Today, whole sections of the city resemble a war zone, its once-spectacular architectural grandeur reduced to vacant ruins. In Detroit Disassembled, photographer Andrew Moore records a territory in which the ordinary flow of time-or the forward march of the assembly line-appears to have been thrown spectacularly into reverse. For Moore, who throughout his career has been drawn to all that contradicts or seems to threaten America's postwar self-image (his previous projects include portraits of Cuba and Soviet Russia), Detroit's decline affirms the carnivorousness of our earth, as it seeps into and overruns the buildings of a city that once epitomized humankind's supposed supremacy. In Detroit Disassembled, Moore locates both dignity and tragedy in the city's decline, among postapocalyptic landscapes of windowless grand hotels, vast barren factory floors, collapsing churches, offices carpeted in velvety moss and entire blocks reclaimed by prairie grass. Beyond their jawdropping content, Moore's photographs inevitably raise the uneasy question of the long-term future of a country in which such extreme degradation can exist unchecked. (20110821)

    Yet it has not been an easy path; military catastrophe, political atrophy, and economic upheavals have made regular appearances from the feudal era to the present. Today, Japan is seen as a has-been with a sluggish economy, an aging population, dysfunctional politics, and a business landscape dominated by yesterday's champions. Though it is supposed to be America's strongest ally in the Asia-Pacific region, it has almost entirely disappeared from the American radar screen.In Japan and the Shackles of the Past, R. Taggart Murphy places the current troubles of Japan in a sweeping historical context, moving deftly from early feudal times to the modern age that began with the Meiji Restoration. Combining fascinating analyses of Japanese culture and society over the centuries with hard-headed accounts of Japan's numerous political regimes, Murphy not only reshapes our understanding of Japanese history, but of Japan's place in the contemporary world. He concedes that Japan has indeed been out of sight and out of mind in recent decades, but contends that this is already changing. Political and economic developments in Japan today risk upheaval in the pivotal arena of Northeast Asia, inviting comparisons with Europe on the eve of the First World War. America's half-completed effort to remake Japan in the late 1940s is unraveling, and the American foreign policy and defense establishment is directly culpable for what has happened. The one apparent exception to Japan's malaise is the vitality of its pop culture, but it's actually no exception at all; rather, it provides critical clues to what is going on now.With insights into everything from Japan's politics and economics to the texture of daily life, gender relations, the changing business landscape, and popular and high culture, Japan and the Shackles of the Past is the indispensable guide to understanding Japan in all its complexity.

    More than 27 million visitors entered the grounds (now Jackson Park) to marvel at the exhibits and displays housed in some 200 buildings, including those of 79 foreign governments and 38 states. Although the Fair had its share of "firsts" (original Ferris wheel, first midway, Edison's kinetoscope, etc.), its chief marvel was its architecture. It is that aspect which is emphasized in this striking photographic record. Beginning with an overview of the fair's planning and conceptual stages, Stanley Appelbaum's well-researched text then proceeds to a fascinating discussion of the personalities, regional rivalries, and intense controversy surrounding the Beaux-Arts architecture (the "White City" style) of the fair, including its enormous impact on subsequent American architecture. The contributions of such outstanding architects and firms as R. M. Hunt; McKim, Mead and White; Frederick Law Olmsted; and Peabody and Stearns are described. The book then becomes a building-by-building walking tour of the fair — imaginatively reconstructed with the help of 128 sharply reproduced rare contemporary photographs, printed on fine coated stock, and a concise, fact-filled text. The placid basins, ponds, and Lagoon that graced the fairgrounds lend a serene aura to these priceless views of the great buildings and sights of the fair: the Beaux-Arts glories of the Administration and Agriculture Buildings; Daniel Chester French's statue of the Republic; the Columbian Fountain by Frederick MacMonnies; the Golden Door of Louis Sullivan's Transportation Building; the Peristyle; Mary Cassatt's mural in the Woman's Building; the pure classicism of the Palace of Fine Arts (now the Museum of Science and Industry); numerous state and foreign pavilions, and of course, the Midway — the first separate amusement area at a World's Fair, and the reputed location of Little Egypt's celebrated danse du ventre. In the concluding section, the author touches on other memorable aspects of the fair and its times: the Panic of 1893; the Pullman Strike; famous visitors (Archduke Ferdinand, the Spanish Infanta, etc.); cultural and social congresses, and finally, the disastrous fires that ultimately destroyed many of the buildings. For social and cultural historians, Chicagoans, and anyone interested in the special magic of a world's fair, this book is a loving and nostalgic look back — to a time bathed in the golden light of the fin-de-siècle years, when a colossal spectacle of human achievement in art, science, and industry captured the world's attention for one magic and unforgettable moment.

