Lee’s birth, a new portrait drawing on previously unpublished correspondence Robert E. Lee’s war correspondence is well known, and here and there personal letters have found their way into print, but the great majority of his most intimate messages have never been made public. These letters reveal a far more complex and contradictory man than the one who comes most readily to the imagination, for it is with his family and his friends that Lee is at his most candid, most engaging, and most vulnerable. Over the past several years historian Elizabeth Brown Pryor has uncovered a rich trove of unpublished Lee materials that had been held in both private and public collections. Her new book, a unique blend of analysis, narrative, and historiography, presents dozens of these letters in their entirety, most by Lee but a few by family members. Each letter becomes a departure point for an essay that shows what the letter uniquely reveals about Lee’s time or character. The material covers all aspects of Lee’s life—his early years, West Point, his work as an engineer, his relationships with his children and his slaves, his decision to join the South, his thoughts on military strategy, and his disappointments after defeat in the Civil War. The result is perhaps the most intimate picture to date of Lee, one that deftly analyzes the meaning of his actions within the context of his personality, his relationships, and the social tenor of his times.

    Lee, but genteel Southern ladies & escaped slaves, cavalry officers & common foot soldiers who fought in Yankee blue & Rebel gray. The Civil War also includes essays by historians of the era: Don E. Fehrenbacher, on the war's origins; Barbara J. Fields, on the freeing of slaves; Shelby Foote, on the soldiers & commanders; James M. McPherson, on the political dimensions; & C. Vann Woodward, assessing the America that emerged from the war's ashes.Introduction: The crossroads of our being1861: A house divided Why the war came/ Don E. Fehrenbacher1862: Forever freeWho freeds the slaves?/ Barbara J. Fields1863: The universe of battleMen at war: an interview with Shelby Foote1864: Most hallowed groundWar & politics/ James M. McPherson1865: The better angels of our natureWhat the war made us/ C. Vann Woodward

    The diversity of its themes and the broad perspectives applied to them make the book a work of general history as much as a history of the theory and practice of war from the Renaissance to the present. Makers of Modern Strategy from Machiavelli to the Nuclear Age takes the first part of its title from an earlier collection of essays, published by Princeton University Press in 1943, which became a classic of historical scholarship. Three essays are repinted from the earlier book; four others have been extensively revised. The rest--twenty-two essays--are new.The subjects addressed range from major theorists and political and military leaders to impersonal forces. Machiavelli, Clausewitz, and Marx and Engels are discussed, as are Napoleon, Churchill, and Mao. Other essays trace the interaction of theory and experience over generations--the evolution of American strategy, for instance, or the emergence of revolutionary war in the modern world. Still others analyze the strategy of particular conflicts--the First and Second World Wars--or the relationship between technology, policy, and war in the nuclear age. Whatever its theme, each essay places the specifics of military thought and action in their political, social, and economic environment. Together the contributors have produced a book that reinterprets and illuminates war, one of the most powerful forces in history and one that cannot be controlled in the future without an understanding of its past.

    Among the most prominent members of what became the Frankfurt School were the philosophers Walter Benjamin, Theodor Adorno, Max Horkheimer, and Herbert Marcuse. Not only would they change the way we think, but also the subjects we deem worthy of intellectual investigation. Their lives, like their ideas, profoundly, sometimes tragically, reflected and shaped the shattering events of the twentieth century.Grand Hotel Abyss combines biography, philosophy, and storytelling to reveal how the Frankfurt thinkers gathered in hopes of understanding the politics of culture during the rise of fascism. Some of them, forced to escape the horrors of Nazi Germany, later found exile in the United States. Benjamin, with his last great work—the incomplete Arcades Project—in his suitcase, was arrested in Spain and committed suicide when threatened with deportation to Nazi-occupied France. On the other side of the Atlantic, Adorno failed in his bid to become a Hollywood screenwriter, denounced jazz, and even met Charlie Chaplin in Malibu.After the war, there was a resurgence of interest in the School. From the relative comfort of sun-drenched California, Herbert Marcuse wrote the classic One Dimensional Man, which influenced the 1960s counterculture and thinkers such as Angela Davis; while in a tragic coda, Adorno died from a heart attack following confrontations with student radicals in Berlin.By taking popular culture seriously as an object of study—whether it was film, music, ideas, or consumerism—the Frankfurt School elaborated upon the nature and crisis of our mass-produced, mechanised society. Grand Hotel Abyss shows how much these ideas still tell us about our age of social media and runaway consumption.

