Manning’s work reveals that Union soldiers, though evincing little sympathy for abolitionism before the war, were calling for emancipation by the second half of 1861, ahead of civilians, political leaders, and officers, and a full year before the Emancipation Proclamation. She recognizes Confederate soldiers’ primary focus on their own families, and explores how their beliefs about abolition—that it would endanger their loved ones, erase the privileges of white manhood, and destroy the very fabric of southern society—motivated even non-slaveholding Confederates to fight and compelled them to persevere through military catastrophes like Gettysburg and Atlanta, long after they grew to despise the Confederate government and disdain the southern citizenry. She makes clear that while white Union troops viewed preservation of the Union as essential to the legacy of the Revolution, over the course of the war many also came to think that in order to gain God’s favor, they and other white northerners must confront the racial prejudices that made them complicit in the sin of slavery. We see how the eventual consideration of the enlistment of black soldiers by the Confederacy eliminated any reason for many Confederate soldiers to fight; how, by 1865, black Union soldiers believed the forward racial strides made during the war would continue; and how white Union troops’ commitment to racial change, fluctuating with the progress of the war, created undreamt-of potential for change but failed to fulfill it.An important and eye-opening addition to our understanding of the Civil War.

    He introduces characters and incidents with his unusual literary style and grace, bringing to the fore those that have "Puritans as Democrats," "The Monarch's Revolution," "The Artist Prophet and Jester" -- show the recurrent role of great themes throughout the eras.The triumphs and defeats of five hundred years form an inspiring saga that modifies the current impression of one long tale of oppression by white European males. Women and their deeds are prominent, and freedom (even in sexual matters) is not an invention of the last decades. And when Barzun rates the present not as a culmination but a decline, he is in no way a prophet of doom. Instead, he shows decadence as the creative novelty that will burst forth -- tomorrow or the next day.Only after a lifetime of separate studies covering a broad territory could a writer create with such ease the synthesis displayed in this magnificent volume.

    In these twelve essays, bell hooks digs ever deeper into the personal and political consequences of contemporary representations of race and ethnicity within a white supremacist culture.

    At the helm of its ascent was the omnipotent Sultan Selim I (1470–1520), who, with the aid of his extraordinarily gifted mother, Gülbahar, hugely expanded the empire, propelling it onto the world stage. Aware of centuries of European suppression of Islamic history, Alan Mikhail centers Selim’s Ottoman Empire and Islam as the very pivots of global history, redefining such world-changingevents as Christopher Columbus’s voyages—which originated, in fact, as a Catholic jihad that viewed Native Americans as somehow “Moorish”—the Protestant Reformation, the transatlantic slave trade, and the dramatic Ottoman seizure of the Middle East and North Africa. Drawing on previously unexamined sources and written in gripping detail, Mikhail’s groundbreaking account vividly recaptures Selim’s life and world. An historical masterwork, God’s Shadow radically reshapes our understanding of a world we thought we knew.

    Jules possesses the street smarts, the hustler's mentality, and the ruthlessness that it takes to come to an unknown city and take over blocks. It doesn't take long for Jules and his crew to start shining, but the more money they accumulate, the more drama that begins to unfold. The locals don't take too kindly to the Baptiste boys’ sudden arrival, and things begin to heat up in the streets. Lyric is just getting over the death of her fiancé, and all she cares about is raising her child and being successful in her career. When the charming Jules enters her life, she is smitten as well as torn. Lyric is battling herself on whether to give in to her desires and let Jules love her, or stand firm on the promise she made to herself. Will all of Jules’ drama remind her why she no longer wants a dope boy, and cause her to push him away? Will love conquer all, or will Jules’ lifestyle cost him the woman that he's fallen deeply in love with?

    With nowhere to hide, Fatima endures eleven years of abuse at the hands of her bitter mother. Her escape ironically comes by the hands of her mother as well... when she's kicked out of the house and ends up living in her car. But anything is better than living in hell at Jewel's house. With her mind messed up but made up, Fatima thinks she's alone in the Windy city, born into this world to fend for herself, not knowing everything that was beaten into her was a lie. Also in Chicago is Torin Taylor, the youngest brother of four boys who were given away by their mother at birth. One-by-one, each boy leaves the nest to run the streets with only one goal: getting rich. Only thing is, Torin was born rich, he just doesn't know it. With the truth somewhere out there, Torin has no idea he's a wanted man... not by the FBI but one of the richest people in the world. After being caught up in a shootout orchestrated by Torin and his brothers, Fatima falls into Torin's life. Once a loner with no care in the world, Fatima melts the ice around his heart and becomes an important part of his life. There's just one thing: his brothers think she's dead and Torin can't bring himself to tell them he secretly hid her away to protect her from them. Death brings them together but will it also tear them apart?

    The three centuries of their rule mark one of the most crucial and fascinating periods of Indian history. This study looks beyond the story of the empire's rise and fall—an exotic growth that was transplanted to India from Islamic Persia—to bring the world of the Mughal ruler and Hindu subject vividly into focus. Blending contemporary sources and detailed description, an India full of strangeness and contrast is introduced: sacred harems and suttee rites, brutal war and cultural and artistic refinement, staggering opulence, deviant indulgences, and abject poverty. The bizarre religious cults, the Mughal fondness for formal gardening, the murderous female bandits, the sex lives of the nobles, and beyond—almost every aspect of life is examined, making this a comprehensive and absorbing introduction to India's last Golden Age.

