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.

    Roosevelt, Winston Churchill, and the capitalist West.            At the Big Three conferences of World War II, Stalin persuasively played the role of a great world leader. Even astute observers like George F. Kennan concluded that the United States and Great Britain should view Stalin as a modern-day tsarist-like figure whose primary concerns lay in international strategy and power politics, not in ideology. Now Robert Gellately uses recently uncovered documents to make clear that, in fact, the dictator was an unwavering revolutionary merely biding his time, determined as ever to establish Communist regimes across Europe and beyond, and that his actions during these years (and the poorly calculated Western responses) set in motion what would eventually become the Cold War. Gellately takes us behind the scenes. We see the dictator disguising his political ambitions and prioritizing the future of Communism, even as he pursued the war against Hitler. Along the way, the ascetic dictator’s Machiavellian moves and bouts of irrationality kept the Western leaders on their toes, in a world that became more dangerous and divided year by year.               Exciting, deeply engaging, and shrewdly perceptive, Stalin’s Curse is an unprecedented revelation of the sinister machinations of the Soviet dictator.

    Into this free-market maelstrom stepped rookie Wall Street Journal reporter Matthew Brzezinski, who was immediately pulled into the mad world of Russian capitalism -- where corrupt bankers and fast-talking American carpetbaggers presided over the biggest boom and bust in financial history. Brzezinski's adventures take him from the solid-gold bathroom fixtures of Moscow's elite, to the last stop on the Trans-Siberian railway, where poverty-stricken citizens must buy water by the pail from the local crime lord, and back to civilization, to stumble into a drunken birthday bash for an ultra-nationalist politico. It's an irreverent, lurid, and hilarious account of one man's tumultuous trek through a capitalist market gone haywire -- and a nation whose uncertain future is marked by boundless hope and foreboding despair.

    Advocates for marriage equality were outraged. Still, major gay-rights groups opposed a federal challenge to the law, warning that it would be dangerously premature. A loss could set the movement back for decades. A small group of activists, however, refused to wait. They turned to corporate lawyers Ted Olson and David Boies—best known for arguing opposite sides of Bush v. Gore—who filed a groundbreaking federal suit against the law.A distinguished constitutional law scholar, Kenji Yoshino was also a newly married gay man who at first felt ambivalent about the suit. Nonetheless, he recognized that Chief Judge Vaughn Walker’s decision to hold a trial in the case was momentous. Boies and Olson rose to the occasion, deftly deploying arguments that LGBT advocates had honed through years of litigation and debate. Reading the 3,000-page transcript, Yoshino discovered a shining civil rights document—the most rigorous and compelling exploration he had seen of the nature of marriage, the political status of gays and lesbians, the ideal circumstances for raising children, and the inability of direct democracy to protect fundamental rights. After that tense twelve-day trial, Walker issued a resounding and historic ruling: California’s exclusion of same-sex couples from civil marriage violated the U.S. Constitution. In June 2013, the United States Supreme Court denied the final appeal in Hollingsworth v. Perry, leaving same-sex couples in California free to marry.Drawing on interviews with lawyers and witnesses on both sides of the case, Yoshino takes us deep inside the trial. He brings the legal arguments to life, not only through his account of the case, but also by sharing his own story of finding love, marrying, and having children. Vivid, compassionate, and beautifully written, Speak Now is both a nuanced and authoritative account of a landmark trial, and a testament to how the clash of proofs in our judicial process can force debates to the ultimate level of clarity.

    Dante Gabriel Rossetti exhumed his dead wife to pry his only copy of a manuscript of his poems from her coffin. Legendary explorer Richard Burton wrote how-to manuals on sex positions and livened up the drawing room with stories of eroticism in the Middle East. Algernon Charles Swinburne visited flagellation brothels and wrote pornography amid his poetry. By embracing and exploring the taboo, these iconoclasts produced some of the most captivating art, literature, and ideas of their day. As thought-provoking as it is electric, Pleasure Bound unearths the desires of the men and women who challenged buttoned-up Victorian mores to promote erotic freedom. These bohemians formed two loosely overlapping societies—the Cannibal Club and the Aesthetes—to explore their fascinations with sexual taboo, from homosexuality to the eroticization of death. Known as much for their flamboyant personal lives as for their controversial masterpieces, they created a scandal-provoking counterculture that paved the way for such later figures as Gustav Klimt, Virginia Woolf, and Jean Genet. In this stunning exposé of the Victorian London we thought we knew, Deborah Lutz takes us beyond the eyebrow-raising practices of these sex rebels, revealing how they uncovered troubles that ran beneath the surface of the larger social fabric: the struggle for women’s emancipation, the dissolution of formal religions, and the pressing need for new forms of sexual expression. 8 pages four-color and 5 black-and-white illustrations

