Some historians have charged that slaveholders actually enshrined human bondage at the nation's founding. Sean Wilentz shares the dismay but sees the Constitution and slavery differently. Although the proslavery side won important concessions, he asserts, antislavery impulses also influenced the framers' work. Far from covering up a crime against humanity, the Constitution restricted slavery's legitimacy under the new national government. In time, that limitation would open the way for the creation of an antislavery politics that led to Southern secession, the Civil War, and Emancipation.Wilentz's controversial reconsideration upends orthodox views of the Constitution. He describes the document as a tortured paradox that abided slavery without legitimizing it. This paradox lay behind the great political battles that fractured the nation over the next seventy years. As Southern Fire-eaters invented a proslavery version of the Constitution, antislavery advocates, including Abraham Lincoln and Frederick Douglass, proclaimed an antislavery version based on the framers' refusal to validate property in man.No Property in Man invites fresh debate about the political and legal struggles over slavery that began during the Revolution and concluded with the Confederacy's defeat. It drives straight to the heart of the most contentious and enduring issue in all of American history.

    But a day job interviewing Paris, Britney and Co. left her trapped in the Golden Age of Stupid. Then she saw a photograph of John Prendergast in "Vanity Fair." His day job was ending war. He was also extremely attractive. Jane 'may have inferred she was a Foreign Correspondent', because suddenly she found herself on route to Africa on the trail of this modern-day Indiana Jones. There was one problem: when she got to Uganda John had left. Alone in a war-torn country, appalled by 25,000 child abductions, Jane must investigate the war crime of the century - to make John fancy her. Combining a maverick heroine, an idealist hero, comic disasters and moving tragedy, this is brilliant storytelling by a hugely talented writer. 'Jane Bussmann's romantic odyssey from Hollywood to Uganda is the funniest thing we've "ever" read.' "Instyle" Hot List 'a marvellously maverick approach to the investigation of war crimes.' "Marie Claire" Five Stars 'Imagine "The Last King of Scotland" written by Shazzer from "Bridget Jones's Diary," and you'd still only get halfway to appreciating Jane Bussmann's funny, incongruous and artlessly perceptive account... this is one of the funniest books I've read for a long while' "The Sunday Times"" " " " 'hilarious and heart-wrenching' The "Spectator"

    Through the eyes of this black woman, we see a wide range of historical figures and events of the antebellum South, the Washington of the Civil War years, and the final stages of the war.

    This compelling tale of survival reveals Sirleaf's determination to succeed in multiple worlds: from her studies in the United States to her work as an international bank executive to her election campaigning in some of Liberia's most desperate and war-torn villages and neighborhoods. It is also the story of an outspoken political and social reformer who, despite danger, fought the oppression of dictators and championed change. By sharing her story, Sirleaf encourages women everywhere to pursue leadership roles at the highest levels of power, and gives us all hope that, with perseverance, we can change the world.

    Now, in Nomad, Hirsi Ali tells of coming to America to build a new life, an ocean away from the death threats made to her by European Islamists, the strife she witnessed, and the inner conflict she suffered. It is the story of her physical journey to freedom and, more crucially, her emotional journey to freedom—her transition from a tribal mind-set that restricts women’s every thought and action to a life as a free and equal citizen in an open society. Through stories of the challenges she has faced, she shows the difficulty of reconciling the contradictions of Islam with Western values. In these pages Hirsi Ali recounts the many turns her life took after she broke with her family, and how she struggled to throw off restrictive superstitions and misconceptions that initially hobbled her ability to assimilate into Western society. She writes movingly of her reconciliation, on his deathbed, with her devout father, who had disowned her when she renounced Islam after 9/11, as well as with her mother and cousins in Somalia and in Europe. Nomad is a portrait of a family torn apart by the clash of civilizations. But it is also a touching, uplifting, and often funny account of one woman’s discovery of today’s America. While Hirsi Ali loves much of what she encounters, she fears we are repeating the European mistake of underestimating radical Islam. She calls on key institutions of the West—including universities, the feminist movement, and the Christian churches—to enact specific, innovative remedies that would help other Muslim immigrants to overcome the challenges she has experienced and to resist the fatal allure of fundamentalism and terrorism. This is Hirsi Ali’s intellectual coming-of-age, a memoir that conveys her philosophy as well as her experiences, and that also conveys an urgent message and mission—to inform the West of the extent of the threat from Islam, both from outside and from within our open societies. A celebration of free speech and democracy, Nomad is an important contribution to the history of ideas, but above all a rousing call to action.

