From his first awakening of faith as a boy to his gradual disillusionment as a Catholic, Carroll offers a razor-sharp examination both of himself and of how the Church became an institution that places power and dominance over people through an all-male clergy.Carroll argues that a male-supremacist clericalism is both the root cause and the ongoing enabler of the sexual abuse crisis. The power structure of clericalism poses an existential threat to the Church and compromises the ability of even a progressive pope like Pope Francis to advance change in an institution accountable only to itself. Carroll traces this dilemma back to the Roman Empire and the Middle Ages, when Scripture, Jesus Christ, and His teachings were reinterpreted as the Church became an empire. In a deeply personal re-examination of self, Carroll grapples with his own feelings of being chosen, his experiences as a priest, and the moments of doubt that made him leave the priesthood and embark on a long personal journey toward renewal--including his tenure as an op-ed columnist at The Boston Globe writing about sexual abuse in the Church.Ultimately, Carroll calls on the Church and all reform-minded Catholics to revive the culture from within by embracing anti-clerical, anti-misogynist resistance and staying grounded in the spirit of love that is the essential truth at the heart of Christian belief and Christian life.

    Lebrecht compellingly demonstrates that classical recording has reached its end point, but this is not simply an expos? of decline and fall. It is, for the first time, the full story of a minor art form, analyzing the cultural revolution wrought by Schnabel, Toscanini, Callas, Rattle, the Three Tenors, and Charlotte Church. It is the story of how stars were made and broken by the record business; how a war criminal conspired with a concentration-camp victim to create a record empire; and how advancing technology, boardroom wars, public credulity and unscrupulous exploitation shaped the musical backdrop to our modern lives. The book ends with a suitable shrine to classical recording: the author's critical selection of the 100 most important recordings, and the 20 most appalling.Filled with memorable incidents and unforgettable personalities, from Goddard Lieberson, legendary head of CBS Masterworks who signed his letters as God; to Georg Solti, who turned the Chicago Symphony into the loudest symphony on earth - this is at once the captivating story of the life and death of classical recording and an opinionated, insider's guide to appreciating the genre, now and for years to come.

    Stringer's new theory, based on archeological and genetic evidence, holds that distinct humans coexisted and competed across the African continent—exchanging genes, tools, and behavioral strategies.Stringer draws on analyses of old and new fossils from around the world, DNA studies of Neanderthals (using the full genome map) and other species, and recent archeological digs to unveil his new theory. He shows how the most sensational recent fossil findings fit with his model, and he questions previous concepts (including his own) of modernity and how it evolved.Lone Survivors will be the definitive account of who and what we were, and will change perceptions about our origins and about what it means to be human.

    Claude-Henri Rocquet has elicited from Eliade brief versions of some of his most important theories and a great many interesting judgments.

    From that exhilarating portrait, he takes us back more than two thousand years to the city's foundation, one mired in mythologies and superstitions that would inform Rome's development for centuries.From the beginning, Rome was a hotbed of power, overweening ambition, desire, political genius, and corruption. Hughes details the turbulent years that saw the formation of empire and the establishment of the sociopolitical system, along the way providing colorful portraits of all the major figures, both political (Julius Caesar, Marcus Aurelius, Nero, Caligula) and cultural (Cicero, Martial, Virgil), to name just a few. For almost a thousand years, Rome would remain the most politically important, richest, and largest city in the Western world.From the formation of empire, Hughes moves on to the rise of early Christianity, his own antipathy toward religion providing rich and lively context for the brutality of the early Church, and eventually the Crusades. The brutality had the desired effect—the Church consolidated and outlasted the power of empire, and Rome would be the capital of the Papal States until its annexation into the newly united kingdom of Italy in 1870.As one would expect, Hughes lavishes plenty of critical attention on the Renaissance, providing a full survey of the architecture, painting, and sculpture that blossomed in Rome over the course of the fourteenth through the sixteenth centuries, and shedding new light on old masters in the process. Having established itself as the artistic and spiritual center of the world, Rome in the seventeenth, eighteenth, and nineteenth centuries saw artists (and, eventually, wealthy tourists) from all over Europe converging on the bustling city, even while it was caught up in the nationalistic turmoils of the Italian independence struggle and war against France.Hughes keeps the momentum going right into the twentieth century, when Rome witnessed the rise and fall of Italian Fascism and Mussolini, and took on yet another identity in the postwar years as the fashionable city of "La Dolce Vita." This is the Rome Hughes himself first encountered, and it's one he contends, perhaps controversially, has been lost in the half century since, as the cult of mass tourism has slowly ruined the dazzling city he loved so much. Equal parts idolizing, blasphemous, outraged, and awestruck, Rome is a portrait of the Eternal City as only Robert Hughes could paint it.