In this monumental study, acclaimed historian Frank Trentmann unfolds the extraordinary history that has shaped our material world, from late Ming China, Renaissance Italy and the British empire to the present. Astonishingly wide-ranging and richly detailed, Empire of Things explores how we have come to live with so much more, how this changed the course of history, and the global challenges we face as a result.

    Think of Hamlet, trapped in indecision, or Macbeth’s merciless and ultimately self-destructive ambition, or the Machiavellian rise and short reign of Richard III. They are so vital, so alive and real that we can see aspects of ourselves in them. But their world was at once familiar and nothing like our own. In this brilliant work of historical reconstruction Neil MacGregor and his team at the British Museum, working together in a landmark collaboration with the Royal Shakespeare Company and the BBC, bring us twenty objects that capture the essence of Shakespeare’s universe. A perfect complement to A History of the World in 100 Objects, MacGregor’s landmark New York Times bestseller, Shakespeare’s Restless World highlights a turning point in human history. This magnificent book, illustrated throughout with more than one hundred vibrant color photographs, invites you to travel back in history and to touch, smell, and feel what life was like at that pivotal moment, when humankind leaped into the modern age. This was an exhilarating time when discoveries in science and technology altered the parameters of the known world. Sir Francis Drake’s circumnavigation map allows us to imagine the age of exploration from the point of view of one of its most ambitious navigators. A bishop’s cup captures the most sacred and divisive act in Christendom. With A History of the World in 100 Objects, MacGregor pioneered a new way of telling history through artifacts. Now he trains his eye closer to home, on a subject that has mesmerized him since childhood, and lets us see Shakespeare and his world in a whole new light.

    What is beauty? Umberto Eco, among Italy’s finest and most important contemporary thinkers, explores the nature, the meaning, and the very history of the idea of beauty in Western culture. The profound and subtle text is lavishly illustrated with abundant examples of sublime painting and sculpture and lengthy quotations from writers and philosophers. This is the first paperback edition of History of Beauty, making this intellectual and philosophical journey with one of the world’s most acclaimed thinkers available in a more compact and affordable format.From the Trade Paperback edition

    Now Garfield takes on a subject even dearer to our fanatical human hearts: maps.Imagine a world without maps. How would we travel? Could we own land? What would men and women argue about in cars? Scientists have even suggested that mapping—not language—is what elevated our prehistoric ancestors from ape-dom. Follow the history of maps from the early explorers’ maps and the awe-inspiring medieval Mappa Mundi to Google Maps and the satellite renderings on our smartphones, Garfield explores the unique way that maps relate and realign our history—and reflect the best and worst of what makes us human.Featuring a foreword by Dava Sobel and packed with fascinating tales of cartographic intrigue, outsize personalities, and amusing “pocket maps” on an array of subjects from how to fold a map to the strangest maps on the Internet, On the Map is a rich historical tapestry infused with Garfield’s signature narrative flair. Map-obsessives and everyone who loved Just My Type will be lining up to join Garfield on his audacious journey through time and around the globe.

    The result is both a defense of freedom of speech and a critique of the likeability factor that can impede it.

    In a plain meetinghouse a woman stands before her judges. The accusers, girls and young women, are fervent and overexcited. The accused is a poor, unpopular woman who had her first child before she was married. As the trial proceeds the girls begin to wail, tear their clothing, and scream that the woman is hurting them. Some of them expose wounds to the horrified onlookers, holding out the pins that have stabbed them -- pins that appeared as if by magic. Are they acting or are they really tormented by an unseen evil? Whatever the cause, the nightmare has begun: The witch trials will eventually claim twenty-five lives, shatter the community, and forever shape the American social conscience.