    Kennan offers an informed, plain-spoken appraisal of United States foreign policy. His evaluations of diplomatic history and international relations cut to the heart of policy issues much debated today.This expanded edition retains the lectures and essays first published in 1951 as American Diplomacy, 1900-1950 and adds two lectures delivered in 1984 as well as a new preface by the author. In these additional pieces, Kennan explains how some of his ideas have changed over the years. He confronts the events and topics that have come to occupy American opinion in the last thirty years, including the development and significance of the Cold War, the escalation of the nuclear arms race, and the American involvement in Vietnam."A book about foreign policy by a man who really knows something about foreign policy."—James Reston,New York Times Book Review"These celebrated lectures, delivered at the University of Chicago in 1950, were for many years the most widely read account of American diplomacy in the first half of the twentieth century. . . . The second edition of the work contains two lectures from 1984 that reconsider the themes of American Diplomacy"—Foreign Affairs, Significant Books of the Last 75 Years.

    To their astonishment, they found they had landed in the heart of Tibet. There they had to confront what, to them, seemed a bizarre--even alien--people. At the same time, they had to extricate themselves from the political turmoil that even then was raging around Tibet's right to be independent from China.Now back in print, Lost in Tibet is an extraordinary story of high adventure that sheds light on the remarkable Tibetan people, just at the moment when they were coming to terms with a hostile outside world.

    As a child, he rooted for conventionally good characters like wide-eyed Luke Skywalker in Star Wars. But as Klosterman aged, his alliances shifted—first to Han Solo and then to Darth Vader. Vader was a hero who consciously embraced evil; Vader wanted to be bad. But what, exactly, was that supposed to mean? When we classify someone as a bad person, what are we really saying (and why are we so obsessed with saying it)? In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the culture of villainy. What was so Machiavellian about Machiavelli? Why don’t we see Batman the same way we see Bernhard Goetz? Who’s more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in 1985?Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero (seemingly the only kind of hero America still creates). I Wear the Black Hat is the rare example of serious criticism that’s instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he’s doing.

    Alexander Solzhenitsyn's Warning to the West includes the texts of the Nobel Prize-winning author's three speeches in the United States in the summer of 1975, his first major public addresses since his expulsion from the Soviet Union in 1974: on June 30 and July 9 to trade-union leaders of the AFL-CIO in Washington, D.C., and in New York City, and on July 15 to the United States Congress; and also the texts of his BBC interview and radio speech, which sparked widespread public controversy when they were aired in London in March 1976.Solzhenitsyn's outspoken criticism of the West's growing weakness and complacency and his belief that Russia's growing strength will enable her to establish supremacy over the West without risk of a nucelar holocaust are expressed with the moral authority of a great novelist and historian.Solzhenitsyn mounts a public indictment of the supine inattention of the West that rings like the blows of the hammer with which Luther nailed his manifesto to the doors at Wittenberg.--Times Literary Supplement

    The twentieth century has become "history" at an unprecedented rate. The world of 2007 is so utterly unlike that of even 1987, much less any earlier time, that we have lost touch with our immediate past even before we have begun to make sense of it. In less than a generation, the headlong advance of globalization, with the geographical shifts of emphasis and influence it brings in its wake, has altered the structures of thought that had been essentially unchanged since the European industrial revolution. Quite literally, we don't know where we came from. The results have proved calamitous thus far, with the prospect of far worse. We have lost touch with a century of social thought and socially motivated social activism. We no longer know how to discuss such concepts and have forgotten the role once played by intellectuals in debating, transmitting, and defending the ideas that shaped their time. In Reappraisals, Tony Judt resurrects the key aspects of the world we have lost in order to remind us how important they still are to us now and to our hopes for the future. Reappraisals draws provocative connections between a dazzling range of subjects, from the history of the neglect and recovery of the Holocaust and the challenge of "evil" in the understanding of the European past to the rise and fall of the "state" in public affairs and the displacement of history by "heritage." With his trademark acuity and Žlan, Tony Judt takes us beyond what we think we know to show us how we came to know it and reveals how many aspects of our history have been sacrificed in the triumph of mythmaking over understanding, collective identity over truth, and denial over memory. His book is a road map back to the historical sense we so vitally need.