    From 1851, in the space of little more than a decade, the world was reshaped by technology, trade, mass migration and war. As instantaneous electric communication bridged the vast gulfs that separated human societies, millions of settlers travelled to the far corners of the Earth, building vast cities out of nothing in lightning-quick time. A new generation of fast steamships and railways connected these burgeoning frontier societies, shrinking the world and creating an interlinked global economy.In the company of fortune-seekers and ordinary migrants, we journey to these rapidly expanding frontiers, savouring the frenetic activity and optimism of the boom-towns of the 1850s in Australia, New Zealand the United States. This is a story not only of rapid progress, but of the victims of an assurgent West: indigenous peoples who stood in the pathways of economic expansion, Asian societies engulfed by the forces of modernisation. We join, among others, Muslim guerrilla fighters in the Caucasus mountains and freelance empire-builders in the jungles of Nicaragua, British free trade zealots preying on China and samurai warriors resisting Western incursions in Japan. No less important are the inventions, discoveries and technologies that powered progress, and the great engineering projects that characterised the Victorian heyday, notably the transatlantic telegraph cable.In a fast-paced, kaleidoscopic narrative, Ben Wilson recreates a time of explosive energy and dizzying change, a rollercoaster ride of booms and bust, witnessed through the eyes of the men and women reshaping its frontiers. At the centre stands Great Britain. The country was the peak of its power between 1851 and the mid-1860s as it attempted to determine the destinies of hundreds of millions of people. Heyday is a dazzlingly innovative take on a period of extraordinary transformation, a little-known decade that was fundamental in the making not only of Britain but of the modern world.

    But the working class we have now--far more female and racially diverse and employed by the fast food, retail, health care, and other service industries--has been marginalized, if not ignored, by politicians and pundits. This is changing, swiftly and dramatically.Today's working class is a sleeping giant. And as Tamara Draut makes abundantly clear, it is just now waking up to its untapped political power. Sleeping Giant is the first major examination of the new working class and the role it will play in our economic and political future. Blending moving individual narratives, historical background, and sophisticated analysis, Draut forcefully argues that this newly energized class is far along in the process of changing America for the better.Draut examines the legacy of exclusion based on race and gender that contributes to the invisibility of the new working class, despite their entwinement in everyone's day-to-day life. No longer confined to the assembly line, today's working class watches our children and cares for our parents. They park our cars, screen our luggage, clean our offices, and cook and serve our meals. They are us.With "Fight for $15" minimum-wage protests popping up throughout the country (and in some places winning) and economic inequality being recognized as one of the defining issues of our time, today's working class will soon become impossible to ignore and foolish to dismiss. Sleeping Giant is the first book to tell the story of this extraordinary transformation in full and inspiring detail.

    Yet in recent decades scholars have argued that the Revolution was brought about by social forces, politics, economics, or culture--almost anything but abstract notions like liberty or equality. In Revolutionary Ideas, one of the world's leading historians of the Enlightenment restores the Revolution's intellectual history to its rightful central role. Drawing widely on primary sources, Jonathan Israel shows how the Revolution was set in motion by radical eighteenth-century doctrines, how these ideas divided revolutionary leaders into vehemently opposed ideological blocs, and how these clashes drove the turning points of the Revolution.Revolutionary Ideas demonstrates that the Revolution was really three different revolutions vying for supremacy--a conflict between constitutional monarchists such as Lafayette who advocated moderate Enlightenment ideas; democratic republicans allied to Tom Paine who fought for Radical Enlightenment ideas; and authoritarian populists, such as Robespierre, who violently rejected key Enlightenment ideas and should ultimately be seen as Counter-Enlightenment figures. The book tells how the fierce rivalry between these groups shaped the course of the Revolution, from the Declaration of Rights, through liberal monarchism and democratic republicanism, to the Terror and the Post-Thermidor reaction.In this compelling account, the French Revolution stands once again as a culmination of the emancipatory and democratic ideals of the Enlightenment. That it ended in the Terror represented a betrayal of those ideas--not their fulfillment.

