Revolution has endured for over a century.

Written in the midst of his activities as leader of the Socialist Party and editor of its newspaper, L'Humanite, Jaurès intended the book to serve as both a guide and an inspiration to political activity; even now it can serve to do just that.

Jaurès's verve, originality, and willingness to criticize all players in this epic drama make this a truly moving addition to the shelf of great books on the French Revolution. Mitchell Abidor's abridged translation of Jaurès's original six volumes makes this exceptional work truly accessible to an Anglophone audience.

For the last twenty years, the West African nation of Guinea has exhibited all of the conditions that have led to civil wars in other countries, and Guineans themselves regularly talk about the inevitability of war. Yet the country has narrowly avoided conflict again and again. In A Socialist Peace?, Mike McGovern asks how this is possible, how a nation could beat the odds and evade civil war.  
           
Guinea is rich in resources, but its people are some of the poorest in the world. Its political situation is polarized by fiercely competitive ethnic groups. Weapons flow freely through its lands and across its borders. And, finally, it is still recovering from the oppressive regime of Sékou Touré. McGovern argues that while Touré’s reign was hardly peaceful, it was successful—often through highly coercive and violent measures—at establishing a set of durable national dispositions, which have kept the nation at peace. Exploring the ambivalences of contemporary Guineans toward the afterlife of Touré’s reign as well as their abiding sense of socialist solidarity, McGovern sketches the paradoxes that undergird political stability.
 

"A definitive account of the Ruskin colonies and of their place in the larger social radical strivings of the late nineteenth and early twentieth centuries. . . . Well written and solidly researched, it gives us an understanding of an important quest for heaven on earth." -- Edward K. Spann, author of Brotherly Tomorrows: Movements for a Cooperative Society in America,1820-1920

This first book-length study of the Ruskin colonies shows how several hundred utopian socialists gathered as a cooperative community in Tennessee and Georgia in the late nineteenth century. The communitarians' noble but fatally flawed act of social endeavor revealed the courage and desperation they felt as they searched for alternatives to the chaotic and competitive individualism of the age of robber barons and for a viable model for a just and humane society at a time of profound uncertainty about public life in the United States.
 

One of the classic narratives of front line infantry service in the Army of Northern Virginia

Nichol’s 61st Georgia fought in the renowned brigade commanded consecutively by generals Alexander R. Lawton, John B. Gordon, and Clement A. Evans.

Framed without any excess of sentimental hindsight, in addition to reporting on great battles and dramatic moments, Nichol’s told the story of two cousins killing each other in a quarrel about cooking duties and described maggot-infested corpses around Spotsylvania’s Bloody Angle.

Includes an annotated roster of the 61st supplies which details about Nichol’s fellow veterans, some of which is not available anywhere else.
 

This study of theories of music and art in China from the classical period to the Six Dynasties is based on analysis and interpretation of textual and archaeological evidence. Its wide-ranging sources include mythology, aesthetic philosophy, musical lore, and notation systems. The evolution of theories of music and art is considered in the context of cosmological and moral philosophy.

"A rich, descriptive account. . . . Shelemay presents extraordinary personal experiences that shaped her research process and make reading this text pleasurable."
-- Library Journal
 
"Highly recommended to generalists in music as well as to specialists interested in Ethiopia. . . . Also makes an excellent case study text for university-level courses examining fieldwork issues and conditions."
-- Notes
"Highly recommended for both undergraduate and graduate collections in ethnomusicology, anthropology, African, and Judaic studies."
-- Choice
 
 

When high jumper Alice Coachman won the high jump title at the 1941 national championships with "a spectacular leap," African American women had been participating in competitive sport for close to twenty-five years. Yet it would be another twenty years before they would experience something akin to the national fame and recognition that African American men had known since the 1930s, the days of Joe Louis and Jesse Owens. From the 1920s, when black women athletes were confined to competing within the black community, through the heady days of the late twentieth century when they ruled the world of women's track and field, African American women found sport opened the door to a better life. However, they also discovered that success meant challenging perceptions that many Americans--both black and white--held of them. Through the stories of six athletes--Coachman, Ora Washington, Althea Gibson, Wilma Rudloph, Wyomia Tyus, and Jackie Joyner-Kersee--Jennifer H. Lansbury deftly follows the emergence of black women athletes from the African American community; their confrontations with contemporary attitudes of race, class, and gender; and their encounters with the civil rights movement. Uncovering the various strategies the athletes use to beat back stereotypes, Lansbury explores the fullness of African American women's relationship with sport in the twentieth century.

