This book was not written for children. Dumas has minced no words in describing the violent scenes of a violent time. In some instances facts appear distorted out of their true perspective, and in others the author makes unwarranted charges. The careful, mature reader -- for whom the books are intended -- will recognize and allow for this fact. From 1839 to 1841, Dumas, with the assistance of several friends, compiled Celebrated Crimes, an eight-volume collection of essays on famous criminals and crimes from European history. He featured Beatrice Cenci, Martin Guerre, Cesare and Lucrezia Borgia, as well as more recent events and criminals, including the cases of the alleged murderers Karl Ludwig Sand and Antoine FranCois Desrues, who were executed.

    Delving into topics ranging from the clash between ecological time and our culture of “perpetual now,” to the soaring history of humans changing and evolving rapidly in the face of grave threats, to rising white supremacy and fortressed borders as a form of “climate barbarism,” this is a rousing call to action for a planet on the brink. An expansive, far-ranging exploration that sees the battle for a greener world as indistinguishable from the fight for our lives, On Fire captures the burning urgency of the climate crisis, as well as the fiery energy of a rising political movement demanding a catalytic Green New Deal. “Naomi Klein’s work has always moved and guided me. She is the great chronicler of our age of climate emergency, an inspirer of generations.” —Greta Thunberg, climate activist "If I were a rich man, I’d buy 245 million copies of Naomi Klein’s 'On Fire' and hand-deliver them to every eligible voter in America…Klein is a skilled writer." —Jeff Goodell, The New York Times

    The result is both a defense of freedom of speech and a critique of the likeability factor that can impede it.

    Hugo's epic follows three protagonists through this tumultuous year: the noble royalist de Lantenac; Gauvain, who embodies a benevolent and romantic vision of the Republic; and Cimourdain, whose principles are altogether more robespierrean.The conflict of values culminates in a dramatic climax on the scaffold.

    Bush. Before the acts of terrorism on 11 September, George W. Bush's presidency had been beset by numerous problems. Not only was it in many peoples eyes invalid, very few people took him seriously as a world statesman. Then following one violent mindless act of terrorism, George W. Bush became a president that his country could rely on, one they felt they could trust to lead them through these difficult times. And the world saw a man who was decisive and resolute, a president who was seemingly determined to route out the people who had carried out the heinous acts. But one year after the attacks how has the 44th President of the United States fared? And what were the actual behind the scenes discussions that took place whilst the country was rocked by the crisis? Bob Woodward has been shadowing the President since those fateful events, he was allowed unprecedented access to closed-door meetings and briefings and this masterful book is a look at what really happened.

    Thompson and P. J. O’Rourke so much fun” (The Washington Post). Bringing together Taibbi’s most incisive and hilarious work from his “Road Work” column in Rolling Stone, Smells Like Dead Elephants shines an unflinching spotlight on the corruption, dishonesty, and sheer laziness of our leaders. Taibbi has plenty to say about George W. Bush, Jack Abramoff, Tom DeLay, and all the rest, but he doesn’t just hit inside the Beltway. He gets involved in the action, infiltrating Senator Conrad Burns’s birthday party under disguise as a lobbyist for a fictional oil firm that wants to drill in the Grand Canyon. He floats into apocalyptic post-Katrina New Orleans in a dinghy with Sean Penn. He goes to Iraq as an embedded reporter, where he witnesses the mind-boggling dysfunction of our occupation and spends three nights in Abu Ghraib prison. And he reports from two of the most bizarre and telling trials in recent memory: California v. Michael Jackson and the evolution-vs.-intelligent-design trial in Harrisburg, Pennsylvania. Equally funny and shocking, this is excellent work from one of our most entertaining writers.

    Edgar Hoover had created and was operating, in violation of the U.S. Constitution, his own shadow Bureau of Investigation. It begins in 1971 in an America being split apart by the Vietnam War . . . A small group of activists—eight men and women—the Citizens Commission to Investigate the FBI, inspired by Daniel Berrigan’s rebellious Catholic peace movement, set out to use a more active, but nonviolent, method of civil disobedience to provide hard evidence once and for all that the government was operating outside the laws of the land.             The would-be burglars—nonpro’s—were ordinary people leading lives of purpose: a professor of religion and former freedom rider; a day-care director; a physicist; a cab driver; an antiwar activist, a lock picker; a graduate student haunted by members of her family lost to the Holocaust and the passivity of German civilians under Nazi rule.Betty Medsger's extraordinary book re-creates in resonant detail how this group of unknowing thieves, in their meticulous planning of the burglary, scouted out the low-security FBI building in a small town just west of Philadelphia, taking into consideration every possible factor, and how they planned the break-in for the night of the long-anticipated boxing match between Joe Frazier (war supporter and friend to President Nixon) and Muhammad Ali (convicted for refusing to serve in the military), knowing that all would be fixated on their televisions and radios.Medsger writes that the burglars removed all of the FBI files and, with the utmost deliberation, released them to various journalists and members of Congress, soon upending the public’s perception of the inviolate head of the Bureau and paving the way for the first overhaul of the FBI since Hoover became its director in 1924.  And we see how the release of the FBI files to the press set the stage for the sensational release three months later, by Daniel Ellsberg, of the top-secret, seven-thousand-page Pentagon study on U.S. decision-making regarding the Vietnam War, which became known as the Pentagon Papers.             At the heart of the heist—and the book—the contents of the FBI files revealing J. Edgar Hoover’s “secret counterintelligence program” COINTELPRO, set up in 1956 to investigate and disrupt dissident political groups in the United States in order “to enhance the paranoia endemic in these circles,” to make clear to all Americans that an FBI agent was “behind every mailbox,” a plan that would discredit, destabilize, and demoralize groups, many of them legal civil rights organizations and antiwar groups that Hoover found offensive—as well as black power groups, student activists, antidraft protestors, conscientious objectors. The author, the first reporter to receive the FBI files, began to cover this story during the three years she worked for The Washington Post and continued her investigation long after she'd left the paper, figuring out who the burglars were, and convincing them, after decades of silence, to come forward and tell their extraordinary story.  The Burglary is an important and riveting book, a portrait of the potential power of non­violent resistance and the destructive power of excessive government secrecy and spying.