    Unknown to most Americans today, this "second Klan" largely flourished above the Mason-Dixon Line—its army of four-to-six-million members spanning the continent from New Jersey to Oregon, its ideology of intolerance shaping the course of mainstream national politics throughout the twentieth century.As prize-winning historian Linda Gordon demonstrates, the second Klan’s enemies included Catholics and Jews as well as African Americans. Its bigotry differed in intensity but not in kind from that of millions of other WASP Americans. Its membership, limited to white Protestant native-born citizens, was entirely respectable, drawn from small businesspeople, farmers, craftsmen, and professionals, and including about 1.5 million women. For many Klanspeople, membership simultaneously reflected a protest against an increasingly urban society and provided an entrée into the new middle class.Never secret, this Klan recruited openly, through newspaper ads, in churches, and through extravagant mass "Americanism" pageants, often held on Independence Day. These "Klonvocations" drew tens of thousands and featured fireworks, airplane stunts, children’s games, and women’s bake-offs—and, of course, cross-burnings. The Klan even controlled about one hundred and fifty newspapers, as well as the Cavalier Motion Picture Company, dedicated to countering Hollywood’s "immoral"—and Jewish—influence. The Klan became a major political force, electing thousands to state offices and over one hundred to national offices, while successfully lobbying for the anti-immigration Reed-Johnson Act of 1924.As Gordon shows, the themes of 1920s Klan ideology were not aberrant, but an indelible part of American history: its "100% Americanism" and fake news, broadcast by charismatic speakers, preachers, and columnists, became part of the national fabric. Its spokespeople vilified big-city liberals, "money-grubbing Jews," "Pope-worshipping Irish," and intellectuals for promoting jazz, drinking, and cars (because they provided the young with sexual privacy).The Klan’s collapse in 1926 was no less flamboyant, done in by its leaders’ financial and sexual corruption, culminating in the conviction of Grand Dragon David Stephenson for raping and murdering his secretary, and chewing up parts of her body. Yet the Klan’s brilliant melding of Christian values with racial bigotry lasted long after the organization’s decline, intensifying a fear of diversity that has long been a dominant undercurrent of American history.Documenting what became the largest social movement of the first half of the twentieth century, The Second Coming of the Ku Klux Klan exposes the ancestry and helps explain the dangerous appeal of today’s welter of intolerance.

    She doesn’t talk about high finance or managing money; instead, she goes far deeper to explore debt as an ancient and central motif in religion, literature, and the structure of human societies. By looking at how debt has informed our thinking from preliterate times to the present day, from the stories we tell of revenge and sin to the way we order social relationships, Atwood argues that the idea of what we owe may well be built into the human imagination as one of its most dynamic metaphors. Her final lecture addresses the notion of a debt to nature and the need to find new ways of interacting with the natural world before it is too late.

    Spider-Man, the Fantastic Four, Captain America, the Incredible Hulk, the Avengers, Iron Man, Thor, the X-Men, Daredevil—these superheroes quickly won children's hearts and sparked the imaginations of pop artists, public intellectuals, and campus radicals. Over the course of a half century, Marvel's epic universe would become the most elaborate fictional narrative in history and serve as a modern American mythology for millions of readers.Throughout this decades-long journey to becoming a multibillion-dollar enterprise, Marvel's identity has continually shifted, careening between scrappy underdog and corporate behemoth. As the company has weathered Wall Street machinations, Hollywood failures, and the collapse of the comic book market, its characters have been passed along among generations of editors, artists, and writers—also known as the celebrated Marvel "Bullpen." Entrusted to carry on tradition, Marvel's contributors—impoverished child prodigies, hallucinating peaceniks, and mercenary careerists among them—struggled with commercial mandates, a fickle audience, and, over matters of credit and control, one another.For the first time, Marvel Comics reveals the outsized personalities behind the scenes, including Martin Goodman, the self-made publisher who forayed into comics after a get-rich-quick tip in 1939; Stan Lee, the energetic editor who would shepherd the company through thick and thin for decades; and Jack Kirby, the World War II veteran who'd co-created Captain America in 1940 and, twenty years later, developed with Lee the bulk of the company's marquee characters in a three-year frenzy of creativity that would be the grounds for future legal battles and endless debates.Drawing on more than one hundred original interviews with Marvel insiders then and now, Marvel Comics is a story of fertile imaginations, lifelong friendships, action-packed fistfights, reformed criminals, unlikely alliances, and third-act betrayals— a narrative of one of the most extraordinary, beloved, and beleaguered pop cultural entities in America's history.

