But the myth of darkness obscures the truth; this was a remarkable period in human history. The Bright Ages recasts the European Middle Ages for what it was, capturing this 1,000-year era in all its complexity and fundamental humanity, bringing to light both its beauty and its horrors. The Bright Ages takes us through ten centuries and crisscrosses Europe and the Mediterranean, Asia and Africa, revisiting familiar people and events with new light cast upon them. We look with fresh eyes on the Fall of Rome, Charlemagne, the Vikings, the Crusades, and the Black Death, but also to the multi-religious experience of Iberia, the rise of Byzantium, and the genius of Hildegard and the power of queens. We begin under a blanket of golden stars constructed by an empress with Germanic, Roman, Spanish, Byzantine, and Christian bloodlines and end nearly 1,000 years later with the poet Dante—inspired by that same twinkling celestial canopy—writing an epic saga of heaven and hell that endures as a masterpiece of literature today.  The Bright Ages reminds us just how permeable our manmade borders have always been and of what possible worlds the past has always made available to us. The Middle Ages may have been a world “lit only by fire” but it was one whose torches illuminated the magnificent rose windows of cathedrals, even as they stoked the pyres of accused heretics.  The Bright Ages is illustrated throughout with high-resolution images.

    Fighting to the last under a relentless bombardment as government troops stormed the city, they died like men too.History has seen many such arts of courage, daring, and self-sacrifice by women like these. These traits are to be found today, in the opening years of the 21st century, in such women as US Army helicopter pilot Major Tammy Duckworth, who lost both her legs when her Black Hawk was shot down in Iraq in 2004 and Colonel Martha McSally who flew A-10 ground-attack missions in Afghanistan and became the first woman to command a United States Air Force combat squadron.

    Yet, as bestselling biographer Sarah Bradford reveals in this breathtaking new portrait, the truth is far more fascinating than the myth. Neither a vicious monster nor a seductive pawn, Lucrezia Borgia was a shrewd, determined woman who used her beauty and intelligence to secure a key role in the political struggles of her day.Drawing from a trove of contemporary documents and fascinating firsthand accounts, Bradford brings to life the art, the pageantry, and the dangerous politics of the Renaissance world Lucrezia Borgia helped to create.

    Using firsthand documents uncovered in the archives of a London foundling hospital, Barret-Ducrocq offers a marvelously acute census of Victorian sexual and moral attitudes.

    A charismatic leader, a warrior whose prowess in battle earned him the epithet Whiteblade, an exiled prince who returned to claim his birthright, the inspiration for Tolkien's Aragorn. Oswald of Northumbria was the first great English monarch, yet today this legendary figure is all but forgotten. In this panoramic portrait of Dark Age Britain, archaeologist and biographer Max Adams returns the king in the North to his rightful place in history.

    She wrote it but she shouldn't have. She wrote it but look what she wrote about. She wrote it but she isn't really an artist, and it isn't really art. She wrote it but she had help. She wrote it but she's an anomaly. She wrote it BUT..." How to Suppress Women's Writing is a meticulously researched and humorously written "guidebook" to the many ways women and other "minorities" have been barred from producing written art. In chapters entitled "Prohibitions," "Bad Faith," "Denial of Agency," Pollution of Agency," "The Double Standard of Content," "False Categorization," "Isolation," "Anomalousness," "Lack of Models," Responses," and "Aesthetics" Joanna Russ names, defines, and illustrates those barriers to art-making we may have felt but which tend to remain unnamed and thus insolvable.

    Anna Karenina, Clarissa Dalloway, Daisy Buchanan...each seems to live on the page through celebrated artist Samantha Hahn's evocative portraits and hand-lettered quotations, with the pairing of art and text capturing all the spirit of the character as she was originally written. The book itself evokes vintage grace re-imagined for contemporary taste, with a cloth spine silk-screened in a graphic pattern, debossed cover, and pages that turn with the tactile satisfaction of watercolour paper. In the hand and in the reading, here is a new classic for the book lover's library.

    Many have survived because of an author’s status—part of the reason we have so much of Chaucer’s writing, for example, is because he was a London-based government official first and a poet second. Other works by the less influential have narrowly avoided ruin, like the book of illiterate Margery Kempe, found in a country house closet, the cover nibbled on by mice. Scholar Mary Wellesley recounts the amazing origins of these remarkable manuscripts, surfacing the important roles played by women and ordinary people—the grinders, binders, and scribes—in their creation and survival.  The Gilded Page is the story of the written word in the manuscript age. Rich and surprising, The Gilded Page shows how the most exquisite objects ever made by human hands came from unexpected places.