    Arranged thematically from industrial to military sites, from ghosts towns to recreational sites, the book explains through extended captions the story of how each place came to be abandoned - natural or chemical disaster, war, economic collapse, changing attitudes and tastes. Often it's because the world has moved on and these places are no longer of use or interest in the march of progress. Throughout, though, emerges a picture not of what has been lost, but of what remains. Left to the elements but also ignored by humanity, the photographs of these ghost towns, crumbling structures and vessels illuminate worlds for us that we thought were lost. Through these, we gain a glimpse into the past. With more than 150 outstanding colour photographs exploring hauntingly beautiful places over one or two spreads, Abandoned Places is an excellent pictorial examination of worlds that we've left behind.

    Small in scale, low in price, but large in impact, these books present and disseminate new and innovative theories. The modest format of the books in the Pamphlet Architecture Series belies the importance and magnitude of the ideas within.

    They face uniquely intense dilemmas as they grapple with the basic problems of whom to trust, how to make themselves trusted, and how to handle information without being detected by rivals or police. In this book, one of the world's leading scholars of the mafia ranges from ancient Rome to the gangs of modern Japan, from the prisons of Western countries to terrorist and pedophile rings, to explain how despite these constraints, many criminals successfully stay in business.Diego Gambetta shows that as villains balance the lure of criminal reward against the fear of dire punishment, they are inspired to unexpected feats of subtlety and ingenuity in communication. He uncovers the logic of the often bizarre ways in which inveterate and occasional criminals solve their dilemmas, such as why the tattoos and scars etched on a criminal's body function as lines on a professional r�sum�, why inmates resort to violence to establish their position in the prison pecking order, and why mobsters are partial to nicknames and imitate the behavior they see in mafia movies. Even deliberate self-harm and the disclosure of their crimes are strategically employed by criminals to convey important messages.By deciphering how criminals signal to each other in a lawless universe, this gruesomely entertaining and incisive book provides a quantum leap in our ability to make sense of their actions.

    Although MITI was not the only important agent affecting the economy, nor was the state as a whole always predominant, I do not want to be overly modest about the importance of this subject. The particular speed, form, and consequences of Japanese economic growth are not intelligible without reference to the contributions of MITI. Collaboration between the state and big business has long been acknowledged as the defining characteristic of the Japanese economic system, but for too long the state's role in this collaboration has been either condemned as overweening or dismissed as merely supportive, without anyone's ever analyzing the matter.The history of MITI is central to the economic and political history of modern Japan. Equally important, however, the methods and achievements of the Japanese economic bureaucracy are central to the continuing debate between advocates of the communist-type command economies and advocates of the Western-type mixed market economies. The fully bureaucratized command economies misallocate resources and stifle initiative; in order to function at all, they must lock up their populations behind iron curtains or other more or less impermeable barriers. The mixed market economies struggle to find ways to intrude politically determined priorities into their market systems without catching a bad case of the "English disease" or being frustrated by the American-type legal sprawl. The Japanese, of course, do not have all the answers. But given the fact that virtually all solutions to any of the critical problems of the late twentieth century—energy supply, environmental protection, technological innovation, and so forth—involve an expansion of official bureaucracy, the particular Japanese priorities and procedures are instructive. At the very least they should forewarn a foreign observer that the Japanese achievements were not won without a price being paid.

    A new generation of artists--as well as some who never abandoned figurative painting in the first place--is relishing the solitary, slow, subtle set of processes involved in not just painting, but painting people. They are choosing paint's unique ability to distill a lifetime of events rather than photography's glimpse of a frozen moment. Painting People, edited by the prominent London art historian and critic Charlotte Mullins, unites and contrasts the work of a key group of artists from around the world, and investigates their richly varied accomplishments in lucid text with detailed commentaries, accompanied by more than 150 reproductions. The list of contributing artists is stellar, ranging from photo-based painters like Luc Tuymans, Peter Doig and Marlene Dumas to Pop artists like Sigmar Polke and Alex Katz, photorealists like Chuck Close and Gerhard Richter, Neoexpressionists like Cecily Brown, and comics-inspired painters like Yoshitomo Nara, Inka Essenhigh and Takashi Murakami. There are erotic grotesques from John Currin and Lisa Yuskavage, meditations on the muse by Elizabeth Peyton and Lucian Freud, "Repro-realistic" work from Neo Rauch and of course self-portraits by Philip Akkerman and Marcel Dzama, among others.

    Putting scandals in the Church and the media's response in a much larger context, this stimulating history is a model of nuanced scholarship and provocative reading.

