The Christians of the town quickly rose up in violent riots to accuse the Jews of ritual murder—the infamous blood-libel charge that has haunted Jews for centuries. In an absorbing narrative, Helmut Walser Smith reconstructs the murder and the ensuing storm of anti-Semitism that engulfed this otherwise peaceful town. Offering an instructive examination of hatred, bigotry, and mass hysteria, The Butcher's Tale is a modern parable that will be a classic for years to come.Winner of the Fraenkel Award and a Los Angeles Times Best Book of 2002.

    Now the acclaimed author turns to World War I, bringing to life the sweeping, emotional story of the war that devastated a generation and established America as a world power.Spring 1916: the horror of a stalemate on Europe’s western front. France and Great Britain are on one side of the barbed wire, a fierce German army is on the other. Shaara opens the window onto the otherworldly tableau of trench warfare as seen through the eyes of a typical British soldier who experiences the bizarre and the horrible–a “Tommy” whose innocent youth is cast into the hell of a terrifying war.In the skies, meanwhile, technology has provided a devastating new tool, the aeroplane, and with it a different kind of hero emerges–the flying ace. Soaring high above the chaos on the ground, these solitary knights duel in the splendor and terror of the skies, their courage and steel tested with every flight.As the conflict stretches into its third year, a neutral America is goaded into war, its reluctant president, Woodrow Wilson, finally accepting the repeated challenges to his stance of nonalignment. Yet the Americans are woefully unprepared and ill equipped to enter a war that has become worldwide in scope. The responsibility is placed on the shoulders of General John “Blackjack” Pershing, and by mid-1917 the first wave of the American Expeditionary Force arrives in Europe. Encouraged by the bold spirit and strength of the untested Americans, the world waits to see if the tide of war can finally be turned.From Blackjack Pershing to the Marine in the trenches, from the Red Baron to the American pilots of the Lafayette Escadrille, To the Last Man is written with the moving vividness and accuracy that characterizes all of Shaara’s work. This spellbinding new novel carries readers–the way only Shaara can–to the heart of one of the greatest conflicts in human history, and puts them face-to-face with the characters who made a lasting impact on the world.

    Then the Great War intervenes. Half a century later, in August of 1964, Alessandro, a white-haired professor, tall and proud, meets an illiterate young factory worker on the road. As they walk toward Monte Prato, a village seventy kilometers away, the old man—a soldier and a hero who became a prisoner and then a deserter, wandering in the hell that claimed Europe—tells him how he tragically lost one family and gained another. The boy, envying the richness and drama of Alessandro's experiences, realizes that this magnificent tale is not merely a story: it's a recapitulation of his life, his reckoning with mortality, and above all, a love song for his family.

    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.

    Indeed, he sees the fall of Rome as a time of horror and dislocation that destroyed a great civilization, throwing the inhabitants of the West back to a standard of living typical of prehistoric times. Attacking contemporary theories with relish and making use of modern archaeological evidence, he looks at both the wider explanations for the disintegration of the Roman world and also the consequences for the lives of everyday Romans, who were caught in a world of marauding barbarians, and economic collapse.The book recaptures the drama and violence of the last days of the Roman world, and reminds us of the very real terrors of barbarian occupation. Equally important, Ward-Perkins contends that a key problem with the new way of looking at the end of the ancient world is that all difficulty and awkwardness is smoothed out into a steady and positive transformation of society. Nothing ever goes badly wrong in this vision of the past. The evidence shows otherwise.Up-to-date and brilliantly written, combining a lively narrative with the latest research and thirty illustrations, this superb volume reclaims the drama, the violence, and the tragedy of the fall of Rome.From Back Cover:For decades, the dominant view amongst historians has been that the 'fall of Rome' was a largely peaceful transition to Germanic rule, within a period of positive cultural evolution. Now, Bryan Ward-Perkins argues for what you always thought but didn't dare say: the Roman Empire really did fall to violent invasion; the 'transformation' of the Roman world saw a catastrophic collapse of living standards; and the 'Dark Ages' were genuinely sombre.

    At the peak of U.S. involvement in the war, nearly one in five American soldiers was foreign-born. Many of these immigrant soldiers - most of whom had been drafted - knew little of America outside of tight-knit ghettos and backbreaking labor. Yet World War I would change the lives and ultimately reshape the nation itself. Italians, Jews, Poles, Norwegians, Sovaks, Russians, and Irishmen entered te army as aliens and returned as Americans, often as heroes.In The Long Way Home, award-winning writer David Laskin traces the lives of a dozen men, eleven of whom left their childhood homes in Europe, journeyed through Ellis Island, and started over in a strange land. After detailing the daily realities of immigrant life in the factories, farms, mines, and cities of a rapidly growing nation, Laskin tells the heartbreaking stories of how these men - both conscripts and volunteers - joined the army, were swept into the ordeal of boot camp, and endured the month of hell that ended the war at Argonne, where they truly became Americans. Those who survived were profoundly altered - and their experiences would shape the lives of their families as well.Epic, inspiring, and masterfully written, The Long Way Home is the unforgettable true story of the Great War, the world it remade, and the men who fought for a country not of their birth, but which held the hope and opportunity of a better way of life.

