How did this unimaginable transformation take place? How was a ravaged and backward country, swept up in a desperately unpopular war, rocked by not one but two revolutions?This is the story of the extraordinary months between those upheavals, in February and October, of the forces and individuals who made 1917 so epochal a year, of their intrigues, negotiations, conflicts and catastrophes. From familiar names like Lenin and Trotsky to their opponents Kornilov and Kerensky; from the byzantine squabbles of urban activists to the remotest villages of a sprawling empire; from the revolutionary railroad Sublime to the ciphers and static of coup by telegram; from grand sweep to forgotten detail.Historians have debated the revolution for a hundred years, its portents and possibilities: the mass of literature can be daunting. But here is a book for those new to the events, told not only in their historical import but in all their passion and drama and strangeness. Because as well as a political event of profound and ongoing consequence, Miéville reveals the Russian Revolution as a breathtaking story.From the Hardcover edition.

    . . Baer's fine book gives a panoramic and thought-provoking account of over half a millennium of Ottoman and - it now goes without saying - European history' Guardian'A winning portrait of seven centuries of empire, teeming with life and colour, human interest and oddity, cruelty and oppression mixed with pleasure, benevolence and great artistic beauty' Sunday Times'A superb, gripping and refreshing new history - finely written and filled with fascinating characters and analysis - that places the dynasty where it belongs: at the centre of European history' Simon Sebag Montefiore, author of The Romanovs and Jerusalem'A book as sweeping, colorful, and rich in extraordinary characters as the empire which it describes' Tom HollandThe Ottoman Empire has long been depicted as the Islamic-Asian antithesis of the Christian-European West. But the reality was starkly different: the Ottomans' multiethnic, multilingual, and multireligious domain reached deep into Europe's heart. In their breadth and versatility, the Ottoman rulers saw themselves as the new Romans.Recounting the Ottomans' remarkable rise from a frontier principality to a world empire, Marc David Baer traces their debts to their Turkish, Mongolian, Islamic and Byzantine heritage; how they used both religious toleration and conversion to integrate conquered peoples; and how, in the nineteenth century, they embraced exclusivity, leading to ethnic cleansing, genocide, and the dynasty's demise after the First World War. Upending Western concepts of the Renaissance, the Age of Exploration, the Reformation, this account challenges our understandings of sexuality, orientalism and genocide.Radically retelling their remarkable story, The Ottomans is a magisterial portrait of a dynastic power, and the first to truly capture its cross-fertilisation between East and West.

    A painting shows a military officer in a Dutch sitting room, talking to a laughing girl. In another, a woman at a window weighs pieces of silver. Vermeer's images captivate us with their beauty and mystery: What stories lie behind these stunningly rendered moments? As Timothy Brook shows us, these pictures, which seem so intimate, actually offer a remarkable view of a rapidly expanding world. The officer's dashing hat is made of beaver fur, which European explorers got from Native Americans in exchange for weapons. Those beaver pelts, in turn, financed the voyages of sailors seeking new routes to China. There--with silver mined in Peru--Europeans would purchase, by the thousands, the porcelains so often shown in Dutch paintings of this time. Moving outward from Vermeer's studio, Brook traces the web of trade that was spreading across the globe. The wharves of Holland, wrote a French visitor, were an inventory of the possible. Vermeer's Hat shows just how rich this inventory was, and how the urge to acquire the goods of distant lands was refashioning the world more powerfully than we have yet understood.

    "A moving illumination . . . Remnick is the witness for us all." —Wall Street Journal.