    But photography has surely changed during these many decades. The rigs and gear of old have given way-first slowly, then all at once-to sleek miracle machines that process pixels and have made the darkroom obsolete. The casual photog puts eye to lens, sets everything on auto and captures a photograph that is . . . perfectly fine. One of LIFE's master shooters-in fact, the final in the long line of distinguished LIFE staff photographers-was Joe McNally, and he has always believed that with a little preparation and care, with a dash of enthusiasm and daring added to the equation, anyone can make a better photo-anyone can turn a "keeper" into a treasure. This was true in days of yore, and it's true in the digital age. Your marvelous new camera, fresh from its box, can indeed perform splendid feats. Joe explains in this book how to take best advantage of what it was designed to do, and also when it is wise to outthink your camera or push your camera-to go for the gold, to create that indelible family memory that you will have blown up as large as the technology will allow, and that will hang on the wall forevermore. As the storied LIFE photographer and photo editor John Loengard points out in his eloquent foreword to this volume, there are cameras and there are cameras, and they've always been able to do tricks. And then there is photography. Other guides may give you the one, two, three of producing a reasonably well exposed shot, but Joe McNally and the editors of LIFE can give you that, and then can show you how to make a picture. In a detailed, friendly, conversational, anecdotal, sometimes rollicking way, that's what they do in these pages. Prepare to click.

    O'Malley gives us the most comprehensive account ever written of the Society of Jesus in its founding years, one that heightens and transforms our understanding of the Jesuits in history and today. Following the Society from 1540 through 1565, O'Malley shows how this sense of mission evolved. He looks at everything--the Jesuits' teaching, their preaching, their casuistry, their work with orphans and prostitutes, their attitudes toward Jews and "New Christians," and their relationship to the Reformation. All are taken in by the sweep of O'Malley's story as he details the Society's manifold activities in Europe, Brazil, and India.

    This curated tour begins with the now-iconic redesign of the signature Penguin Classics black-spine series in 2003 and moves through award-winning series like the Penguin Classics Graphic Deluxe Editions, Penguin Drop Caps, and Penguin Horror. Exhibiting a mesmerizing array of front covers and full cover layouts, Paul Buckley illuminates the unique and inventive approaches to typography, image, and design that grace Penguin’s covers of the best works in literature. Throughout the book, the artists and designers including Chris Ware, Ivan Brunetti, Jillian Tamaki, Jessica Hische, and Ruben Toledo who have collaborated with Penguin Classics offer commentary on the design process. For lovers of classic literature, book design, and all things Penguin, Classic Penguin has you covered.

    Using visual documentation—portraits, architecture, allegorical engravings—as well as written sources, Bailyn, one of our most esteemed historians, paints a complex picture of that distant but still remarkably relevant world. He explores the powerfully creative effects of the Founders’ provincialism and lays out in fine detail the mingling of gleaming utopianism and tough political pragmatism in Thomas Jefferson’s public career, and the effect that ambiguity had on his politics, political thought, and present reputation. And Benjamin Franklin emerges as a figure as cunning in his management of foreign affairs and of his visual image as he was amiable, relaxed, and amusing in his social life. Bailyn shows, too, why it is that the Federalist papers—polemical documents thrown together frantically, helter-skelter, by Alexander Hamilton, James Madison, and John Jay in a fierce political battle two hundred years ago—have attained canonical status, not only as a penetrating analysis of the American Constitution but as a timeless commentary on the nature of politics and constitutionalism. Professor Bailyn concludes, in a wider perspective, with an effort to locate the effect of the Founders’ imaginative thought on political reformers throughout the Atlantic world. Precisely how their principles were received abroad, Bailyn writes, is as ambiguous as the personalities of the remarkably creative pro-vincials who founded the American nation.

    He talked to presidents and guerrilla leaders, university professors and witch doctors. He bounced from wars to coups oceans apart, catching midnight flights to little-known countries where supposedly decent people were doing unspeakable things to one another. In the tradition of John Gunther's Inside Africa, The Africans is an extraordinary combination of analysis and adventure. Part travelogue, part contemporary history, it is a portrait of a continent that sometimes seems hell-bent on destroying itself, and of people who are as courageous as they are long-suffering.

    Not moving my head, I direct my eyes to a point halfway up the archway where Kim Jong-il's face will soon appear.As North Korea's State Poet Laureate, Jang Jin-sung led a charmed life. With food provisions (even as the country suffered through its great famine), a travel pass, access to strictly censored information, and audiences with Kim Jong-il himself, his life in Pyongyang seemed safe and secure. But this privileged existence was about to be shattered. When a strictly forbidden magazine he lent to a friend goes missing, Jang Jin-sung must flee for his life.Never before has a member of the elite described the inner workings of this totalitarian state and its propaganda machine. An astonishing expose told through the heart-stopping story of Jang Jin-sung's escape to South Korea, Dear Leader is a rare and unprecedented insight into the world's most secretive and repressive regime.