    He tells of the Nazi cult of the primeval German forest; the play of Christian and pagan myth in Bernini's Fountain of the Four Rivers; and the duel between a monumental sculptor and a feminist gadfly on the slopes of Mount Rushmore. The result is a triumphant work of history, naturalism, mythology, and art. "A work of great ambition and enormous intellectual scope...consistently provocative and revealing."--New York Times"Extraordinary...a summary cannot convey the riches of this book. It will absorb, instruct, and fascinate."--New York Review of Books

    G. Grant, and created by DK's award-winning editorial and design team, "World War I" charts the developments of the war from a global perspective. Using illustrated timelines, detailed maps, and personal accounts, readers will see the oft-studied war in a new light. Key episodes are set clearly in the wider context of the conflict, in-depth profiles look at the key generals and political leaders, and full-color photo galleries showcase the weapons, inventions, and new technologies that altered the course of history.A vivid portrait of the confrontation on land, sea, and sky, "World War I: The Definitive Visual Guide" offers readers a bold and thoughtful new look at this complex and explosive moment in history.

    By the time Owen was killed at the age of 25 at the Battle of Sambre, he had written what are considered to be the most important British poems of WWI. This definitive edition is based on manuscripts of Owen's papers in the British Museum and other archives.

    Many kept diaries and wrote letters home: from an English nurse who had already survived the sinking of the Titanic; to the black valet of the US Ambassador, far from his native Deep South; to suffragette leader Emmeline Pankhurst, who had come to Petrograd to inspect the indomitable Women’s Death Battalion led by Maria Bochkareva.Helen Rappaport draws upon this rich trove of material, much of it previously unpublished, to carry us right up to the action – to see, feel and hear the Revolution as it happened to a diverse group of individuals who suddenly felt themselves trapped in a ‘red madhouse.’

    On August 7, 1914, Britain fired its first shots of World War I not in Europe but in the German colony of Togo. The campaign to eliminate the threat at sea posed by German naval bases in Africa would soon be won, but in the land war, especially in East Africa, British troops would meet far fiercer resistance from German colonial forces that had fully mastered the tactics of bush warfare. It was expected to be a small war, over by Christmas, yet it would continue bloodily for more than four years, even beyond the signing of the Armistice in Europe. Its costs were immense, its butchery staggering (in excess of100,000 British troops and 45,000 native recruits dead). Utmost among the tragic consequences, though, was the waste laid to the land and its indigenous peoples in what one official historian described as a war of extermination and attrition without parallel in modern times. Imperialism had gone calamitously amok. This eye-opening account of the Great War in East Africa does not flinch at the daily horrors of an ill-fated campaign--not just the combat but also a hostile climate, disease, the terrible loneliness--nor does it fail to recount tales of extraordinary courage and the kind of adventure that inspired fiction like C. S. Forester's The African Queen, William Boyd's An Ice-Cream War, and Wilbur Smith's Shout at the Devil, In all, it demonstrates dramatically why even the most hardened of Great War soldiers preferred the trenches of France to the trauma of East Africa.

    It was a period marked by lavish displays of wealth, a dazzling cultural mix, and the advent of Christianity. The splendor and squalor of the city, the spectacles, and the day’s routines are reconstructed from an immense fund of archaeological evidence and from vivid descriptions by ancient poets, satirists, letter-writers, and novelists—from Petronius to Pliny the Younger. In a new Introduction, the eminent classicist Mary Beard appraises the book’s enduring—and sometimes surprising—influence and its value for general readers and students. She also provides an up-to-date bibliographic essay. “Carcopino’s pledge to his readers was to open up to them some traces of the world that lay underneath the grandeur that remains the public face of ancient Rome. . . . No one has ever done it better.”—Mary Beard, from the Introduction

    The city is one giant grave, filled with the remains of previous eras. The Houses of Parliament sit on the edge of a former plague pit; St Paul's is built over human remains; Underground tunnels were driven through forgotten catacombs, thick with bones. A society can be judged by the way it treats its dead, and this is especially true of London. From Roman burial rites to the horrors of the plague, from the founding of the great Victorian cemeteries to the development of cremation and the cult of mourning that surrounded the death of Diana, Princess of Wales - Necropolis leaves no headstone unturned in its exploration of our changing attitudes towards the deceased among us.

    He could handle a saber, a pistol, a rudder, or a golf club; he handled women by necessity and men for pleasure. He spoke the Italian of his archduchess mother, the German of his archduke father, the English of his British royal friends, the Polish of the country his father wished to rule, and the Ukrainian of the land Wilhelm wished to rule himself. In this exhilarating narrative history, prize-winning historian Timothy D. Snyder offers an indelible portrait of an aristocrat whose life personifies the wrenching upheavals of the first half of the twentieth century, as the rule of empire gave way to the new politics of nationalism. Coming of age during the First World War, Wilhelm repudiated his family to fight alongside Ukrainian peasants in hopes that he would become their king. When this dream collapsed he became, by turns, an ally of German imperialists, a notorious French lover, an angry Austrian monarchist, a calm opponent of Hitler, and a British spy against Stalin. Played out in Europe's glittering capitals and bloody battlefields, in extravagant ski resorts and dank prison cells, The Red Prince captures an extraordinary moment in the history of Europe, in which the old order of the past was giving way to an undefined future-and in which everything, including identity itself, seemed up for grabs.

    Spanning the century between Victorian Britain and the current struggle for power in South Africa, the book takes up the complex relationships between race and sexuality, fetishism and money, gender and violence, domesticity and the imperial market, and the gendering of nationalism within the zones of imperial and anti-imperial power.