This incisive study takes on one of the grimmest secrets in America's national life—the history of lynching and, more generally, the public punishment of African Americans. Jacqueline Goldsby shows that lynching cannot be explained away as a phenomenon peculiar to the South or as the perverse culmination of racist politics. Rather, lynching—a highly visible form of social violence that has historically been shrouded in secrecy—was in fact a fundamental part of the national consciousness whose cultural logic played a pivotal role in the making of American modernity.

To pursue this argument, Goldsby traces lynching's history by taking up select mob murders and studying them together with key literary works. She focuses on three prominent authors—Ida B. Wells-Barnett, Stephen Crane, and James Weldon Johnson—and shows how their own encounters with lynching influenced their analyses of it. She also examines a recently assembled archive of evidence—lynching photographs—to show how photography structured the nation's perception of lynching violence before World War I. Finally, Goldsby considers the way lynching persisted into the twentieth century, discussing the lynching of Emmett Till in 1955 and the ballad-elegies of Gwendolyn Brooks to which his murder gave rise.

An empathic and perceptive work, A Spectacular Secret will make an important contribution to the study of American history and literature.

In 1959, Gerald Eskenazi dropped out of City College, not for the first time, and made his way to the New York Times. That day the paper had two openings—one in news and one in sports. Eskenazi was offered either for thirty-eight dollars a week. He chose sports based on his image of the sports department as a cozier place than the news department. Forty-one years and more than eighty-four hundred stories later, New Yorkers know he made the right decision.

Drawing from 167 examples of decorative needlework—primarily samplers and quilts from 114 collections across the United States—made by individual women aged forty years and over between 1820 and 1860, this exquisitely illustrated book explores how women experienced social and cultural change in antebellum America.

The book is filled with individual examples, stories, and over eighty fine color photographs that illuminate the role that samplers and needlework played in the culture of the time. For example, in October 1852, Amy Fiske (1785–1859) of Sturbridge, Massachusetts, stitched a sampler. But she was not a schoolgirl making a sampler to learn her letters. Instead, as she explained, “The above is what I have taken from my sampler that I wrought when I was nine years old. It was w[rough]t on fine cloth [and] it tattered to pieces. My age at this time is 66 years.”

Situated at the intersection of women’s history, material culture study, and the history of aging, this book brings together objects, diaries, letters, portraits, and prescriptive literature to consider how middle-class American women experienced the aging process. Chapters explore the physical and mental effects of “old age” on antebellum women and their needlework, technological developments related to needlework during the antebellum period and the tensions that arose from the increased mechanization of textile production, and how gift needlework functioned among friends and family members. Far from being solely decorative ornaments or functional household textiles, these samplers and quilts served their own ends. They offered aging women a means of coping, of sharing and of expressing themselves. These “threads of time” provide a valuable and revealing source for the lives of mature antebellum women.

Publication of this book was made possible in part through generous funding from the Coby Foundation, Ltd and from the Quilters Guild of Dallas, Helena Hibbs Endowment Fund.

A Store Almost in Sight tells the story of commercial development in central Missouri from the early days of American settlement following the Louisiana Purchase to the Civil War. Focusing on those counties near or on the Missouri River, historian Jeff Bremer confirms that the history of the frontier is also the history of the spread of capitalist values. The letters, journals, diaries, and travel accounts of Missouri settlers and visitors reveal how small decisions made by Missouri’s rural white settlers—ranging from how much of a certain crop to plant to how many eggs to take to the local store—contributed to the establishment of a market economy in the state.

Most Missourians welcomed the opportunity to take part in commercial markets. Farmwomen sold eggs or butter to peddlers and in nearby towns, while men took surplus corn or pork to stores for credit. Immigrants searched for the most fertile land closest to waterways, to ensure they would have large harvests and an easy way to ship them to market. Families floated farm goods downriver until steamboats transformed rural life by drastically reducing the cost of transportation and boosting farm production and consumption. Traders also trekked west across the plains to trade at the inland entrepôt of Santa Fe. The waves of migrants headed for Oregon and California in the 1840s and 1850s further encouraged commercial development. However, most white settlers lacked the necessary financial means to be capitalists in a technical sense, seeking instead a “competency,” or comfortable independence.