    WolffTolerance & the scientific outlook by Barrington MooreRepressive tolerance by Herbert Marcuse.

    Paul reveals an intensely personal side as he reflects on growing up during World War II. The book also provides a powerful critique of the corruption and corrosion produced by a 20th century full of war and killing. Ever the optimist, however, Paul leaves behind the ashes of a 20th century of war to finish with a stirring, liberating view of the future we may choose if we turn from war and violence.

    More than almost any other nation in the world, the United States began as an idea. For this reason, Pulitzer Prize-winning historian Gordon S. Wood believes that the American Revolution is the most important event in our history, bar none. Since American identity is so fluid and not based on any universally shared heritage, we have had to continually return to our nation's founding to understand who we are. In 'The Idea of America', Wood reflects on the birth of American nationhood and explains why the revolution remains so essential. In a series of elegant and illuminating essays, Wood explores the ideological origins of the revolution - from ancient Rome to the European Enlightenment - and the founders' attempts to forge an American democracy. As Wood reveals, while the founders hoped to create a virtuous republic of yeoman farmers and uninterested leaders, they instead gave birth to a sprawling, licentious, and materialistic popular democracy. Wood also traces the origins of American exceptionalism to this period, revealing how the revolutionary generation, despite living in a distant, sparsely populated country, believed itself to be the most enlightened people on earth. The revolution gave Americans their messianic sense of purpose-and perhaps our continued propensity to promote democracy around the world-because the founders believed their colonial rebellion had universal significance for oppressed peoples everywhere. Yet what may seem like audacity in retrospect reflected the fact that in the eighteenth century republicanism was a truly radical ideology-as radical as Marxism would be in the nineteenth-and one that indeed inspired revolutionaries the world over. Today there exists what Wood calls a terrifying gap between us and the founders, such that it requires almost an act of imagination to fully recapture their era. Because we now take our democracy for granted, it is nearly impossible for us to appreciate how deeply the founders feared their grand experiment in liberty could evolve into monarchy or dissolve into licentiousness. Gracefully written and filled with insight, 'The Idea of America' helps us to recapture the fears and hopes of the revolutionary generation and its attempts to translate those ideals into a working democracy.

    While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" Star Trek-style, others view them with horror, seeing monsters brooding in the machines. In How We Became Posthuman, N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age.Hayles relates three interwoven stories: how information lost its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman."Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel Limbo by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems.Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, How We Became Posthuman provides an indispensable account of how we arrived in our virtual age, and of where we might go from here.

    Combining memoir with artistic and philosophical musings, the poet and National Book Critics Circle Award winner (for My Alexandria) begins by confessing his obsession with the 17th-century Dutch still life that serves as the title of this book. As he analyzes the items depicted in the painting, he skillfully introduces his thoughts on our intimate relationships to objects and subsequently explains how they are often inextricably bound to the people and places of an individual lifetime. Further defined by imperfections attained from use, each object from an aging oak table to a chipped blue and white china platter forms a springboard for reflection. Doty intersperses personal reminiscences throughout, but he always returns to the subject of still-life painting and its silent eloquence. Doty's observations on balance, grief, beauty, space, love, and time are imparted with wisdom and poetic grace.Books like this, that address the sources of creation and the sources of our humanness, come along once in a decade. -Susan Salter Reynolds, Los Angeles Times"This small book is as wise, sensitive, intense, and affecting as anything I have read in recent years." -Doris Grumbach, author of Fifty Days of Solitude"A gem." -Library Journal"Mark Doty's prose is insistently exploratory, yet every aside, every detour, turns into pertinence, and it all seems effortless, as though the author were wondering, and marveling, aloud." -Bernard Cooper, author of Truth Serum"A dazzling accomplishment, its radiance bred of lucid attention and acute insight. The subject is the profoundly personal act of perception translated into description. Doty succeeds in rendering this most contemplative of arts-the still life-into a riveting drama." -Patricia Hampl, author of I Could Tell You Stories

    History survey because of the uncommon value it offers instructors and students alike. The authors' own abridgement preserves the analytical power of the parent text, America's History, while offering all the flexibility of a brief book. The latest scholarship, hallmark global perspective, and handy format combine with the best full-color art and map program of any brief text to create a book that students read and enjoy.