A New York Times Critics’ Best Nonfiction Book of 2021 Canadian Jewish Literary Award for Biography From a gifted young writer, the story of his quest to reclaim his family’s apartment building in Poland—and of the astonishing entanglement with Nazi treasure hunters that follows Menachem Kaiser’s brilliantly told story, woven from improbable events and profound revelations, is set in motion when the author takes up his Holocaust-survivor grandfather’s former battle to reclaim the family’s apartment building in Sosnowiec, Poland. Soon, he is on a circuitous path to encounters with the long-time residents of the building, and with a Polish lawyer known as “The Killer.” A surprise discovery—that his grandfather’s cousin not only survived the war, but wrote a secret memoir while a slave laborer in a vast, secret Nazi tunnel complex—leads to Kaiser being adopted as a virtual celebrity by a band of Silesian treasure seekers who revere the memoir as the indispensable guidebook to Nazi plunder. Propelled by rich original research, Kaiser immerses readers in profound questions that reach far beyond his personal quest. What does it mean to seize your own legacy? Can reclaimed property repair rifts among the living? Plunder is both a deeply immersive adventure story and an irreverent, daring interrogation of inheritance—material, spiritual, familial, and emotional.

One of The Christian Science Monitor's Ten Best Books of May "A highly original work of history . . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two.” —Roger Lowenstein, The Wall Street Journal A captivatingstudy of Napoleon’s plundering of Europe’s art for the Louvre, told through the story of a Renaissance masterpiece seized from Venice Cynthia Saltzman’s Plunder recounts the fate of Paolo Veronese’s Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers’ space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings. As Saltzman tells the larger story of Napoleon’s looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness—to carry forward the finest aspects of civilization—and his ruthlessness in getting whatever he sought. After Napoleon’s 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre’s plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa. Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.

'One of the most important books I've read in years' Brian Eno We are losing the commons. Austerity and neoliberal policies have depleted our shared wealth; our national utilities have been sold off to foreign conglomerates, social housing is almost non-existent, our parks are cordoned off for private events and our national art galleries are sponsored by banks and oil companies. This plunder deprives us all of our common rights, recognized as far back as the Magna Carta and the Charter of the Forest of 1217, to share fairly and equitably in our public wealth. Guy Standing leads us through a new appraisal of the commons, stemming from the medieval concept of common land reserved in ancient law from marauding barons, to his modern reappraisal of the resources we all hold in common - a brilliant new synthesis that crystallises quite how much public wealth has been redirected to the 1% in recent decades through the state-approved exploitation of everything from our land to our state housing, health and benefit systems, to our justice system, schools, newspapers and even the air we breathe. Plunder of the Commons proposes a charter for a new form of commoning, of remembering, guarding and sharing that which belongs to us all, to slash inequality and soothe our current political instability.

Plunder examines the dark side of the Rule of Law and explores how it has been used as a powerful political weapon by Western countries in order to legitimize plunder – the practice of violent extraction by stronger political actors victimizing weaker ones. Challenges traditionally held beliefs in the sanctity of the Rule of Law by exposing its dark side Examines the Rule of Law's relationship with 'plunder' – the practice of violent extraction by stronger political actors victimizing weaker ones – in the service of Western cultural and economic domination Provides global examples of plunder: of oil in Iraq; of ideas in the form of Western patents and intellectual property rights imposed on weaker peoples; and of liberty in the United States Dares to ask the paradoxical question – is the Rule of Law itself illegal?

In Sacred Plunder, David Perry argues that plundered relics, and narratives about them, played a central role in shaping the memorial legacy of the Fourth Crusade and the development of Venice’s civic identity in the thirteenth century. After the Fourth Crusade ended in 1204, the disputes over the memory and meaning of the conquest began. Many crusaders faced accusations of impiety, sacrilege, violence, and theft. In their own defense, they produced hagiographical narratives about the movement of relics—a medieval genre called translatio—that restated their own versions of events and shaped the memory of the crusade. The recipients of relics commissioned these unique texts in order to exempt both the objects and the people involved with their theft from broader scrutiny or criticism. Perry further demonstrates how these narratives became a focal point for cultural transformation and an argument for the creation of the new Venetian empire as the city moved from an era of mercantile expansion to one of imperial conquest in the thirteenth century.

For the second time this decade, the U.S. economy id sinking into a recession due to the collapse of a financial bubble. The most recent calamity will lead to a downturn deeper and longer than the stock market crash of 2001. Dean Baker's Plunder and Blunder chronicles the growth and collapse of the stock and housing bubbles and explains how policy blunders and greed led to the catastrophic --but completely predictable --market meltdowns. An expert guide to recent economic history, Baker offers policy prescriptions to help prevent similar financial disasters.

"Published by the University of Nebraska Press as a Jewish Publication Society book"-Title page verso.

DANNY SCHECHTER, "The News Dissector" has spent decades as a truth teller in the media, with leading media companies and as an independent filmmaker with the award-winning independent company Globalvision. A graduate of Cornell and the London School of Economics, Schechter was a Nieman Fellow at Harvard and a multiple Emmy Award winner at ABC News, where he was among the first to cover the S&L crisis. In 2007, his film IN DEBT WE TRUST was the first to expose Wall Street's connection to subprime loans, predicting the economic crisis that this book investigates. Schechter is a blogger, editor of Mediachannel.org, and author of nine books. He has reported from 53 countries, and lives in Gotham. He owns no derivatives or tranches.

As a Europe grew rich in the Middle Ages, the well-made clothes, linens, and wares of households often substituted for hard currency. Pawnbrokers kept goods in circulation, and sergeants of the law marched into debtors’ homes to seize belongings equal in value to debts owed. David Smail describes a material world on the cusp of modern capitalism.