But the so-called Dark Ages also gave us the first universities, eyeglasses, and mechanical clocks, proving that the Middle Ages were home to a vibrant scientific culture.In The Light Ages, Cambridge science historian Seb Falk takes us on an immersive tour of medieval science through the story of one fourteenth-century monk, John of Westwyk. From multiplying Roman numerals to navigating by the stars, curing disease, and telling time with an ancient astrolabe, we learn emerging science alongside Westwyk, while following the gripping story of the struggles and successes of an ordinary man in a precarious world. An enlightening history that argues that these times weren’t so dark after all, The Light Ages shows how medieval ideas continue to color how we see the world today.

    Gorra, an eminent literary critic, shows how this novel the scandalous story of the expatriate American heiress Isabel Archer came to be written in the first place. Traveling to Florence, Rome, Paris, and England, Gorra sheds new light on James 's family, the European literary circles George Eliot, Flaubert, Turgenev in which James made his name, and the psychological forces that enabled him to create this most memorable of female protagonists. Appealing to readers of Menand 's The Metaphysical Club and McCullough 's The Greater Journey, Portrait of a Novel provides a brilliant account of the greatest American novel of expatriate life ever written. It becomes a piercing detective story on its own.

    A. S. Byatt does, and her case is persuasive. In a series of essays on the complicated relations between reading, writing, and remembering, the gifted novelist and critic sorts the modish from the merely interesting and the truly good to arrive at a new view of British writing in our time.Whether writing about the renaissance of the historical novel, discussing her own translation of historical fact into fiction, or exploring the recent European revival of interest in myth, folklore, and fairytale, Byatt's abiding concern here is with the interplay of fiction and history. Her essays amount to an eloquent and often moving meditation on the commitment to historical narrative and storytelling that she shares with many of her British and European contemporaries. With copious illustration and abundant insights into writers from Elizabeth Bowen and Henry Green to Anthony Burgess, William Golding, Muriel Spark, Penelope Fitzgerald, Julian Barnes, Martin Amis, Hilary Mantel, and Pat Barker, On Histories and Stories is an oblique defense of the art Byatt practices and a map of the complex affiliations of British and European narrative since 1945.

    "The hushed reverence of the gallery can fool you into believing masterpieces are polite things; visions that soothe, charm and beguile, but actually they are thugs. Merciless and wily, the greatest paintings grab you in a headlock, rough up your composure, and then proceed in short order to re-arrange your sense of reality. . . ."With the same disarming force, The Power of Art propels us on an eye-opening, breathtaking odyssey, zooming in on eight extraordinary masterpieces, from Caravaggio's David and Goliath to Picasso's Guernica. Jolting us far from the comfort zone of the hushed art gallery, Schama closes in on intense make-or-break turning points in the lives of eight great artists who, under extreme stress, created something unprecedented, altering the course of art forever.The embattled heroes—Caravaggio, Bernini, Rembrandt, David, Turner, Van Gogh, Picasso and Rothko—each in his own resolute way, faced crisis with steadfast defiance, pitting passion and conviction against scorn and short-sightedness. The masterpieces they created challenged convention, shattered complacency, shifted awareness and changed the way we look at the world.With vivid storytelling and powerfully evocative descriptive passages, Schama explores the dynamic personalities of the artists and the spirit of the times they lived through, capturing the flamboyant theatre of bourgeois life in Amsterdam, the passion and paranoia of Revolutionary Paris, and the carnage and pathos of Civil War Spain.Most compelling of all, The Power of Art traces the extraordinary evolution of eight "eye-popping" world-class works of art. Created in a bolt of illumination, such works "tell us something about how the world is, how it is to be inside our skins, that no more prosaic source of wisdom can deliver. And when they do that, they answer, irrefutably and majestically, the nagging question of every reluctant art-conscript . . . 'OK, OK, but what's art really for?'"

