But when you are a boy, the whole world can be your home. Men build houses and ships and sail off to discover strange new lands. But women must stay indoors, sewing stitches so fine that no one will ever see them. Our work is only visible if we do it badly. Aunt Elinor says I must be ladylike, like Sabine. But I will never be like Sabine in a thousand years...

    The celebrated author explores new ways to view ourselves and the society we live in, and gives us fresh answers to such enduring questions as how to think for ourselves and understand what we know.

    But that year, at age forty-two, he found his footing again, finishing a play he had begun the previous autumn—King Lear—then writing two other great tragedies, Macbeth and Antony and Cleopatra.It was a memorable year in England as well—and a grim one, in the aftermath of a terrorist plot conceived by a small group of Catholic gentry that had been uncovered at the last hour. The foiled Gunpowder Plot would have blown up the king and royal family along with the nation’s political and religious leadership. The aborted plot renewed anti-Catholic sentiment and laid bare divisions in the kingdom.It was against this background that Shakespeare finished Lear, a play about a divided kingdom, then wrote a tragedy that turned on the murder of a Scottish king, Macbeth. He ended this astonishing year with a third masterpiece no less steeped in current events and concerns: Antony and Cleopatra.The Year of Lear sheds light on these three great tragedies by placing them in the context of their times, while also allowing us greater insight into how Shakespeare was personally touched by such events as a terrible outbreak of plague and growing religious divisions. For anyone interested in Shakespeare, this is an indispensable book.

    What Alexis de Tocquevillecalled the “township”—that unique locus of the power ofcitizens—has been replaced. But with what? In a work thatcombines rich history and keen sociological observation,Marc Dunkelman identifies an epochal shift in the structureof American life. Routines that once put doctors and lawyersin touch with grocers and plumbers have withered as technologyallows us to connect exclusively with a more selectgroup. The rhythms that compelled us to understand thepeople living across town have disappeared. In their placeare new patterns that confound our ability to compromise inpolitics, innovate within the private sector, and care properlyfor the most vulnerable. But the American Age has not yetended, and The Vanishing Neighbor argues that to win thefuture we need to adapt yesterday’s institutions to the realitiesof the twenty-first-century American community.

    

    Edited by a team of exceptional scholars and teachers, this anthology opens an extraordinary tradition in drama to new readers and audiences."

    When her mother begs Rose to save herself, Rose must weigh the terror of death against the pain of life on her own. First published in 1993, The Burning Time is an unrelenting examination of cruelty and injustice.Set in France in the sixteenth century, The Burning Time tells the story of a young girl whose mother is accused of being a witch. In her village, everyone is suspect. An accusation is enough to bring arrest, shame, even torture. Rose Rives cannot understand how the authorities--from the magistrate to the village priest--can encourage the villagers to denounce their neighbours as witches. Rose's simple life is shattered when her mother, who has been a midwife and a healer to half of the families in town, is turned over to the authorities. Struggling to free her mother, Rose finds herself pitted against some of the people she trusted the most. The Burning Time is an unrelenting examination of the cruelty and injustice committed against women through all ages and the courage some women have found to speak out.

    

    “Rome at the turn of the 16th century – a city of opulence, violence, intrigue, and lust – the worldly and decadent “City of God.” This is the Rome of the Borgias, where Pope Alexander VI holds court with his mistress, the divine Giulia, at his side; where his daughter Lucrezia, twice-widowed at the age of twenty, consoles herself (it is said) in her brother’s arms; where the once lovely and powerful Caterina Sforza now keeps company with rats in the putrid dungeons of the Sant ‘ Angelo, awaiting her freedom --- or the garrotte….”

    Living in the small town of Harper, Louisiana with a mama as free-spirited as hers has led to lots of gossipy small talk and mean rumors. But now Mama is gone, and all the townsfolk can talk about is who she might have run off with.Nissa's memories of the Sundays her mama would come home smelling of sawdust lead her to suspect some of the rumors could be true. Did her Mama go away with The Sawdust Man? And if so, does it mean she's never coming back?

    Through her story, Fuentes writes the journal of the Mexican twentieth century, supporting his novel with facts and characters that define the shape of today's Mexico.

    The Boys' Club is the must-read inside story behind the power and politics of AFL, Australia's biggest sport.Revealing how the fledgling state administrative body evolved into the Australian Football League and its meteoric rise to become one of the richest and most powerful organisations in the land, award-winning investigative journalist Mick Warner delivers a fascinating insight into key figures and their networks.Tracking the rise of the game and the AFL figureheads, The Boys' Club lifts the lid on the scandals, secrets and deal making that have shaped the Australian game.

    This classic work of the sixteenth century political philosopher, in reply to Machiavelli's The Prince, seeks to answer the question of why people submit to the tyranny of government, and as such, has exerted an important influence on the traditions of dissidence from Thoreau and Ralph Waldo Emerson, to Tolstoy, to Gandhi.

    We see Leonardo, having just completed The Last Supper, and being celebrated by all of Florence for his miraculous portrait of the wife of a textile manufacturer. That painting—the Mona Lisa—being called the most lifelike anyone had ever seen yet, more divine than human, was captivating the entire Florentine Republic.And Michelangelo, completing a commissioned statue of David, the first colossus of the Renaissance, the archetype hero for the Republic epitomizing the triumph of the weak over the strong, helping to reshape the public identity of the city of Florence and conquer its heart.In The Lost Battles, published in England to great acclaim (“Superb”—The Observer; “Beguilingly written”—The Guardian), Jonathan Jones brilliantly sets the scene of the time—the politics; the world of art and artisans; and the shifting, agitated cultural landscape. We see Florence, a city freed from the oppressive reach of the Medicis, lurching from one crisis to another, trying to protect its liberty in an Italy descending into chaos, with the new head of the Republic in search of a metaphor that will make clear the glory that is Florence, and seeing in the commissioned paintings the expression of his vision.Jones reconstructs the paintings that Leonardo and Michelangelo undertook—Leonardo’s Battle of Anghiari, a nightmare seen in the eyes of the warrior (it became the first modern depiction of the disenchantment of war) and Michelangelo’s Battle of Cascina, a call to arms and the first great transfiguration of the erotic into art. Jones writes about the competition; how it unfolded and became the defining moment in the transformation of “craftsman” to “artist”; why the Florentine government began to fall out of love with one artist in favor of the other; and how—and why—in a competition that had no formal prize to clearly resolve the outcome, the battle became one for the hearts and minds of the Florentine Republic, with Michelangelo setting out to prove that his work, not Leonardo’s, embodied the future of art. Finally, we see how the result of the competition went on to shape a generation of narrative paintings, beginning with those of Raphael.A riveting exploration into one of history’s most resonant exchanges of ideas, a rich, fascinating book that gives us a whole new understanding of an age and those at its center.

    Its author, born to an established middle-class family, was no prince himself. Machiavelli (1469–1527) worked as a courtier and diplomat for the Republic of Florence and enjoyed some small fame in his time as the author of bawdy plays and poems. Upon the Medici's return to power, however, he found himself summarily dismissed from the government he had served for decades and exiled from the city where he was born.In this discerning new biography, Ross King rescues Machiavelli's legacy from caricature, detailing the vibrant political and social context that influenced his thought and underscoring the humanity of one of history's finest political thinkers. Ross King's Machiavelli visits fortune-tellers, produces wine on his Tuscan estate, travels Europe tirelessly on horseback as a diplomatic envoy, and is a passionate scholar of antiquity—but above all, a keen observer of human nature.