Here is the dramatic - and tragic - story of Versailles and the men and women who made it their home.

    As Thomas Jefferson’s oldest daughter, she becomes his helpmate, protector, and constant companion in the wake of her mother’s death, traveling with him when he becomes American minister to France.It is in Paris, at the glittering court and among the first tumultuous days of revolution, that fifteen-year-old Patsy learns about her father’s troubling liaison with Sally Hemings, a slave girl her own age. Meanwhile, Patsy has fallen in love—with her father’s protégé William Short, a staunch abolitionist and ambitious diplomat. Torn between love, principles, and the bonds of family, Patsy questions whether she can choose a life as William’s wife and still be a devoted daughter.Her choice will follow her in the years to come, to Virginia farmland, Monticello, and even the White House. And as scandal, tragedy, and poverty threaten her family, Patsy must decide how much she will sacrifice to protect her father's reputation, in the process defining not just his political legacy, but that of the nation he founded.

    Art

    Scott Fitzgerald, Ezra Pound, and so many more collectively made up this artistic period in time. In this book, you will learn how and why the movement started, what it was like to be a writer in Paris, and what led to its fall.A list of essential reading from the period is also included in the book.

      After inheriting the Post from her father, and assuming its leadership in 1963 after the death of her husband, Graham found herself unexpectedly playing a role in history. Here she recounts the riveting episodes that transformed a shy widow into a newspaper legend, as she defied the government to publish the Pentagon Papers’ secrets about the Vietnam War and then led the way in exposing the Watergate scandal. Graham gives us an intimate behind-the-scenes view of the tense debates and high stakes she and her editors faced, and concludes with a powerful argument for the freedom of the press as a bulwark against abuses of power. An ebook short.

    Like everything he writes, it is new, stimulating and sparkles like champagne.Braudel's technique, it has been said, is that of a pointilliste. Myriads of separate details, sharp glimpses of reality experienced by real people, are seen miraculously to orchestrate themselves into broad rhythms that underlie and transcend the excitements and struggles of particular periods. Braudel sees the past as we see the present — only in a longer perspective and over a wider field.The perspective is that of the possible, of the actual material limitations to human life in any given time or place. It is the every¬day, the habitual — the obvious that is so obvious it has hitherto been neglected by historians — that Braudel claims for a new and vast and enriching province of history. Food and drink, dress and housing, demography and family structure, energy and technology, money and credit, and, above all, the growth of towns, that powerful agent of social and economic development, are described in all the richness and complexity of real life.The intensely visual quality of Braudel's understanding of history is brought into sharper focus by the remarkable series of illustrations that of themselves would make this book incomparableFERNAND BRAUDEL was born in 1902, received a degree in history in 1923, and subsequently taught in Algeria, Paris and Sao Paulo. He spent five years as a prisoner of war in Germany, during which time he wrote his grand thesis, The Mediterranean and the Mediterranean World in the Age of Philip II, which was published in 1949. In 1946 he became a member of the editorial board of Annates, the famous journal founded by Marc Bloch and Lucian Febvre, whom he succeeded at the College de France in 1949. He has been a member of the Ecole Pratique des Hautes Etudes and since 1962 has been chief administrator of the Maison des Sciences de l'Homme. Professor Braudel holds honorary doctor¬ates from universities all over the world.Jacket painting: Detail from Breughel the Elder's The Fall of Icarus, from the Musees Royaux des Beaux-Arts, Brussels. (Giraudon)"Braudel deserves a Nobel Prize. . . . [This is] the most remarkable picture of human life in the centuries before the human condition was radically changed by the growth of industry that has yet been presented. A book of great originality, a masterpiece."—J. H. Plumb, The Washington Post"Braudel's books enthrall. ... He is brilliant in demonstrating how most history is written on the backs of most people."—John Leonard, The New York Times"Even a preliminary glance at The Structures of Everyday Life shows a book that has no obvious compeer either in scope of reference or level of accessibility to the general reader. ... Its broad authority remains deeply impressive."—Richard Holmes, Harper's"Here is vast erudition, beautifully arranged, presented with grace of style, with humility before life's complexity and warm humanist feeling. Braudel's subject is nothing less than every¬day life all over the world before the industrial revolution.... He succeeds triumphantly in his first purpose: 'if not to see everything, at least to locate everything, and on the requisite world scale.'"—Angus Calder, The Standard"On neither side of the Atlantic does there live a man or woman with so much knowledge of the past as Braudel, or with a greater sense of its aptness to the intellectual occasion in hand....You can't pick up this big fat book without having your attention transfixed by something or other, if only the great gallery of pictures. They are a masterpiece in themselves."—Peter Laslett, The Guardian"This new book is unarguably a brilliant survey of demog¬raphy, urbanisation, transport, technology, food, clothing, housing, money and business, social classes, state power and international trade in the fifteenth to the eighteenth centuries."—Theodore Zeldin, The Listener-----By examining in detail the material life of preindustrial peoples around the world, Fernand Braudel significantly changed the way historians view their subject. Volume I describes food and drink, dress and housing, demography and family structure, energy and technology, money and credit, and the growth of towns.