    As a journalist, Gellhorn covered every military conflict from the Spanish Civil War to Vietnam and Nicaragua. She also bewitched Eleanor Roosevelt's secret love and enraptured Ernest Hemingway with her courage as they dodged shell fire together.Hemingway is, of course, the unnamed other in the title of this tart memoir, first published in 1979, in which Gellhorn describes her globe-spanning adventures, both accompanied and alone. With razor-sharp humor and exceptional insight into place and character, she tells of a tense week spent among dissidents in Moscow; long days whiled away in a disused water tank with hippies clustered at Eilat on the Red Sea; and her journeys by sampan and horse to the interior of China during the Sino-Japanese War.

    In the midst of his anguish, he nevertheless "brought to his study of the crisis all the critical faculty and all the penetrating analysis of a first-rate historian" (Christian Science Monitor).Bloch takes a close look at the military failures he witnessed, examining why France was unable to respond to attack quickly and effectively. He gives a personal account of the battle of France, followed by a biting analysis of the generation between the wars. His harsh conclusion is that the immediate cause of the disaster was the utter incompetence of the High Command, but his analysis ranges broadly, appraising all the factors, social as well as military, which since 1870 had undermined French national solidarity.

    In a compelling narrative, Marlantes weaves riveting accounts of his combat experiences with thoughtful analysis, self-examination and his readings -- from Homer to the Mahabharata to Jung. He talks frankly about how he is haunted by the face of the young North Vietnamese soldier he killed at close quarters and how he finally finds a way to make peace with his past. Marlantes discusses the daily contradictions that warriors face in the grind of war, where each battle requires them to take life or spare life, and where they enter a state he likens to the fervor of religious ecstasy.Just as Matterhorn is already being acclaimed as a classic of war literature, What It Is Like To Go To War is set to become required reading for anyone -- soldier or civilian -- interested in this visceral and all too essential part of the human experience.

    The writer is Joan Didion, who delivers an anatomy of that country's particular brand of terror–its mechanisms, rationales, and intimate relation to United States foreign policy.As ash travels from battlefields to body dumps, interviews a puppet president, and considers the distinctly Salvadoran grammar of the verb "to disappear," Didion gives us a book that is germane to any country in which bloodshed has become a standard tool of politics.

    A former bombardier in WWII, Zinn emerged in the civil rights movement as a powerful voice for justice. Although he's a fierce critic, he gives us reason to hope that by learning from history and engaging politically, we can make a difference in the world.

    Rian Malan is an Afrikaner, scion of a centuries-old clan and relative of the architect of apartheid, who fled South Africa after coming face-to-face with the atrocities and terrors of an undeclared civil war between the races. This book is the searing account of his return after eight years of uneasy exile. Armed with new insight and clarity, Malan explores apartheid's legacy of hatred and suffering, bearing witness to the extensive physical and emotional damage it has caused to generations of South Africans on both sides of the color line. Plumbing the darkest recesses of the white and black South African psyches, Malan ultimately finds his way toward the light of redemption and healing. My Traitor's Heart is an astonishing book -- beautiful, horrifying, profound, and impossible to put down.

    Tyrant shows that Shakespeare’s work remains vitally relevant today, not least in its probing of the unquenchable, narcissistic appetites of demagogues and the self-destructive willingness of collaborators who indulge their appetites.

    How does the spectacle of the sufferings of others (via television or newspapers) affect us? Are viewers inured--or incited--to violence by the depiction of cruelty? In Regarding the Pain of Others, Sontag takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001. In Regarding the Pain of Others Susan Sontag once again changes the way we think about the uses and meanings of images in our world, and offers an important reflection about how war itself is waged (and understood) in our time.Features an analysis of our numbed response to images of horror. This title alters our thinking about the uses and meanings of images, and about the nature of war, the limits of sympathy, and the obligations of conscience.