. . has concentrated into 176 pages a profoundly affecting argument" (Business Week) that draws on interviews with dismissed IBM executives, bakers, a bartender turned advertising executive, and many others to call into question the terms of our new economy. In his 1972 classic, The Hidden Injuries of Class (written with Jonathan Cobb), Sennett interviewed a man he called Enrico, a hardworking janitor whose life was structured by a union pay schedule and given meaning by his sacrifices for the future. In this new book-a #1 bestseller in Germany-Sennett explores the contemporary scene characterized by Enrico's son, Rico, whose life is more materially successful, yet whose work lacks long-term commitments or loyalties. Distinguished by Sennett's "combination of broad historical and literary learning and a reporter's willingness to walk into a store or factory [and] strike up a conversation" (New York Times Book Review), this book "challenges the reader to decide whether the flexibility of modern capitalism . . . is merely a fresh form of oppression" (Publishers Weekly, starred review). Praise for The Corrosion of Character: "A benchmark for our time."—Daniel Bell "[A]n incredibly insightful book."—William Julius Wilson "[A] remarkable synthesis of acute empirical observation and serious moral reflection."—Richard Rorty "[Sennett] offers abundant fresh insights . . . illuminated by his concern with people's struggle to give meaning to their lives."—[Memphis] Commercial Appeal

    "Fascism is only the organized political expression of the structure of the average man's character. It is the basic emotional civilization and its mechanistic-mystical conception of life."Responsibility for the elimination of fascism thus results with the masses of average people who might otherwise support and champion it.

    This splendid book is an invaluable contribution to the debate about what ails democracy, and what can be done about it." --Michael J. Sandel, author of Justice"Everyone worried about the state of contemporary politics should read this book." --Anne-Marie Slaughter, President of the New America FoundationThe world is in turmoil. From Russia, Turkey, and Egypt to the United States, authoritarian populists have seized power. As a result, democracy itself may now be at risk.Two core components of liberal democracy--individual rights and the popular will--are increasingly at war with each other. As the role of money in politics soared and important issues were taken out of public contestation, a system of "rights without democracy" took hold. Populists who rail against this say they want to return power to the people. But in practice they create something just as bad: a system of "democracy without rights." The consequence, as Yascha Mounk shows in this brilliant and timely book, is that trust in politics is dwindling. Citizens are falling out of love with their political system. Democracy is wilting away. Drawing on vivid stories and original research, Mounk identifies three key drivers of voters' discontent: stagnating living standards, fear of multiethnic democracy, and the rise of social media. To reverse the trend, politicians need to enact radical reforms that benefit the many, not the few.The People vs. Democracy is the first book to describe both how we got here and what we need to do now. For those unwilling to give up either individual rights or the concept of the popular will, Mounk argues that urgent action is needed, as this may be our last chance to save democracy.

    Culture and Imperialism, by Edward Said, is a collection of thematically related essays that trace the connection between imperialism and culture throughout the 18th, 19th, and 20th centuries.

    In 1984, after becoming part of an antimafia group seeking to prosecute the Sicilian mafia, the Cosa Nostra, durante toda su carrera.

    To illustrate this theme he has painted vivid pen portraits of six famous women who were all bound up with Hitler's regime: Eva Braun, Hitler's mistress; Magda Goebbels, wife of the Reich Propaganda Minister; Winifred Wagner, grand-daughter of composer Richard Wagner; Leni Riefenstahl, Nazi film director; Zarah Leander, Nazi film star; and the legendary screen goddess Marlene Dietrich. The lives of these women prove how the Nazis envisaged the future of German womanhood and how things looked in reality. Supported by previously unpublished photographs and the words of close friends and colleagues of those portrayed, Knopp brings back to life a generation who, with a few courageous exceptions, succumbed to enticement and violence.

    "A useful, important book that reminds us, at the right time, how hard [European unity] has been, and how much care must be taken to avoid the terrible old temptations." --Los Angeles TimesDark Continent provides an alternative history of the twentieth century, one in which the triumph of democracy was anything but a forgone conclusion and fascism and communism provided rival political solutions that battled and sometimes triumphed in an effort to determine the course the continent would take.Mark Mazower strips away myths that have comforted us since World War II, revealing Europe as an entity constantly engaged in a bloody project of self-invention.  Here is a history not of inevitable victories and forward marches, but of narrow squeaks and unexpected twists, where townships boast a bronze of Mussolini on horseback one moment, only to melt it down and recast it as a pair of noble partisans the next.  Unflinching, intelligent, Dark Continent provides a provocative vision of Europ's past, present, and future-and confirms Mark Mazower as a historian of valuable gifts.