    One of the most infamous neighbors was the ruthless apparatchik Vyacheslav Molotov, a henchman for Stalin who was a participant in the collectivizations and the Great Purge—and also an ardent bibliophile. In what was formerly Molotov’s apartment, Polonsky uncovers an extensive library and an old magic lantern—two things that lead her on an extraordinary journey throughout Russia and ultimately renew her vision of the country and its people.In Molotov’s Magic Lantern, Polonsky visits the haunted cities and vivid landscapes of the books from Molotov’s library: works by Chekhov, Dostoevsky, Pushkin, Akhmatova, and others, some of whom were sent to the Gulag by the very man who collected their books. With exceptional insight and beautiful prose, Polonsky writes about the longings and aspirations of these Russian writers and others in the course of her travels from the Arctic to Siberia and from the forests around Moscow to the vast steppes. A singular homage to Russian history and culture, Molotov’s Magic Lantern evokes the spirit of the great artists and the haunted past of a country ravaged by war, famine, and totalitarianism.

    Birthplace of the Taliban decades earlier, this fertile region had since become Afghanistan's most deadly turf. It would soon turn deadlier still. Advised in the night by his intelligence officers that the Taliban had secretly amassed for a full-scale military assault, Fraser knew it would fall to him, his Canadians and their allies to avoid the wholesale slaughter of NATO troops, keep the Taliban from laying siege to Kandahar and restore control of the south of the country to a newly formed, democratic Afghan government.     The odds were solidy against Fraser's forces. The Taliban knew every millimetre of their own terrain. During the months of secret manoeuvres they had stocked every farmhouse, school, grape hut and tunnel with weapons and ammunition. They had drilled Soviet-era landmines into all of the marijuana and poppy fields, and dug IEDs into every roadway. Protected from detection by corrupt officials, their sophisticated warfare schools had successfully readied an army of zealous fighters to attack and fight to the death. And now their top commanders were poised to launch decisive military operations against freshly arrived troops who had never seen combat.     The bloodiest battle in NATO's history was about to begin.

    Bonaparte had returned, and it would be just one hundred days before he met his enemies in a final, epic battle. In Napoleon and the Hundred Days, Stephen Coote vividly re-creates the rise and fall of Bonaparte's empire, and brings to life the characters who shaped it. With the eye of an historian and the dramatic style of a novelist, Coote describes how the path to war became inevitable and how, at the Battle of Waterloo, the fatigued but ever arrogant Napoleon met his match. This is a dazzling portrait of the legendary emperor, whose genius, courage, and tenacity won--and lost--him a vast empire.

    But the wonderful development, however, in a few months, of a large, heterogeneous collection of men into a solid, keen, self-sacrificing unit, was but another instance of the way in which war improves the character and temperament of man. It was entirely new for men who were formerly in a regiment, full of traditions, to find themselves in the[...].

    

    But by whom? And out of what?Max Adams scrutinizes the narrative handed down to us by later historians and chronicles, stripping away the most lurid nonsense about Arthur and synthesizing the research of the last forty years to tease out strands of reality from myth. His central theme evolves from an apparently simple question: how, after the end of the Roman state, were people taxed? Rejecting ethnic and nationalist explanations for the emergence of the Early Medieval kingdoms, Adams shows how careful use of a wide range of perspectives from anthropology to geography can deliver a picture of the emergence of distinct polities in the sixth century that survive long enough to be embedded in the medieval landscape, recorded in the lines of river, road and watershed and in place names.

    Encyclopedic in scope and heroically audacious, "The Novel: An Alternative History" is the first attempt in over a century to tell the complete story of our most popular literary form. Contrary to conventional wisdom, the novel did not originate in 18th-century England, nor even with Don Quixote, but is coeval with civilization itself. After a pugnacious introduction, in which Moore defends innovative, demanding novelists against their conservative critics, the book relaxes into a world tour of the premodern novel, beginning in ancient Egypt and ending in 16th-century China, with many exotic ports-of-call: Greek romances; Roman satires; medieval Sanskrit novels narrated by parrots; Byzantine erotic thrillers; 5000-page Arabian adventure novels; Icelandic sagas; delicate Persian novels in verse; Japanese war stories; even Mayan graphic novels. Throughout, Moore celebrates the innovators in fiction, tracing a continuum between these premodern experimentalists and their postmodern progeny. Irreverent, iconoclastic, informative, entertaining - "The Novel: An Alternative History" is a landmark in literary criticism that will encourage readers to rethink the novel.

