Khushwant Singh tells the story of the land and its people from the earliest time to the present day. In broad, vivid sweeps he encapsulates the saga of the upheavals of a sub-continent over five millennia, and how their interplay over the centuries has molded the India of today. More, Khushwant Singh offers perceptive insights into everything Indian that may catch one's eye or arouse curiosity: its ethnic diversity, religions, customs, philosophy, art and culture, political currents, and the galaxy of men and women who have helped shape its intricately inlaid mosaic. He is also an enlightening guide to much else: India's extensive and varied architectural splendors, its art and classical literature. Khushwant Singh's own fascination with the subject is contagious, showing through on every page, and in every sidelight that he recounts. India: An Introduction holds strong appeal for just about anyone who has more than a passing interest in the country, Indians as well as those who are drawn to it from farther afield. And for a traveller, it is that rare companion: erudite, intelligent, lively

    Despite the extreme risk to himself and his family, he contacted the American Embassy in Bonn, and arranged a secret meeting. From the very start, he made clear that he deplored the Soviet domination of Poland, and believed his country was on the wrong side of the Cold War. Over the next nine years, Kuklinski -- code name "Jack Strong" -- rose quickly in the Polish defense ministry, acting as a liaison to Moscow, and helping to prepare for a "hot war" with the West. But he also lived a life of subterfuge -- of dead drops, messages written in invisible ink, miniature cameras, and secret transmitters. In 1981, he gave the CIA the secret plans to crush Solidarity. Then, about to be discovered, he made a dangerous escape with his family to the West. He still lives in hiding in America. Kuklinski's story is a harrowing personal drama about one man's decision to betray the Communist leadership in order to save the country he loves, and the intense debate it spurred over whether he was a traitor or a patriot. Through extensive interviews and access to the CIA's secret archive on the case, Benjamin Weiser offers an unprecedented and richly detailed look at this secret history of the Cold War.

    you will find that in a period of time which may be measured by years, but may be measured by months, Czechoslovakia will be engulfed in the Nazi régime. We are in the presence of a disaster of the first magnitude ... we have sustained a defeat without a war, the consequences of which will travel far with us along our road ... we have passed an awful milestone in our history, when the whole equilibrium of Europe has been deranged.” – Winston Churchill "My good friends," the mustached, bony man with thick eyebrows and large, strong teeth somewhat reminiscent of those of a horse, shouted to the crowds from the second-floor window of his house at 10 Downing Street, "this is the second time in our history, that there has come back to Downing Street from Germany peace with honor. I believe it is peace for our time." (McDonough, 1998, 70). The man addressing the crowd, British Prime Minister Neville Chamberlain, had just returned from the heart of Nazi Germany following negotiations with Adolf Hitler, and the crowd gathered outside the English leader's house on September 30, 1938 greeted these ringing words with grateful cheers. The piece of paper Chamberlain flourished exultantly seemed to offer permanent amity and goodwill between democratic Britain and totalitarian Germany. In it, Britain agreed to allow Hitler's Third Reich to absorb the Sudeten regions of Czechoslovakia without interference from either England or France, and since high percentages of ethnic Germans – often more than 50% locally – inhabited these regions, Hitler's demand for this territory seemed somewhat reasonable to Chamberlain and his supporters. With Germany resurgent and rearmed after the disasters inflicted on it by the Treaty of Versailles following World War I, the pact – known as the Munich Agreement – held out hope of a quick end to German ambitions and the return of stable, normal international relations across Europe. Of course, the Munich agreement is now notorious because its promise proved barren within a very short period of time. Chamberlain's actions either failed to avert or actually hastened the very cataclysm he wished to avoid at all costs. The "Munich Agreement" of 1938 effectively signed away Czechoslovakia's independence to Hitler's hungry new Third Reich, and within two years, most of the world found itself plunged into a conflict which made a charnelhouse of Europe and left somewhere between 60-80 million people dead globally. Of course, as most people now know, the invasion of Poland was merely the preface to the Nazi blitzkrieg of most of Western Europe, which would include Denmark, Belgium, and France by the summer of 1940. The resistance put up by these countries is often portrayed as weak, and the narrative is that the British stood alone in 1940 against the Nazi onslaught, defending the British Isles during the Battle of Britain and preventing a potential German invasion. In particular, the campaign in Poland is remembered as one in which an antiquated Polish army was quickly pummeled by the world’s most modern army. Polish lancers charging in a valiant yet idiotic attack against German tanks is the only image from the 1939 Nazi-Soviet invasion of Poland remaining in the popular imagination today. Originating as a piece of Nazi propaganda, paradoxically adopted by the Poles as a patriotic myth, the fictional charge obscures the actual events of September 1939.