    He was a world-class rogue who held high office in five successive regimes. A well-known opportunist and a notorious bribe taker, Talleyrand's gifts to France arguably outvalued the vast personal fortune he amassed in her service. Once a supporter of the Revolution, after the fall of the monarchy, he fled to England and then to the United States. Talleyrand returned to France two years later and served under Napoleon, and represented France at the Congress of Vienna. Duff Cooper's classic biography contains all the vigor, elegance, and intellect of its remarkable subject.

    She married a French aristocrat, and narrowly survived the French Revolution, escaping to America at the time of Washington and Jefferson. Here, she lived a life of milking cows and chopping wood, having previously been accustomed to the lavish life of the French court.Returning to France prematurely, Lucie had to flee again, this time to England, where she took up sewing in order to support herself and her family. Repeatedly in the right place at the right time, Lucie saw the Battle of Waterloo, the fall of Napoleon and the return of Louis XVIII, and the Restoration. She was an outstanding diarist and a remarkable woman, who witnessed one of the most dramatic and brutal periods of history, playing the part of observer, commentator and, often, participant.For the last years of her life she was ambassadress to Holland and the Kingdom of Sardinia. Her friends included Wellington, Lafayette, Alexander Hamilton, Talleyrand and Madame de Stael. She died, aged 83, in Pisa. Mixing politics and court intrigue, social observation and everyday details about food, work, illness, children, manners and clothes, Caroline Moorehead paints a vivid and memorable portrait of an era - lasting three-quarters of a century - that saw the fortunes of France, as well as those of Lucie herself, rise and fall and rise again. Both as a witness and as a survivor, Lucie is a superb subject for an exemplary biographer.

     The way we see things now is not always how they looked at the time. The task Robert Kee set himself in his chronicle of 1939 was to cut across the demarcation lines of history, to capture the way people perceived the events of the time as they unfolded. Turning to the newspapers of the day, Kee revives for us a world in which the Second World War is not yet a certainty — a world which still has countless other concerns which have not yet been dwarfed into insignificance by the European emergency — a world in which Chamberlain is still to many a credible leader, and Churchill and Roosevelt, though giants in waiting, are less than monumental. Praise for 1939: The World We Left Behind: ‘Authentic, absorbing … and worth any number of conventional histories’ - The Times Robert Kee, born in 1919, sat for his Oxford History degree in the summer of 1940, when France was falling. He joined the RAF the day after taking his last paper, became a bomber pilot, and was shot down and taken prisoner in 1942. After the war he began his journalistic career on Picture Post. He has worked for more than thirty years in radio and television, for both the BBC and ITV. He won the bafta Richard Dimbleby Award in 1976.