    Adolf Hitler believed this surprise attack was crucial for German success in World War II. It aimed to destroy what Hitler perceived as a Jewish-Bolshevik conspiracy and to ensure German economic, political and cultural prosperity. A huge percentage of German resources were allocated to the campaign against the Soviet Union, and the total percen

    It transformed not only the states-system of the Continent but the whole climate of European moral and political thought. The overwhelming triumph of German military might, evoking general admiration and imitation, introduced an era of power politics, which was to reach its disastrous climax in 1914.First published in 1961 and now with a new introduction, The Franco-Prussian War is acknowledged as the definitive history of one of the most dramatic and decisive conflicts in the history of Europe.

    Spanning four decades and many worlds, from the horrors of the Second World War to the wild abandon of New York in the eighties, Dancer is peopled by a large cast of characters, obscure and famous: doormen and shoemakers, nurses and translators, Margot Fonteyn, Eric Bruhn and John Lennon. And at the heart of the spectacle stands the artist himself, willful, lustful, and driven by a never-to-be-met need for perfection.

    In Bakhtin's view, the spirit of laughter and irreverence prevailing at carnival time is the dominant quality of Rabelais's art. The work of both Rabelais and Bakhtin springs from an age of revolution, and each reflects a particularly open sense of the literary text. For both, carnival, with its emphasis on the earthly and the grotesque, signified the symbolic destruction of authority and official culture and the assertion of popular renewal. Bakhtin evokes carnival as a special, creative life form, with its own space and time.Written in the Soviet Union in the 1930s at the height of the Stalin era but published there for the first time only in 1965, Bakhtin's book is both a major contribution to the poetics of the novel and a subtle condemnation of the degeneration of the Russian revolution into Stalinist orthodoxy. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

    Over steaming samovars, in cramped flats, and on dirt-floors, he has spoken to peasants and bureaucrats, artists and officials. He has studied their customs and their governments and shares his fascinating insights and fresh perspectives with us.

    Victoria Woodhull (1872), Margaret Chase Smith (1964), and Shirley Chisholm (1972) each challenged persistent barriers confronted by women presidential candidates. Their quest illuminates today s political landscape, showing that Hillary Clinton s 2016 campaign belongs to a much longer, arduous, and dramatic journey.The tale begins during Reconstruction when the radical Woodhull became the first woman to seek the presidency. Although women could not yet vote, Woodhull boldly staked her claim to the White House, believing she might thereby advance women s equality. Republican Senator Margaret Chase Smith came into political office through the widow s mandate. Among the most admired women in public life when she launched her 1964 campaign, she soon confronted prejudice that she was too old (at 66) and too female to be a creditable presidential candidate. She nonetheless became the first woman to have her name placed in nomination for President by a major party. Democratic Congresswoman Shirley Chisholm ignored what some openly described as the twin disqualifications of race and gender in her spirited 1972 presidential campaign. She ran all the way to the Democratic convention, inspiring diverse followers and angering opponents, including members of the Nixon administration who sought to derail her candidacy.As The Highest Glass Ceiling reveals, women s pursuit of the Oval Office, then and now, has involved myriad forms of influence, opposition, and intrigue."

    The grandness of that history no longer fit into the framework of the present, and artists felt overwhelmed by the magnitude of past heroic accomplishment. This was soon reflected in artistic representation, from Fuseli on. The partial image, the "crop," fragmentation, ruin, and mutilationall expressed grief and nostalgia for the loss of a vanished totality, a utopian wholeness. Often such feelings were expressed in deliberate destructiveness, which became the new way of seeing: the notion of the modern. In The Body in Pieces, the noted critic and art historian Linda Nochlin traces these developments by looking at work produced by artists from Neoclassicism and Romanticism to Impressionism, Post-Impressionism, Surrealism, and beyond. 59 illustrations.