Beginning with the War of 1812, these selections cover every major American war up to the present and come from both the left and the right, from religious and secular viewpoints. There are many surprises, including a forgotten letter from a Christian theologian urging Confederate President Jefferson Davis to exempt Christians from the draft and a speech by Abraham Lincoln opposing the 1848 Mexican War. Among others, Daniel Webster, Mark Twain, Andrew Carnegie, Grover Cleveland, Eugene Debs, Robert Taft, Paul Craig Roberts, Patrick Buchanan, and Country Joe and the Fish make an appearance. This first-ever anthology of American antiwar writing offers the full range of the subject's richness and variety.

    Darwin, after all, was a naturalist, not an economist. But Robert Frank, New York Times economics columnist and best-selling author of The Economic Naturalist, predicts that within the next century Darwin will unseat Smith as the intellectual founder of economics. The reason, Frank argues, is that Darwin's understanding of competition describes economic reality far more accurately than Smith's. And the consequences of this fact are profound. Indeed, the failure to recognize that we live in Darwin's world rather than Smith's is putting us all at risk by preventing us from seeing that competition alone will not solve our problems.Smith's theory of the invisible hand, which says that competition channels self-interest for the common good, is probably the most widely cited argument today in favor of unbridled competition--and against regulation, taxation, and even government itself. But what if Smith's idea was almost an exception to the general rule of competition? That's what Frank argues, resting his case on Darwin's insight that individual and group interests often diverge sharply. Far from creating a perfect world, economic competition often leads to "arms races," encouraging behaviors that not only cause enormous harm to the group but also provide no lasting advantages for individuals, since any gains tend to be relative and mutually offsetting.The good news is that we have the ability to tame the Darwin economy. The best solution is not to prohibit harmful behaviors but to tax them. By doing so, we could make the economic pie larger, eliminate government debt, and provide better public services, all without requiring painful sacrifices from anyone. That's a bold claim, Frank concedes, but it follows directly from logic and evidence that most people already accept.

    He then jets forward to the nineteenth century, where systems we can easily recognize as modern bureaucracies come into being. In some areas of life—like with the modern postal systems of Germany and France—these bureaucracies have brought tremendous efficiencies to modern life. But Graeber argues that there is a much darker side to modern bureaucracy that is rarely ever discussed. Indeed, in our own “utopia of rules,” freedom and technological innovation are often the casualties of systems that we only faintly understand.Provocative and timely, the book is a powerful look and history of bureaucracy over the ages and its power in shaping the world of ideas.

    Most of all, Home opens a rare window into our private lives--and how we really want to live.

    RowlingTwo and a half years after Britain voted to leave the European Union, the political debate over Brexit seems as intense and as complicated as ever. Who and what can we trust? And how on earth do we make sense of it all?Ivan Rogers, the UK’s former ambassador to the EU, is uniquely placed to tell some home truths about the failure of the British political class and the flaws, dishonesty and confusion inherent in the UK’s approach to Brexit so far.In this short, elegant essay, Rogers draws up nine lessons that we, as a soon-to-be ‘third country’, need to learn from the last few years, if the next few years – indeed the next decade – are not to be even more painful.

    These fantastic stories have travelled across cultural borders, and been passed down from generation to generation, ever-changing, renewed with each re-telling. Few forms of literature have greater power to enchant us and rekindle our imagination than a fairy tale. But what is a fairy tale? Where do they come from and what do they mean? What do they try and communicate to us about morality, sexuality, and society? The range of fairy tales stretches across great distances and time; their history is entangled with folklore and myth, and their inspiration draws on ideas about nature and the supernatural, imagination and fantasy, psychoanalysis, and feminism. Marina Warner has loved fairy tales over her long writing career, and she explores here a multitude of tales through the ages, their different manifestations on the page, the stage, and the screen. From the phenomenal rise of Victorian and Edwardian literature to contemporary children's stories, Warner unfolds a glittering array of examples, from classics such as Red Riding Hood, Cinderella, and The Sleeping Beauty, the Grimm Brothers' Hansel and Gretel, and Hans Andersen's The Little Mermaid, to modern-day realizations including Walt Disney's Snow White and gothic interpretations such as Pan's Labyrinth. In ten succinct chapters, Marina Warner digs into a rich collection of fairy tales in their brilliant and fantastical variations, in order to define a genre and evaluate a literary form that keeps shifting through time and history. She makes a persuasive case for fairy tale as a crucial repository of human understanding and culture.

    But maps need not just show continents and oceans: there are maps to heaven and hell; to happiness and despair; maps of moods, matrimony, and mythological places. There are maps to popular culture, from Gulliver's Island to Gilligan's Island. There are speculative maps of the world before it was known, and maps to secret places known only to the mapmaker. Artists' maps show another kind of uncharted realm: the imagination. What all these maps have in common is their creators' willingness to venture beyond the boundaries of geography or convention.You Are Here is a wide-ranging collection of such superbly inventive maps. These are charts of places you're not expected to find, but a voyage you take in your mind: an exploration of the ideal country estate from a dog's perspective; a guide to buried treasure on Skeleton Island; a trip down the road to success; or the world as imagined by an inmate of a mental institution. With over 100 maps from artists, cartographers, and explorers, You are Here gives the reader a breath-taking view of worlds, both real and imaginary.

    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.

    Like civilization, play requires structure and participants willing to create within limits. Starting with Plato, Huizinga traces the contribution of Homo Ludens, or "Man the player" through Medieval Times, the Renaissance, and into our modern civilization. Huizinga defines play against a rich theoretical background, using cross-cultural examples from the humanities, business, and politics. Homo Ludens defines play for generations to come."A happier age than ours once made bold to call our species by the name of Homo Sapiens. In the course of time we have come to realize that we are not so reasonable after all as the Eighteenth Century with its worship of reason and naive optimism, though us; "hence moder fashion inclines to designate our species asHomo Faber Man the Maker. But though faber may not be quite so dubious as sapiens it is, as a name specific of the human being, even less appropriate, seeing that many animals too are makers. There is a third function, howver, applicable to both human and animal life, and just as important as reasoning and making--namely, playing. it seems to me that next to Homo Faber, and perhaps on the same level as Homo Sapiens, Homo Ludens, Man the Player, deserves a place in our nomenclature. "--from the Foreward, by Johan Huizinga

    They extend from a region where the audience is pumped for tweets to a future of "neurocurating," in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity.In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age.What can we do when arms manufacturers sponsor museums, and some of the world's most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.

    Challenging the reductionist division of people by race, religion, and class, Sen presents an inspiring vision of a world that can be made to move toward peace as firmly as it has spiraled in recent years toward brutality and war.

    Like many of Lukacs's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukacs's last great work before he turned to Marxism-Leninism.