    Rousseau’s impact on American social and political thought remains deep, wide, and, to some, even infuriating. Leo Damrosch beautifully mines Rousseau’s books--The Social Contract, one of the greatest works on political theory and a direct influence on the French and American revolutions; Emile, a groundbreaking treatise on education; and the Confessions, which created the genre of introspective autobiography--as works still uncannily alive and provocative to us today.Damrosch’s triumph is to integrate the story of Rousseau’s extraordinarily original writings with the tumultuous life that produced them. Rousseau’s own words and those of people who knew him help create an accessible, vivid portrait of a questing man whose strangeness--as punishing and punished lover, difficult friend, and father who famously consigned his infant children to a foundling home--still fascinates. This, the first single-volume biography of Rousseau in English, is as masterfully written as it is definitive.Leo Damrosch is the Ernest Bernbaum Professor of Literature at Harvard University. He has written widely on eighteenth-century writers.Praise for Jean-Jacques Rousseau"Leo Damrosch's vivid biography enables us to plunge deeply into Rousseau's singular life, conjure up its crucial encounters, retrace its twisting paths, and supplement Rousseau's own claims about himself with the detailed, often contradictory testimony of the contemporaries he so unsettled and inspired." -- Stephen Greenblatt, author of Will in the World: How Shakespeare Became Shakespeare"These pages bring to life the Europe of the ancien regime, a desiccated, sybaritic, superstitious, oppressive world about to be terribly and fatally convulsed. And they also bring to astonishing life a great agent of that convulsion, an impossible man whose books helped to make modern life possible. Leo Damrosch not only helps us understand Rousseau, his loves and his hates, his genius and his foolishness. He makes us see Rousseau. And, as he shows again and again in this immensely enjoyable and fast-paced story, that is Rousseau’s special and permanent fascination--because when we see him, we are seeing ourselves."-- Louis Menand, author of The Metaphysical Club and American Studies

    

    Michelangelo Buonarroti never wanted to paint the Sistine Chapel, though. Appointed by the temperamental Julius II, Michelangelo believed the suspiciously large-scale project to be a plot for failure conspired by his rivals and the "Warrior Pope." After all, Michelangelo was not a painter—he was a sculptor. The noble artist reluctantly took on the daunting task that would damage his neck, back, and eyes (if you have ever strained to admire the real thing, you know). Andrew Graham-Dixon tells the story behind the famous painted ceiling over which the great artist painfully toiled for four long years. Linking Michelangelo's personal life to his work on the Sistine Chapel, Graham-Dixon describes Michelangelo's unique depiction of the Book of Genesis, tackles ambiguities in the work, and details the painstaking work that went into Michelangelo's magnificent creation. Complete with rich, full-color illustrations and Graham-Dixon's articulate narrative, Michelangelo and the Sistine Chapel is an indispensable and significant piece of art criticism. It humanizes this heavenly masterpiece in a way that every art enthusiast, student, and professional can understand and appreciate.

    As an impressionable bride of seventeen who married a man more than twice her age, Grace's remarkable beauty (likened by journalists to "a May morning") soon attracted the attentions of other men. A disastrous liaison with a consummate rake not only branded Grace as a demi-rep - a woman with half a reputation - but the scandal provoked Dr. John Eliot, her philandering husband, to pursue a divorce.Grace became mistress of the most infamous peer in England, George James, Lord Cholmondeley, whose "secret perfections" were reputed to inspire "female enthusiasm." Cholmondeley commemorated the relationship by commissioning two works from eminent portraitist Thomas Gainsborough, first in 1778 and later in 1782, the same year Grace gave birth to a daughter, Georgiana (who may, in fact, have been the child of the Prince of Wales). Had Grace been an aristocrat, she and Cholmondeley might have had a future together, but it was not to be.The tabloids broke the news: "Miss Dalrymple has embarked for France, and it is said parted with her noble gallant." Grace was soon to find a new protector in that nation's richest man, Philippe, Duc d'Orleans. Though Grace was ensconced as "one of the most brilliant and popular among the fashionable 'impures,'" her liaison with the duke turned perilous when Orleans fell to the Revolution's guillotine, just as she narrowly escaped with her life."People die, but love may not," declares author Jo Manning of her subject's romantic and historic misadventures. A connoisseur of the times, Manning ably demonstrates - through contemporary newspapers, magazines, prints, and portraits as well as Grace's posthumously published journal - how life in George III's England and Marie Antoinette's France can seem strangely familiar, especially when history turns to affairs of the heart.