    For all the literature about Adolf Hitler there have been just four seminal biographies; this is the fifth, a landmark work that sheds important new light on Hitler himself. Drawing on previously unseen papers and a wealth of recent scholarly research, Volker Ullrich reveals the man behind the public persona, from Hitler's childhood to his failures as a young man in Vienna to his experiences during the First World War to his rise as a far-right party leader. Ullrich deftly captures Hitler's intelligence, instinctive grasp of politics, and gift for oratory as well as his megalomania, deep insecurity, and repulsive worldview. Many previous biographies have focused on the larger social conditions that explain the rise of the Third Reich. Ullrich gives us a comprehensive portrait of a postwar Germany humiliated by defeat, wracked by political crisis, and starved by an economic depression, but his real gift is to show vividly how Hitler used his ruthlessness and political talent to shape the Nazi party and lead it to power. For decades the world has tried to grasp how Hitler was possible. By focusing on the man at the center of it all, on how he experienced his world, formed his political beliefs, and wielded power, this riveting biography brings us closer than ever to the answer. Translated from the German by Jefferson Chase.

    Based on new sources from eastern Europe and forgotten testimonies from Jewish survivors, Black Earth recounts the mass murder of the Jews as an event that is still close to us, more comprehensible than we would like to think, and thus all the more terrifying.The Holocaust began in a dark but accessible place, in Hitler's mind, with the thought that the elimination of Jews would restore balance to the planet and allow Germans to win the resources they desperately needed. Such a worldview could be realized only if Germany destroyed other states, so Hitler's aim was a colonial war in Europe itself. In the zones of statelessness, almost all Jews died. A few people, the righteous few, aided them, without support from institutions. Much of the new research in this book is devoted to understanding these extraordinary individuals. The almost insurmountable difficulties they faced only confirm the dangers of state destruction and ecological panic. These men and women should be emulated, but in similar circumstances few of us would do so.  By overlooking the lessons of the Holocaust, Snyder concludes, we have misunderstood modernity and endangered the future. The early twenty-first century is coming to resemble the early twentieth, as growing preoccupations with food and water accompany ideological challenges to global order. Our world is closer to Hitler's than we like to admit, and saving it requires us to see the Holocaust as it was -- and ourselves as we are.  Groundbreaking, authoritative, and utterly absorbing, Black Earth reveals a Holocaust that is not only history but warning.

    The siege was not lifted for two and a half years, by which time some three quarters of a million Leningraders had died of starvation.Anna Reid's Leningrad is a gripping, authoritative narrative history of this dramatic moment in the twentieth century, interwoven with indelible personal accounts of daily siege life drawn from diarists on both sides. They reveal the Nazis' deliberate decision to starve Leningrad into surrender and Hitler's messianic miscalculation, the incompetence and cruelty of the Soviet war leadership, the horrors experienced by soldiers on the front lines, and, above all, the terrible details of life in the blockaded city: the relentless search for food and water; the withering of emotions and family ties; looting, murder, and cannibalism- and at the same time, extraordinary bravery and self-sacrifice.Stripping away decades of Soviet propaganda, and drawing on newly available diaries and government records, Leningrad also tackles a raft of unanswered questions: Was the size of the death toll as much the fault of Stalin as of Hitler? Why didn't the Germans capture the city? Why didn't it collapse into anarchy? What decided who lived and who died? Impressive in its originality and literary style, Leningrad gives voice to the dead and will rival Anthony Beevor's classic Stalingrad in its impact.

    Calasso ranges through Baudelaire's life and work, focusing on two painters—Ingres and Delacroix—about whom Baudelaire wrote acutely, and then turns to Degas and Manet, who followed in the tracks Baudelaire laid down in his great essay "The Painter of Modern Life." In Calasso's lavishly illustrated mosaic of stories, insights, close readings of poems, and commentaries on paintings, Baudelaire's Paris comes brilliantly to life. In the eighteenth century, a folie was a garden pavilion set aside for people of leisure, a place of delight and fantasy. Following Baudelaire, Calasso has created a brilliant and dramatic "Folie Baudelaire"—a place where the reader can encounter the poet himself, his peers, his city, and his extraordinary likes and dislikes, finally discovering that that place is situated in the middle of the land of "absolute literature."

    Looking at this concept through the lens of his own encounters in Africa, Asia and Latin America, and considering its formative significance for his own work, Kapuscinski traces how the West has understood the non-European from classical times to the present day. He observes how in the twenty-first century we continue to treat the residents of the Global South as hostile aliens, objects of study rather than full partners sharing responsibility for the fate of humankind.In our globalised but increasingly polarised world, Kapuscinski shows how the Other remains one of the most compelling ideas of our times.

    -- Newsweek

    Here Girard explores violence as it is represented and occurs throughout history, literature and myth. Girard's forceful and thought-provoking analyses of Biblical narrative, Greek tragedy and the lynchings and pogroms propagated by contemporary states illustrate his central argument that violence belongs to everyone and is at the heart of the sacred.

    The object of his inquiry was the new class of salaried employees who populated the cities of Weimar Germany.Spiritually homeless, divorced from all custom and tradition, these white-collar workers sought refuge in entertainment—or the “distraction industries,” as Kracauer put it—but, only three years later, were to flee into the arms of Adolf Hitler. Eschewing the instruments of traditional sociological scholarship, but without collapsing into mere journalistic reportage, Kracauer explores the contradictions of this caste. Drawing on conversations, newspapers, adverts and personal correspondence, he charts the bland horror of the everyday. In the process he succeeds in writing not just a prescient account of the declining days of the Weimar Republic, but also a path-breaking exercise in the sociology of culture which has sharp relevance for today.