    Established by papal bull in 1478, the first task of the Spanish Inquisition was to question Jewish converts to Christianity and to expose and execute those found guilty of reversion. Authorities then turned on Spanish Jews in general, sending 300,000 into exile. Next in line were humanists and Lutherans. No rank was exempt. Children informed on their parents, merchants on their rivals, and priests upon their bishops. Those denounced were guilty unless they could prove their innocence. Nearly 32,000 people were publicly burned at the stake; the “fortunate” ones were flogged, fined, or imprisoned.Joseph Pérez tells the history of the Spanish Inquisition from its medieval beginnings to its nineteenth-century ending. He discovers its origins in fear and jealousy and its longevity in usefulness to the state. He explores the inner workings of its councils, and shows how its officers, inquisitors, and leaders lived and worked. He describes its techniques of interrogation and torture, and shows how it refined displays of punishment as instruments of social control. The author ends his fascinating account by assessing the impact of the Inquisition over three and a half centuries on Spain’s culture, economy, and intellectual life.

    “We Have Always Fought” is the title of the first blog post to be nominated for a Hugo Award, and is included in this collection.

    Focusing on 'normal' sexual activity as well as what was seen as transgressive, the chapters cover topics such as chastity, sex within marriage, the role of the church, and non-reproductive activity.Sexuality in Medieval Europe is essential reading for all those who study medieval history, or who have an interest in the way sexuality and sexual identity have been viewed in the past.

    * Tom Holland, author of RUBICON and PERSIAN FIRE, gives a thrilling panoramic account of the birth of the new Western Europe in the year 1000

    Young women live by feminism's goals, yet feminism itself is undeniably at a crossroads; "girl power" feminists appear to be obsessed with personal empowerment at the expense of politics while political institutions such as Ms. and NOW are so battle weary they've lost their ability to speak to a new generation. In Manifesta, Jennifer Baumgardner and Amy Richards show the snags in each feminist hub--from the dissolution of riot grrrls into the likes of the Spice Girls, to older women's hawking of young girls' imperiled self-esteem, to the hyped hatred of feminist thorns like Katie Roiphe and Naomi Wolf--and prove that these snags have not, in fact, torn feminism asunder. In an intelligent and incendiary argument, Baumgardner and Richards address issues instead of feelings and the political as well as the personal. They describe the seven deadly sins the media commits against feminism, provide keys to accessible and urgent activism, discuss why the ERA is still a relevant and crucial political goal, and spell out what a world with equality would look like. They apply Third Wave confidence to Second Wave consciousness, all the while maintaining that the answer to feminism's problems is still feminism.

    Exploring topics ranging from language and gender to the politics of work and family, Gender and the Politics of History is a crucial interrogation of the uses of gender as a tool for cultural and historical analysis.The revised edition--in addition to providing a new generation of readers with access to a classic text in feminist theory and history--reassesses the book's fundamental topic: the category of gender. In provocatively arguing that gender no longer serves to destabilize our understanding of sexual difference, the new preface and new chapter open a critical dialogue with the original book.

    Katherine’s sister, Juana of Castile, wife of Philip of Burgundy and mother of the Holy Roman Emperor Charles V, is portrayed as “Juana the Mad,” whose erratic behavior included keeping her beloved late husband’s coffin beside her for years. But historian Julia Fox, whose previous work painted an unprecedented portrait of Jane Boleyn, Anne’s sister, offers deeper insight in this first dual biography of Katherine and Juana, the daughters of Spain’s Ferdinand and Isabella, whose family ties remained strong despite their separation. Looking through the lens of their Spanish origins, Fox reveals these queens as flesh-and-blood women—equipped with character, intelligence, and conviction—who are worthy historical figures in their own right.When they were young, Juana’s and Katherine’s futures appeared promising. They had secured politically advantageous marriages, but their dreams of love and power quickly dissolved, and the unions for which they’d spent their whole lives preparing were fraught with duplicity and betrayal. Juana, the elder sister, unexpectedly became Spain’s sovereign, but her authority was continually usurped, first by her husband and later by her son. Katherine, a young widow after the death of Prince Arthur of Wales, soon remarried his doting brother Henry and later became a key figure in a drama that altered England’s religious landscape.Ousted from the positions of power and influence they had been groomed for and separated from their children, Katherine and Juana each turned to their rich and abiding faith and deep personal belief in their family’s dynastic legacy to cope with their enduring hardships. Sister Queens is a gripping tale of love, duty, and sacrifice—a remarkable reflection on the conflict between ambition and loyalty during an age when the greatest sin, it seems, was to have been born a woman.