    Mark Thomas' fourth book is a funny account of a challenge that had national repercussions. The challenge was to perform 100 acts of dissent within the year or donate £1000 to UKIP. (Nothing like a little incentive.) The targets were multiple; from corporate greed and public service inanities to infringements of rights. This is his account of the adventure and is sure to inspire. This book contains many photos and graphics, and so has been produced as a fixed-format colour ebook. It is only recommended for the newer, colour ebook readers.

    What followed was a whirlwind childhood spent among art and artists in the heyday of Abstract Expressionism. Gabrielle grew up in a home full of the most celebrated artists of the day: Rothko, de Kooning, Tinguely, Giacometti, and Christo, among others.Poignant and candid, Unstill Life is a daughter’s memoir of the art world and a larger-than-life father known to the world as Mr. Modern Art. Selz offers a unique window into the glamour and destruction of the times: the gallery openings, wild parties and affairs that defined one of the most celebrated periods in American art history. Like the art he loved, Selz’s father was vibrant and freewheeling, but his enthusiasm for both women and art took its toll on family life. When her father left MoMA and his family to direct his own museum in California, marrying four more times, Selz’s mother, the writer Thalia Selz, moved with her children into the utopian artist community Westbeth. Her parents continued a tumultuous affair that would last forty years.Weaving her family narrative into the larger story of twentieth-century art and culture, Selz paints an unforgettable portrait of a charismatic man, the generation of modern artists he championed and the daughter whose life he shaped.

    Their sound was inventive and tetchy, and front man Jello Biafra’s lyrics were incisive and often scathing. This chronicle—the first in-depth book written about Dead Kennedys—uses dozens of firsthand interviews, photos, and original artwork to offer a new perspective on a group that was mired in controversy almost from its inception. It examines and applauds the band’s key role in transforming punk rhetoric, both polemical and musical, into something genuinely threatening and enormously funny. Author Alex Ogg puts the local and global trajectory of punk into context and, while not flinching from the wildly differing takes the individual band members have on the evolution of the band, attempts to be celebratory—if not uncritical.

    Hidden in the hayloft day and night, Shira struggles to stay still and quiet, as music pulses through her and the farmyard outside beckons. To soothe her daughter and pass the time, Róza tells her a story about a girl in an enchanted garden:The girl is forbidden from making a sound, so the yellow bird sings. He sings whatever the girl composes in her head: high-pitched trills of piccolo; low-throated growls of contrabassoon. Music helps the flowers bloom. In this make-believe world, Róza can shield Shira from the horrors that surround them. But the day comes when their haven is no longer safe, and Róza must make an impossible choice: whether to keep Shira by her side or give her the chance to survive apart.Inspired by the true stories of Jewish children hidden during World War II, Jennifer Rosner’s debut is a breathtaking novel about the unbreakable bond between a mother and a daughter. Beautiful and riveting, The Yellow Bird Sings is a testament to the triumph of hope—a whispered story, a bird’s song—in even the darkest of times.

    Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil.In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner's many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of WEB Du Bois, from O Pioneers! to Apocalypse Now.In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.

    The book is complete with historical annotation, with 340 research notes and 97 reactions and commentaries by Norman Mailer, Tom Wicker, Gerald R. Ford, and many others.

    The arche, or origin, is always also a command, and a beginning is always the first principle that governs and decrees. This is as true for theology, where God not only creates the world but governs and continues to govern through continuous creation, as it is for the philosophical and political tradition according to which beginning and creation, command and will, together form a strategic apparatus without which our society would fall apart.The five essays collected here aim to deactivate this apparatus through a patient archaeological inquiry into the concepts of work, creation, and command. Giorgio Agamben explores every nuance of the arche in search of an an-archic exit strategy. By the book's final chapter, anarchy appears as the secret center of power, brought to light so as to make possible a philosophical thought that might overthrow both the principle and its command.

    Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.

    Introducing art in its international context, this accessible book explores core issues about how art is made, interpreted, and displayed, without any of the unnecessary terminology. Divided into themes, A Short Book About Art presents new ways of thinking about the relationship between artists and their work, as well as fresh comparisons between works of art from different periods and places. Thought-provoking and stimulating, it is the ideal companion for anyone who wants to learn about art without a dictionary in their hands.

    Full of acute observation, uncontrollable humour and a rousing climax.’ - Country Life ‘To his credit Stancomb resists the stereotype of the closed-minded British expatriate.’ - Independent on Sunday - Pick of the paperbacks ‘A thoroughly good read ---An endearing tale of a roller coaster ride.’ - Croatia Online ‘This is not a tale of your usual English couple. This is such a fantastic read ... both humorous and thought provoking.’ - Travellingbookjunkie ‘The author presents this quirky little tale in an honest way, even when he is on the receiving end of a joke. You don’t need to make a break with your past to enjoy this book. It is a fascinating, humorous and totally believable read.’ - Robin’s Reviews ‘A good read. I enjoyed best the humorous bits.’ Tony Rossiter (author of It’s Only a Bloody Game) ‘A good read.’ - Tariq Ali Notes From a Very Small Island is the follow-up to the bestselling ‘Under a Croatian Sun’, which tells the story of a couple upping sticks and leaving their humdrum life in London for blue skies and café life on an island in Croatia. In this second book, the couple continue their attempts to fit in with the village community, but it’s not always easy, and more often than not their endeavours involve them in in hilarious disasters. They also now try to start some projects up, but they have to battle with maddening ex-communist authorities and highly suspicious locals. However, through this, they get to see the crippling legacies that communism and the recent war have left in the lives of their new neighbours. Although largely a light hearted tale, the book is also a heartfelt insight into a community trying to adjust to being members of the EU and the ways of the Western World.

    Banksy is the world's foremost graffiti artist, his work adorning streets, walls and bridges across nations and continents. His stencil designs are instantly recognizable and disturbingly precise in their social and political commentary, flavoured with subtle humour and self-awareness. More popular than ever, Banksy has spawned countless imitators, students and fans alike, his fame - although unlooked-for - inevitably transmitting his ideas and work to the international arena.With a range of topics for the graffiti lover, coming from a variety of inspirational sources, this book provides an overview of how Banksy's work is changing the face of modern art - as well as the urban landscape. Distilling his influence and his genius into an easily accessible full-colour 128 pages, this is the perfect purchase for any fan of Banksy or the graffiti art scene.

    He knows a lot about politics, a lot about foreign policy, and, crucially, is unusually shrewd in understanding how they interact. Here's hoping that his new book will introduce him to an even wider audience. Once you discover him, you'll be hooked.""--E. J. Dionne, author of Souled Out: Reclaiming Faith and Politics After the Religious Right and Why Americans Hate Politics""Matthew Yglesias is one of a handful of bloggers that I make a point of reading every day. Heads in the Sand is a smart, vital book that urges Democrats to stop evading the foreign-policy debate and to embrace the old principles of international liberalism--to be right and also to win.""--Fred Kaplan, author of Daydream Believers: How a Few Grand Ideas Wrecked American Power""Reading foreign policy tomes is seldom included among life's pleasures, but Yglesias has concocted a startling exception. Heads in the Sand is not just a razor-sharp analysis cum narrative of the politics of national security in general and the Iraq war in particular, it's also an enthralling and often very funny piece of writing. Though he administers strong antidotes to the haplessness of his fellow Democrats and liberals, there's more than a spoonful of sugar to help the medicine go down.""--Hendrik Hertzberg, Senior Editor, The New Yorker, and author of Politics: Observations and ArgumentsFast-rising political commentator Matthew Yglesias reveals the wrong-headed foreign policy stance of conservatives, neocons, and the Republican Party for what it is--aggressive nationalism. Writing with wit, passion, and keen insight, Yglesias reminds us of the rich tradition of liberal internationalism that, developed by Democrats, was used with great success by both Democratic and Republican administrations for more than fifty years. He provides a starting point for politicians, policymakers, pundits, and citizens alike to return America to its role as leader of a peace-loving and cooperative international community.