    America in the antebellum years was a deeply troubled country, divided by partisan gridlock and ideological warfare, angry voices in the streets and the statehouses, furious clashes over race and immigration, and a growing chasm between immense wealth and desperate poverty.The Civil War that followed brought America to the brink of self-destruction. But it also created a new country from the ruins of the old one—bolder and stronger than ever. No event in the war was more destructive, or more important, than William Sherman’s legendary march through Georgia—crippling the heart of the South’s economy, freeing thousands of slaves, and marking the beginning of a new era.This invasion not only quelled the Confederate forces, but transformed America, forcing it to reckon with a century of injustice. Dickey reveals the story of women actively involved in the military campaign and later, in civilian net- works. African Americans took active roles as soldiers, builders, and activists. Rich with despair and hope, brutality and compassion, Rising in Flames tells the dramatic story of the Union’s invasion of the Confederacy, and how this colossal struggle helped create a new nation from the embers of the Old South.

    Transcending the bounds of memoir or history, Not on Our Watch is nothing short of a field guide to citizen activism. Its practical strategies for effecting grassroots change could easily be adopted to serve other worthy causes. [An introduction by U.S. Senators Barack Obama and Sam Brownback offers a political perspective.]

    Conflict photojournalists have the opposite reaction: they actually look for trouble, and when they find it, get as close as possible and stand up to get the best shot. This thirst for the shot and the seeming nonchalance to the risks entailed earned Greg Marinovich, Joao Silva, Ken Oosterbroek, and Kevin Carter the moniker of the Bang-Bang Club. Oosterbroek was killed in township violence just days before South Africa's historic panracial elections. Carter, whose picture of a Sudanese child apparently being stalked by a vulture won him a Pulitzer Prize, killed himself shortly afterwards. Another of their posse, Gary Bernard, who had held Oosterbroek as he died, also committed suicide. The Bang-Bang Club is a memoir of a time of rivalry, comradeship, machismo, and exhilaration experienced by a band of young South African photographers as they documented their country's transition to democracy. We forget too easily the political and ethnic violence that wracked South Africa as apartheid died a slow, spasmodic death. Supporters of the ANC and Inkatha fought bloody battles every day. The white security forces were complicit in fomenting and enabling some of the worst violence. All the while, the Bang-Bang Club took pictures. And while they did, they were faced with the moral dilemma of how far they should go in pursuit of an image, and whether there was a point at which they should stop their shooting and try to intervene. This is a riveting and appalling book. It is simply written--these guys are photographers, not writers--but extremely engaging. They were adrenaline junkies who partied hard and prized the shot above all else. None of them was a hero; these men come across as overweeningly ambitious, egotistical, reckless, and selfish, though also brave and even principled. As South Africans, they were all invested in their country's future, even though, as whites, they were strangers in their own land as they covered the Hostel wars in the black townships. The mixture of the romantic appeal of the war correspondent with honest assessments of their personal failings is part of what makes this account so compelling and so singular among books of its ilk. – J. Riches

    But as Sudan's civil war moved closer--with the Islamic government seizing tribal lands for water, oil, and other resources--Jal's family moved again and again, seeking peace. Then, on one terrible day, Jal was separated from his mother, and later learned she had been killed; his father Simon rose to become a powerful commander in the Christian Sudanese Liberation Army, fighting for the freedom of Sudan. Soon, Jal was conscripted into that army, one of 10,000 child soldiers, and fought through two separate civil wars over nearly a decade. But, remarkably, Jal survived, and his life began to change when he was adopted by a British aid worker. He began the journey that would lead him to change his name and to music: recording and releasing his own album, which produced the number one hip-hop single in Kenya, and from there went on to perform with Moby, Bono, Peter Gabriel, and other international music stars. Shocking, inspiring, and finally hopeful, "War Child "is a memoir by a unique young man, who is determined to tell his story and in so doing bring peace to his homeland.

    This House Has Fallen is a bracing and disturbing report on the state of Africa's most populous, potentially richest, and most dangerously dysfunctional nation. Each year, with depressing consistency, Nigeria is declared the most corrupt state in the entire world. Though Nigeria is a nation into which billions of dollars of oil money flow, its per capita income has fallen dramatically in the past two decades. Military coup follows military coup. A bellwether for Africa, it is a country of rising ethnic tensions and falling standards of living, very possibly on the verge of utter collapse -- a collapse that could dramatically overshadow even the massacres in Rwanda. A brilliant piece of reportage and travel writing, This House Has Fallenlooks into the Nigerian abyss and comes away with insight, profound conclusions, and even some hope. Updated with a new preface by the author.