This fresh reinterpretation of the American frontier will interest anyone who wants to understand the economic and social significance of westward migration in U.S. history. It gives the reader a gritty, grassroots sense of how ordinary people made their livings and built communities in the lands newly opened to American settlement.

Since its arrival in Japan in the sixth century, Buddhism has played a central role in Japanese culture. But the historical figure of the Buddha, the prince of ancient Indian descent who abandoned his wealth and power to become an awakened being, has repeatedly disappeared and reappeared, emerging each time in a different form and to different ends. A Storied Sage traces this transformation of concepts of the Buddha, from Japan’s ancient period in the eighth century to the end of the Meiji period in the early twentieth century.

Micah L. Auerback follows the changing fortune of the Buddha through the novel uses for the Buddha’s story in high and low culture alike, often outside of the confines of the Buddhist establishment. Auerback argues for the Buddha’s continuing relevance during Japan’s early modern period and links the later Buddhist tradition in Japan to its roots on the Asian continent. Additionally, he examines the afterlife of the Buddha in hagiographic literature, demonstrating that the late Japanese Buddha, far from fading into a ghost of his former self, instead underwent an important reincarnation. Challenging many established assumptions about Buddhism and its evolution in Japan, A Storied Sage is a vital contribution to the larger discussion of religion and secularization in modernity.

Princess Sophie Frederika Mathilde of Wurttemberg (1818-1877) married William, Prince of Orange (and her first cousin) in 1839. Sophie (as she was known) was alert, well-educated, and ambitious, far the intellectual superior of her husband; as the great-granddaughter of Catherine the Great of Russia, she may have aspired to play an important role in guiding the affairs of the House of Orange. This was not to be. After the birth of two sons, her relations with her husband cooled, and with a few important exceptions she became isolated from the other members of the family at the Hague. Partly to overcome the resulting personal and intellectual isolation she turned to an extensive correspondence with heads of state, royal relatives, aristocratic acquaintances, political leaders, and intellectual figures. Family difficulties continued and even increased after William ascended the throne in 1849.
Sophie met her friend and confidant Marina Dora Spading, Lady Malt, when the latter was at the Hague with her diplomat husband in 1842. A lifelong friendship ensued, although they saw each other only infrequently thereafter. Sophie’s letters to Lady Malt are an extraordinary combination of comments on her personal situation and shrewd analyses of the European political arena. This selection of her surviving correspondence is opinionated, frank, and perceptive, and her letters are a unique commentary on the affairs of the Europe of the mid-nineteenth century.

In 1938, before the Munich pact, Gellhorn visited Prague and witnessed its transformation from a proud democracy preparing to battle Hitler to a country occupied by the German army. Born out of this experience, A Stricken Field follows a journalist who returns to Prague after its annexation and finds her efforts to obtain help for the refugees and to convey the shocking state of the country both frustrating and futile. A convincing account of a people under the brutal oppression of the Gestapo, A Stricken Field is Gellhorn’s most powerful work of fiction.

 

“[A] brave, final novel. Its writing is quick with movement and with sympathy; its people alive with death, if one can put it that way. It leaves one with aching heart and questing mind.”—New York Herald Tribune

 

“The translation of [Gellhorn’s] personal testimony into the form of a novel has . . . force and point.”—Times Literary Supplement

The miners' strike against Pittston Coal in 1989–1990, which spread throughout southwestern Virginia, southern West Virginia, and eastern Kentucky, was one of the most important strikes in the history of American labor, and, as Richard Brisbin observes, "one of the longest and largest incidents of civil disorder and civil disobedience in the United States in the second half of the twentieth century." The company aggressively sought to break the strike, and workers and their families used a variety of tactics—lawful and unlawful—to resist Pittston's efforts as the situation quickly turned ugly.

In A Strike like No Other Strike: Law and Resistance during the Pittston Coal Strike of 1989–1990, Richard Brisbin offers a compelling study of the exercise of political power. In considering the legal significance of the strike, Brisbin asks the larger question of whether even extreme transgression or resistance can fracture the "imagined coherence of the law." He shows how each party in the strike invoked the law to justify its actions while attacking those of the other side as unlawful. In the end, both sides lost; although the U.S. Supreme Court ultimately ruled in favor of the union, most of the strikers faced elimination of their jobs and an ongoing struggle for pensions and health benefits.

