An Economist Best Book of the Year In this timely and lively look at the act of toppling monuments, the popular historian and author of Blood and Sand explores the vital question of how a society remembers—and confronts—the past. In 2020, history came tumbling down. From the US and the UK to Belgium, New Zealand, and Bangladesh, Black Lives Matter protesters defaced, and in some cases, hauled down statues of Confederate icons, slaveholders, and imperialists. General Robert E. Lee, head of the Confederate Army, was covered in graffiti in Richmond, Virginia. Edward Colston, a member of Parliament and slave trader, was knocked off his plinth in Bristol, England, and hurled into the harbor. Statues of Christopher Columbus were toppled in Minnesota, burned and thrown into a lake in Virginia, and beheaded in Massachusetts. Belgian King Leopold II was set on fire in Antwerp and doused in red paint in Ghent. Winston Churchill’s monument in London was daubed with the word “racist.” As these iconic effigies fell, the backlash was swift and intense. But as the past three hundred years have shown, history is not erased when statues are removed. If anything, Alex von Tunzelmann reminds us, it is made. Exploring the rise and fall of twelve famous, yet now controversial statues, she takes us on a fascinating global historical tour around North America, Western and Eastern Europe, Latin America and Asia, filled with larger than life characters and dramatic stories. Von Tunzelmann reveals that statues are not historical records but political statements and distinguishes between statuary—the representation of “virtuous” individuals, usually “Great Men”—and other forms of sculpture, public art, and memorialization. Nobody wants to get rid of all memorials. But Fallen Idols asks: have statues had their day?

The topics covered by this pioneering collection of essays range from peninsular Spanish to Latin American literature, from the eleventh to the twentieth centuries, and from the subject of women as portrayed in Hispanic literature to the literature of Hispanic women writers. Some pieces present polemical feminist arguments, other are more traditional. All the contributors use their subject to take new stands on old controversies, ask new questions, and reevaluate important aspects of Hispanic literature. While there is ample evidence in these essays of the dual archetype in Hispanic literature of women as icon and woman as fallen idol, the collection reaches beyond these stereotypes to more complex sociological and theoretical concerns. Although such research has ben abundantly pursued by scholars of English and American literature, it has been notably absent from Hispanic studies. This anthology is a comprehensive introduction to its subject and a stimulus to further work in the area. Contributors: Fernando Alegría Electa Arenal Julianne Burton Alan Deyermond Rosalie Gimeno Harriet Goldberg Estelle Irizarry Kathleen Kish Luis Leal Linda Gould Levine Melveena McKendrick Francine Masiello Beth Miller Elizabeth Ordóñez Rachel Phillips Marcia L. Welles This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1983.

As inequality skyrockets, economists and politicians alike demand a new economic paradigm to promote the common good. In Cathonomics, Anthony M. Annett draws on economics, Catholic social thought, philosophy, climate science, and psychology to show how readers of all faiths and backgrounds can work together to create a more just economy.

This major study ranges over British director Reed's entire career, combining observation of general trends and patterns with detailed analysis of twenty films, both acknowledged masterpieces and lesser-known works. Films examined include Bank Holiday, A Girl Must Live, Odd Man Out, The Fallen Idol, The Third Man, Night Train to Munich, The Way Ahead, Outcast of the Islands, Trapeze and Oliver!.

"Douglas Adams possessed one of the twentieth century's great imaginations. He was clever, funny, prescient, child-like and - to the dismay of some contemporaries - a polymath who combined intellect with a sense of wonder. The Hitchhiker's Guide to the Galaxy was both intimate and cosmic, bleak and funny, frivolous yet philosophical. In 1978 it sneaked out on BBC radio, but news of it cascaded through the public by word of mouth. Soon it reappeared in many incarnations, including a towel. Douglas Adams's books went on to sell 17 million copies. He created his own world which cast a sideways light on the one we inhabit; it never looked the same again." "He was a big man who gave the big things in life their proper due. Adams wrote sublimely, but he found the process agonising and developed a talent for displacement almost as inventive as his prose. His childhood was unusual, his enthusiasms overwhelming, his gift for friendship immense and his private life intense. He achieved success early and soon found himself in demand as a thinker in the realms of science and the arts. Building bridges between them was one of his missions." "Nick Webb's friendship with Douglas Adams began with the first novel, and grew through a shared interest in science. His definitive portrait has been drawn up with the help of family and mutual friends, many of whom have spoken with frankness of people who for years have also known the author. The result is a privileged vantage point from which to share a revealing and affectionate view of an astonishing man."--BOOK JACKET.

Libby I found Killian drunk and sprawled out on my lawn like some lost prince. With the face of a god and the arrogance to match, the pest won’t leave. Sexy, charming, and just a little bit dirty, he’s slowly wearing me down, making me crave more. He could be mine if I dare to claim him. Problem is, the world thinks he’s theirs. How do you keep an idol when everyone is intent on taking him away? Killian As lead singer for the biggest rock band in the world, I lived a life of dreams. It all fell apart with one fateful decision. Now everything is in shambles. Until Liberty. She’s grouchy, a recluse —and kind of cute. Scratch that. When I get my hands on her, she is scorching hot and more addictive than all the fans who’ve screamed my name. The world is clamoring for me to get back on stage, but I’m not willing to leave her. I’ve got to find a way to coax the hermit from her shell and keep her with me. Because, with Libby, everything has changed. Everything.

A Fallen Idol Is Still a God elucidates the historical distinctiveness and significance of the seminal nineteenth-century Russian poet, playwright, and novelist Mikhail Iurevich Lermontov (1814-1841). It does so by demonstrating that Lermontov's works illustrate the condition of living in an epoch of transition. Lermontov's particular epoch was that of post-Romanticism, a time when the twilight of Romanticism was dimming but the dawn of Realism had yet to appear. Through close and comparative readings, the book explores the singular metaphysical, psychological, ethical, and aesthetic ambiguities and ambivalences that mark Lermontov's works, and tellingly reflect the transition out of Romanticism and the nature of post-Romanticism. Overall, the book reveals that, although confined to his transitional epoch, Lermontov did not succumb to it; instead, he probed its character and evoked its historical import. And the book concludes that Lermontov's works have resonance for our transitional era in the early twenty-first century as well.

'Superbly told' The Times 'Richly imagined' Sunday Times 'An engrossing, seamlessly written deliberation on the enduring power of art' Mail on Sunday Assyria, in the reign of Ashurbanipal. For Aurya and Sharo, every day is a struggle for survival. One evening, everything changes. Soon, they are on the barge of King Ashurbanipal, bound for the city of Nineveh. Their fates become inextricably bound to that of the king – and the injured lion captured by his men. Twenty-six centuries later, British-Iraqi archaeologist Katya joins a dig in Mosul to protect the ancient ruins of Nineveh from looters. But the real world crashes in to their studious idyll when ISIL storm Mosul – and take Katya, Salim and local girl Lola hostage. 'Dual timeline novels often fail: one strand is more interesting than the other, or the links between the two are contrived. Not here. Both stories are superbly told and share the same preoccupation – the coexistence of cruelty and creative beauty' The Times, Historical Novel of the Month