    Based on ten years' astonishing new research, here is the thrilling story of how a charismatic, dangerous boy became a student priest, romantic poet, gangster mastermind, prolific lover, murderous revolutionary, and the merciless politician who shaped the Soviet Empire in his own brutal image: How Stalin became Stalin.

    . . . About an African dream that began with a murder . . .In 1978, in the final, bloodiest phase of the Rhodesian civil war, eleven-year-old Lauren St John moves with her family to Rainbow's End, a wild, beautiful farm and game reserve set on the banks of a slowflowing river. The house has been the scene of a horrific attack by guerrillas, and when Lauren's family settles there, a chain of events is set in motion that will change her life irrevocably."Rainbow's End" captures the overwhelming beauty and extraordinary danger of life in the African bush. Lauren's childhood reads like a girl's own adventure story. At the height of the war, Lauren rides through the wilderness on her horse, Morning Star, encountering lions, crocodiles, snakes, vicious ostriches, and mad cows. Many of the animals are pets, including Miss Piggy and Bacon and an elegant giraffe named Jenny. The constant threat of ruthless guerrillas prowling the land underscores everything, making each day more dangerous, vivid, and prized than the last.After Independence, Lauren comes to the bitter realization that she'd been on the wrong side of the civil war. While she and her family believed that they were fighting for democracy over Communism, others saw the war as black against white. And when Robert Mugabe comes into power, he oversees the torture and persecution of thousands of members of an opposing tribe and goes on to become one of Africa's legendary dictators. The ending of this beautiful memoir is a fist to the stomach as Lauren realizes that she can be British or American, but she cannot be African. She can love it -- be willing to die for it -- but she cannot claimAfrica because she is white.

    Yet the two have never been seriously compared at book length. Acclaimed historian Lewis Lehrman finds that Lincoln and Churchill led their wars in remarkably similar fashion, guided by fixed principles of honor, duty, and freedom. Gifted literary stylists, both also relied on the written and spoken word to steel their nation's hearts and give meaning to war's sacrifice. And though both unexpectedly left office near the end of their wars--Lincoln by the bullet, Churchill by the ballot--they had gained victory.

    Over many nights, hundreds of slaves paddled out to the warships seeking protection for their families from the ravages of slavery. The runaways pressured the British admirals into becoming liberators. As guides, pilots, sailors, and marines, the former slaves used their intimate knowledge of the countryside to transform the war. They enabled the British to escalate their onshore attacks and to capture and burn Washington, D.C. Tidewater masters had long dreaded their slaves as "an internal enemy." By mobilizing that enemy, the war ignited the deepest fears of Chesapeake slaveholders. It also alienated Virginians from a national government that had neglected their defense. Instead they turned south, their interests aligning more and more with their section.In 1820 Thomas Jefferson observed of sectionalism: "Like a firebell in the night [it] awakened and filled me with terror. I considered it at once the knell of the union." The notes of alarm in Jefferson's comment speak of the fear aroused by the recent crisis over slavery in his home state. His vision of a cataclysm to come proved prescient. Jefferson's startling observation registered a turn in the nation’s course, a pivot from the national purpose of the founding toward the threat of disunion. Drawn from new sources, Alan Taylor's riveting narrative re-creates the events that inspired black Virginians, haunted slaveholders, and set the nation on a new and dangerous course.

    The rebels had come at night—wielding weapons, torches, machetes. She watched as her mother and six-year-old sister were gunned down in a refugee camp, far from their home in the Democratic Republic of the Congo. The rebels were killing people who weren’t from the same community, the same tribe. In other words, they were killing people simply for looking different.“Goodbye, life,” she said to the man ready to shoot her. Remarkably, the rebel didn’t pull the trigger, and Sandra escaped into the night. Thus began a new life for her and her surviving family members. With no home and no money, they struggled to stay alive. Eventually, through a United Nations refugee program, they moved to America, only to face yet another ethnic disconnect. Sandra may have crossed an ocean, but there was now a much wider divide she had to overcome. And it started with middle school in New York. In this profoundly moving memoir, Sandra tells the story of her survival, of finding her place in a new country, and of her hope for the future.