With this book, Jacques Barzun pays what he describes as an "intellectual debt" to William James—psychologist, philosopher, and, for Barzun, guide and mentor. Commenting on James's life, thought, and legacy, Barzun leaves us with a wise and civilized distillation of the great thinker's work.

Patrick Paul Hogan’s A Student Commentary on Pausanias Book 1 introduces the first book of Pausanias’ “Description of Greece” to students of Classical Greek. Pausanias’ second century CE work is the only surviving ancient description of the monuments and artwork of mainland Greece. Book 1 of the “Description” covers Athens, its demes, and Megara—that is, Attica, the heart of the ancient Greek world. It offers not only a walking description of buildings, statues, and artwork by an ancient traveler but also insight into the mindset of an educated Greek of the Roman imperial age: his reaction to Roman domination and Classical Greek history and culture, his deeply felt religious beliefs, and his ideas regarding Hellenism and Hellenic identity.

This textbook, the first on Pausanias aimed at students in almost a century, brings Pausanias back into the classroom for a new generation of readers. It is based on the Greek text edited by M. H. Rocha-Pereira and includes philological and historical commentary by Hogan. This volume elucidates difficult syntax and helps the reader with the immense number of names and places Pausanias mentions. It is suitable for students of Classical Greek at the graduate and undergraduate levels, whether Classical philologists or Classical archaeologists and art historians. Professors of archaeology will find this textbook an excellent starting point for any course on Pausanias and easily supplemented by their own knowledge of material remains and modern finds.

Louis Leonard Wright's abridgment of this classic work reorganizes some of Wright's material and deletes footnotes and appendixes, but still retains the power and impact of the original.

"The most comprehensive work ever published in any language on the history, the nature, the causes, and the cure of war. . . . A Study of War is a liberal education in the social disciplines."—Frederick L. Schuman

"A major contribution to the realistic study of international relations."—Garrett Mattingly, New York Times

In 1911, leading English suffragette Sylvia Pankhurst visited America. Unlike other suffragette leaders, who spent their time in America among the social elite, Pankhurst wasted no time getting right to the heart of America’s social problems. She visited striking laundry workers in New York and female prisoners in Philadelphia and Chicago, and she grappled firsthand with shocking racism in Nashville.
            This book gathers Pankhurst’s writings from the year-long visit, in which she reveals her shock at the darkness hidden in American life, and draws parallels to her experiences of imprisonment and misogyny in her own country. Never before published, these writings mark an important stage in the development of the suffragette's thought, which she brought back to Britain to inform the burgeoning suffrage campaign there.
 

In 2010, while editing a report on the effects of climate change in Iowa, ecologist Cornelia Mutel came to grips with the magnitude and urgency of the problem. She already knew the basics: greenhouse gas emissions and global average temperatures are rising on a trajectory that could, within decades, propel us beyond far-reaching, irreversible atmospheric changes; the results could devastate the environment that enables humans to thrive. The more details she learned, the more she felt compelled to address this emerging crisis. The result is this book, an artful weaving together of the science behind rising temperatures, tumultuous weather events, and a lifetime devoted to the natural world. Climate change isn’t just about melting Arctic ice and starving polar bears. It’s weakening the web of life in our own backyards.

Moving between two timelines, Mutel pairs chapters about a single year in her Iowa woodland with chapters about her life as a fledgling and then professional student of nature. Stories of her childhood ramblings in Wisconsin and the solace she found in the Colorado mountains during early adulthood are merged with accounts of global environmental dilemmas that have redefined nature during her lifespan. Interwoven chapters bring us into her woodland home to watch nature’s cycles of life during a single year, 2012, when weather records were broken time and time again. Throughout, in a straightforward manner for a concerned general audience, Mutel integrates information about the science of climate change and its dramatic alteration of the planet in ways that clarify its broad reach, profound impact, and seemingly relentless pace.

It is not too late, she informs us: we can still prevent the most catastrophic changes. We can preserve a world full of biodiversity, one that supports human lives as well as those of our myriad companions on this planet. In the end, Mutel offers advice about steps we can all take to curb our own carbon emissions and strategies we can suggest to our policy-makers.