    An acclaimed historian of nineteenth-century and African-American history, Andrew Ward gives us the first narrative of the Civil War told from the perspective of those whose destiny it decided. Woven together from hundreds of interviews, diaries, letters, and memoirs, here is the Civil War as seen from not only battlefields, capitals, and camps, but also slave quarters, kitchens, roadsides, farms, towns, and swamps. Speaking in a quintessentially American language of wit, candor, and biblical power, army cooks and launderers, runaways, teamsters, and gravediggers bring the war to vivid life. From slaves’ theories about the causes of the war to their frank assessments of such major figures as Lincoln, Davis, Lee, and Grant; from their searing memories of the carnage of battle to their often startling attitudes toward masters and liberators alike; and from their initial jubilation at the Yankee invasion of the slave South to the crushing disappointment of freedom’s promise unfulfilled, The Slaves’ War is a transformative and engrossing vision of America’s Second Revolution.

    Standing Soldiers, Kneeling Slaves explores how that history of slavery and its violent end was told in public space--specifically in the sculptural monuments that increasingly came to dominate streets, parks, and town squares in nineteenth-century America. Here Kirk Savage shows how the greatest era of monument building in American history arose amidst struggles over race, gender, and collective memory. As men and women North and South fought to define the war's legacy in monumental art, they reshaped the cultural landscape of American nationalism.At the same time that the Civil War challenged the nation to reexamine the meaning of freedom, Americans began to erect public monuments as never before. Savage studies this extraordinary moment in American history when a new interracial order seemed to be on the horizon, and when public sculptors tried to bring that new order into concrete form. Looking at monuments built and unbuilt, Savage shows how an old image of black slavery was perpetuated while a new image of the common white soldier was launched in public space. Faced with the challenge of Reconstruction, the nation ultimately recast itself in the mold of the ordinary white man. Standing Soldiers, Kneeling Slaves, the first sustained investigation of monument building as a process of national and racial definition, probes a host of fascinating questions: How was slavery to be explained without exploding the myth of a united people? How did notions of heroism become racialized? And more generally, who is represented in and by monumental space? How are particular visions of history constructed by public monuments? Written in an engaging fashion, this book will appeal to a wide range of readers interested in American culture, race relations, and public art.

    From extraordinary highs - patronage by the Medicis, friendship with Galileo and, most importantly of all, beautiful and outstandingly original paintings - to rape by her father's colleague, torture by the Inquisition, life-long struggles for acceptance by the artistic Establishment, and betrayal by the men she loved, Artemisia was a bold and brilliant woman who lived as she wanted, and paid a high price.

    In an evocative first-person account accompanied by exquisite artwork, Winter and Widener tell the story of James Madison Hemings’s childhood at Monticello, and, in doing so, illuminate the many contradictions in Jefferson’s life and legacy. Though Jefferson lived in a mansion, Hemings and his siblings lived in a single room. While Jefferson doted on his white grandchildren, he never showed affection to his enslaved children. Though he kept the Hemings boys from hard field labor—instead sending them to work in the carpentry shop—Jefferson nevertheless listed the children in his “Farm Book” along with the sheep, hogs, and other property. Here is a profound and moving account of one family’s history, which is also America’s history.An author's note includes more information about Hemings, Jefferson, and the author's research.

    Never before had the functional requirements and expressive capacities of architecture been tested so thoroughly and with such diversity of invention. Bergdoll traces this experimentation in a broad range of contexts, focusing in particular on the relation of architectural design to new theories of history, new categories of scientific inquiry, and the broadening audience for architecture in this period of transformation. Unlike traditional surveys with long lists of buildings and architects, the themes are elucidated by in-depth coverage of key buildings which in turn are situated in both their local and European context.

    Mistresses were powerful beings in the hierarchy of slavery rather than powerless victims of the same patriarchal system responsible for the oppression of the enslaved. Glymph challenges popular depictions of plantation mistresses as "friends" and "allies" of slaves and sheds light on the political importance of ostensible private struggles, and on the political agendas at work in framing the domestic as private and household relations as personal.Recommended by the Association of Black Women Historians.

    Because it is so thoroughly researched and up-to-date, it is also the kind of indispensable handbook that deserves a place on every early modernist's bookshelf.— American Historical Review

    One was Muhammad Ali, the aging but irrepressible “professor of boxing.” The other was George Foreman, who was as taciturn as Ali was voluble. Observing them was Norman Mailer, a commentator of unparalleled energy, acumen, and audacity. Whether he is analyzing the fighters’ moves, interpreting their characters, or weighing their competing claims on the African and American souls, Mailer’s grasp of the titanic battle’s feints and stratagems—and his sensitivity to their deeper symbolism—makes this book a masterpiece of the literature of sport.  Praise for The Fight  “Exquisitely refined and attenuated . . . [a] sensitive portrait of an extraordinary athlete and man, and a pugilistic drama fully as exciting as the reality on which it is based.”—The New York Times   “One of the defining texts of sports journalism. Not only does Mailer recall the violent combat with a scholar’s eye . . . he also makes the whole act of reporting seem as exciting as what’s occurring in the ring.”—GQ   “Stylistically, Mailer was the greatest boxing writer of all time.”—Chuck Klosterman, Esquire   “One of Mailer’s finest books.”—Louis Menand, The New Yorker Praise for Norman Mailer  “[Norman Mailer] loomed over American letters longer and larger than any other writer of his generation.”—The New York Times   “A writer of the greatest and most reckless talent.”—The New Yorker   “Mailer is indispensable, an American treasure.”—The Washington Post   “A devastatingly alive and original creative mind.”—Life   “Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance.”—The New York Review of Books   “The largest mind and imagination [in modern] American literature . . . Unlike just about every American writer since Henry James, Mailer has managed to grow and become richer in wisdom with each new book.”—Chicago Tribune   “Mailer is a master of his craft. His language carries you through the story like a leaf on a stream.”—The Cincinnati Post