    Vollmann asks in cities and villages around the globe: "Why are you poor?" In the tradition of James Agee's Let Us Now Praise Famous Men, Vollmann's Poor People struggles to confront poverty in all its hopelessness and brutality, its pride and abject fear, its fierce misery and its quiet resignation. Poor People allows the poor to speak for themselves, explaining the causes and consequences of their impoverishment in their own cultural, social, and religious terms.There is the alcoholic mother in Buddhist Thailand, sure that her poverty is punishment for transgressions in a former life, and her ten-year-old daughter, whose faith in her own innocence gives her hope that her sin in the last life was simply being rich. There is the Siberian-born beggar who pins her woes on a tick bite and a Gypsy curse more than a half century ago, and the homeless, widowed Afghan women who have been relegated to a "respected" but damning invisibility. There are Big and Little Mountain, two Japanese salarymen who lost their jobs suddenly and now live in a blue-tarp hut under a Kyoto bridge. And, most haunting of all, there is the faded, starving beggar-girl, staring empty-eyed on the back steps of Bangkok's Central Railroad Station, whose only response to Vollmann's query is simply, "I think I am rich."The result of Vollmann's fearless journey is a look at poverty unlike any other. Complete with more than 100 powerfully affecting photographs--taken of the interviewees by the author himself--this series of vignettes and searing insights represents a tremendous step toward an understanding of this age-old social ill. With intense compassion and a scrupulously unpatronizing eye, Vollmann invites his readers to recognize in our fellow human beings their full dignity, fallibility, pride, and pain, and the power of their hard-fought resilience.

    Reading it is like unravelling the bandages on a mummy to find the face of the past staring back in all its terrible and poignant humanity’ Financial TimesA groundbreaking account of what it was like to live in a Victorian body from one of our best historians.Why did the great philosophical novelist George Eliot feel so self-conscious that her right hand was larger than her left?Exactly what made Darwin grow that iconic beard in 1862, a good five years after his contemporaries had all retired their razors?Who knew Queen Victoria had a personal hygiene problem as a young woman and the crisis that followed led to a hurried commitment to marry Albert?What did John Sell Cotman, a handsome drawing room operator who painted some of the most exquisite watercolours the world has ever seen, feel about marrying a woman whose big nose made smart people snigger?How did a working-class child called Fanny Adams disintegrate into pieces in 1867 before being reassembled into a popular joke, one we still reference today, but would stop, appalled, if we knew its origins?Kathryn Hughes follows a thickened index finger or deep baritone voice into the realms of social history, medical discourse, aesthetic practise and religious observance – its language is one of admiring glances, cruel sniggers, an implacably turned back. The result is an eye-opening, deeply intelligent, groundbreaking account that brings the Victorians back to life and helps us understand how they lived their lives.

    Beginning with its first publication as a cautionary tale on the perils of seduction, written in reaction to the licentiousness of the court of Louis XIV, Orenstein traces the many lives the tale has lived since then, from its appearance in modern advertisements for cosmetics and automobiles, the inspiration it brought to poets such as Anne Sexton, and its starring role in pornographic films. In Little Red Riding Hood Uncloaked, Red appears as seductress, hapless victim, riot grrrrl, femme fatale, and even she-wolf, as Orenstein shows how through centuries of different guises, the story has served as a barometer of social and sexual mores pertaining to women. Full of fascinating history, generous wit, and intelligent analysis, Little Red Riding Hood Uncloaked proves that the story of one young girl's trip through the woods continues to be one of our most compelling modern myths.

    He first revisits the old stories--Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others--and then holds them up against the life and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Authoritative in its scholarship, loose-limbed in its style, Trickster Makes This World ranks among the great works of modern cultural criticism.

    This book explores examples of this process of invention - the creation of Welsh and Scottish 'national culture'; the elaboration of British royal rituals in the nineteenth and twentieth centuries; the origins of imperial ritual in British India and Africa; and the attempts by radical movements to develop counter-traditions of their own. This book addresses the complex interaction of past and present, bringing together historicans and anthropologists in a fascinating study of ritual and symbolism which possess new questions for the understanding of our history.

    Filled with vivid personalities, gossipy anecdotes, grand houses, and a wealth of period details--plus photographs, illustrations, quotes, and the finer points of Victorian and Edwardian etiquette--To Marry An English Lord is social history at its liveliest and most accessible.