    That is where Garmaine Pitchon was when Hitler ascended to power and unleashed a diabolical scheme to annihilate the Jewish race. Follow along as Eli Gonzalez tells Garmaine story in a vibrant, chilling, and compelling narrative. Always a rambunctious, curious girl, Garmaine found a way to not wear the yellow Star of David and got to experience more than most before Garmaine experienced loss at an epic proportion. Her entire family was murdered, beginning with her grandmother, killed in her own grocery store by a Nazi officer who forced her to make him a sandwich as she walked over her just-murdered beloved grandmother’s warm, flowing blood. Experience the horror of the 9-Day train ride to Auschwitz and become a first hand witness to when it was only Nazi’s and Jews and the veil was pulled off and absolute evil abounded. Yet, there is something about Garmaine’s story, something divine that happened. What was meant to destroy her strengthened her. What was meant to stop her lineage became a force to help desperate mothers years after. When there is a divine purpose for your life and that of your family, no one and nothing can stop it.

    Mythologized and misunderstood, lauded and loathed, a girl from the suburbs who became a proud symbol of cosmopolitanism, Sontag left a legacy of writing on art and politics, feminism and homosexuality, celebrity and style, medicine and drugs, radicalism and Fascism and Freudianism and Communism and Americanism, that forms an indispensable key to modern culture. She was there when the Cuban Revolution began, and when the Berlin Wall came down; in Vietnam under American bombardment, in wartime Israel, in besieged Sarajevo. She was in New York when artists tried to resist the tug of money—and when many gave in. No writer negotiated as many worlds; no serious writer had as many glamorous lovers. Sontag tells these stories and examines the work upon which her reputation was based. It explores the agonizing insecurity behind the formidable public face: the broken relationships, the struggles with her sexuality, that animated—and undermined—her writing. And it shows her attempts to respond to the cruelties and absurdities of a country that had lost its way, and her conviction that fidelity to high culture was an activism of its own. Utilizing hundreds of interviews conducted from Maui to Stockholm and from London to Sarajevo—and featuring nearly one hundred images—Sontag is the first book based on the writer’s restricted archives, and on access to many people who have never before spoken about Sontag, including Annie Leibovitz. It is a definitive portrait—a great American novel in the form of a biography.

    Late Middle Ages-Rebirth, Waning, Calamity? 2. Philip the Fair versus Boniface VIII 3. Fall of the Templars and the Avignon Papacy 4. The Great Papal Schism 5. The Hundred Years War, Part 1 6. The Hundred Years War, Part 2 7. The Black Death, Part 1 8. The Black Death, Part 2 9. Revolt in Town and Country 10. William Ockham 11. John Wycliffe and the Lollards 12. Jan Hus and the Hussite Rebellion 13. Witchcraft 14. Christine de Pizan and Catherine of Siena 15. Gunpowder 16. The Printing Press 17. Renaissance Humanism, Part 1 18. Renaissance Humanism, Part 2 19. The Fall of the Byzantine Empire 20. Ferdinand and Isabella 21. The Spanish Inquisition 22. The Age of Exploration 23. Columbus and the Columbian Exchange 24. When Did the Middle Ages End? Late Middle Ages (24 lectures, 30 minutes/lecture)Course No. 8296 Taught by Philip DaileaderThe College of William and MaryPh.D., Harvard University

    In Reading Comics, critic Douglas Wolk shows us why this is and how it came to be. Wolk illuminates the most dazzling creators of modern comics-from Alan Moore to Alison Bechdel to Dave Sim to Chris Ware-and introduces a critical theory that explains where each fits into the pantheon of art. Reading Comics is accessible to the hardcore fan and the curious newcomer; it is the first book for people who want to know not just what comics are worth reading, but also the ways to think and talk and argue about them.