    Yet it remains an elusive, perplexing historical event. Its significance morphs according to the sympathies of the viewer, who may see it as a series of gory tableaux, a regrettable slide into uncontrolled anarchy—or a radical reshaping of the political landscape.In this riveting new book, Ian Davidson provides a fresh look at this vital moment in European history. He reveals how it was an immensely complicated and multifaceted revolution, taking place in different places, at different times, and in different spheres; and how subsequently it became weighted with political, social, and moral values. Stirring and dramatic—and filled with the larger-than-life players of the period and evoking the turbulence of this colorful time—this is narrative history at its finest.

    It can be read in a variety of ways: as a psychological investigation of Trump, as a philosophical meditation on the relationship between language and power, as a satirical compilation of the “collected wit and wisdom of Donald Trump,” and above all as a dagger into the rhetoric of American political discourse—a dissection of the politesse that gave rise to and sustains Trump. The book’s central thesis is that we have met the enemy and he is us. Who else but David Shields would make such an argument, let alone pull it off with such intelligence, brio, and wit, not to mention leaked off-air transcripts from Fox News? ------------- PRAISE ------------- “Shields has written the best book on the political and cultural implications of Trump’s presidency, and he nails it at least a hundred times, and in dozens of unique ways. Shields writes that Trump “seems not to have an inner life,” which explains a number of things no one else has gotten at. Bravo. I’m sending copies to everyone I can think of. My take—written on the inside cover of the book at 3 A.M. is this: “Donald Trump is the culture hero for all those people in the world wearing wigs and toupees and dignity diapers and prosthetic arms and legs, all those people who have false teeth and hearing aids, breast implants, and those rods that make your penis seem hard when it really isn’t. And there are more of those people in the world than we can imagine. Commercial fiction is far too slow and getting slower daily as it puckers its lips to the nether parts of the marketplace, and most discursive writing isn’t much faster. Shields’s deployment of self-reflexivity has moved the whole project beyond post-modernism. His self-reflexivity isn’t, as it has become with nearly everyone, a calcifying style or posture. It’s fully integrated, and thus it moves at the same speed as perception, even becoming an accelerant to meaning. Shields has earned the designation of being the writer most likely to be picked up and murdered should either the right or leftist fundamentalists take power. And this designation hasn’t been conferred on an American writer since Philip K. Dick. Shields is that good. He is one of a very small group of true 21st century writers, and I salute him as a master.” —Brian Fawcett “I wasn’t going to read it because I’m so tired of anti-Trump shit, but I love the book, agree with everything Shields nails about this moment. It’s the best summation of Trump I’ve come across. Such a relief to see someone get it. I was reading passages to my millennial Communist ‘Trump is going to kill us all’ bf, who didn’t say anything, just rolled away.” —Bret Easton Ellis“Shields’s most ‘accessible’ book and probably his best. Impossible to put down—a polyphonic bricolage that is both absolutely of this moment and deserving of a burial in a time capsule to be opened at another age. The clinical depression of our current historical circumstances is never absent from these pages, but while reading them, one does so with exultation at seeing Trump and his era so exactly skewered.” —Jonathan Raban “No other book approaches the man and the situation in quite this way: the problem isn’t out there; it’s in us. A book (deserving of a wide readership) for those who have a bit of trouble with the left and a ton of trouble with the right.