Herbert considers why the Victorian public saw the Indian Mutiny of 1857-59 as an epochal event and offers a view of this episode, and of Victorian imperialist culture more generally.

On May 11, 1857, Hindu and Muslim sepoys massacred British residents and native Christians in Delhi, setting off both the whirlwind of similar violence that engulfed Bengal in the following months and an answering wave of rhetorical violence in Britain, where the uprising against British rule in India was often portrayed as a clash of civilization and barbarity demanding merciless retribution. Although by twentieth-century standards the number of victims was small, the Victorian public saw "the Indian Mutiny" of 1857-59 as an epochal event. In this provocative book, Christopher Herbert seeks to discover why. He offers a view of this episode--and of Victorian imperialist culture more generally--sharply at odds with the standard formulations of postcolonial scholarship. Drawing on a wealth of largely overlooked and often mesmerizing nineteenth-century texts, including memoirs, histories, letters, works of journalism, and novels, War of No Pity shows that the startling ferocity of the conflict in India provoked a crisis of national conscience and a series of searing if often painfully ambivalent condemnations of British actions in India both prior to and during the war. Bringing to light the dissident, disillusioned, antipatriotic strain of Victorian "mutiny writing," Herbert locates in it key forerunners of modern-day antiwar literature and the modern critique of racism.

From a bestselling historian, a daringly revisionist history of World War I The Pity of War makes a simple and provocative argument: the human atrocity known as the Great War was entirely England's fault. According to Niall Ferguson, England entered into war based on naive assumptions of German aims, thereby transforming a Continental conflict into a world war, which it then badly mishandled, necessitating American involvement. The war was not inevitable, Ferguson argues, but rather was the result of the mistaken decisions of individuals who would later claim to have been in the grip of huge impersonal forces. That the war was wicked, horrific, and inhuman is memorialized in part by the poetry of men like Wilfred Owen and Siegfried Sassoon, but also by cold statistics. Indeed, more British soldiers were killed in the first day of the Battle of the Somme than Americans in the Vietnam War. And yet, as Ferguson writes, while the war itself was a disastrous folly, the great majority of men who fought it did so with little reluctance and with some enthusiasm. For anyone wanting to understand why wars are fought, why men are willing to fight them and why the world is as it is today, there is no sharper or more stimulating guide than Niall Ferguson's The Pity of War.

Presents an illustrated collection of poems about the waste, horror, and futility of war as well as the nobility, courage, and sacrifice of individuals in wartime.

“A sensitive look at the social and political barriers that deny disabled people their most basic civil rights.”—The Washington Post “The primer for a revolution.”—The Chicago Tribune “Nondisabled Americans do not understand disabled ones. This book attempts to explain, to nondisabled people as well as to many disabled ones, how the world and self-perceptions of disabled people are changing. It looks at the rise of what is called the disability rights movement—the new thinking by disabled people that there is no pity or tragedy in disability and that it is society’s myths, fears, and stereotypes that most make being disabled difficult.”—from the Introduction

It’s 2003 and the streets of South Central Los Angeles are at war. Elijah “Lil 9-Lives” Hassahn has put his gangster life behind him and is thriving with his family in his newfound wealth; but the past keeps coming back to haunt him. After four years in hiding, Lil Teflon is back with a bloodlust for revenge. Enemies hide in plain sight and an uprising begins. The Tiny Toons, the next generation of gangsters, play hard and fast with the rules, aiming to take the reins of the Nine-Os for themselves. A new threat arises when a major player in the Set is murdered. The finger of blame points in Elijah’s direction, and now he must either swallow his pride and keep the peace or revert to the violent man he used to be. Big 9-Lives and Big Teflon are pulled into the fray to calm the tensions, but lines are blurred between friend and foe. Meanwhile, Elise struggles to find balance in her new life with Elijah, the illicit drug trade, and her tortured past. As loyalties to brothers and friends are tested, Elijah is spinning out of control toward the point of no return. Can he make peace with a childhood friend who wronged him, or will he immerse himself back into the bloodshed of the urban trenches? In this provocative sequel in the Land Of No Pity series, it’s do or die and only the strong will survive.

WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD • AN AMERICAN BOOK AWARD FINALIST • A monumental history that has been hailed by The New York Times as “one of the most original and important books to be written about the war between Japan and the United States.” In this monumental history, Professor John Dower reveals a hidden, explosive dimension of the Pacific War—race—while writing what John Toland has called “a landmark book ... a powerful, moving, and evenhanded history that is sorely needed in both America and Japan.” Drawing on American and Japanese songs, slogans, cartoons, propaganda films, secret reports, and a wealth of other documents of the time, Dower opens up a whole new way of looking at that bitter struggle of four and a half decades ago and its ramifications in our lives today. As Edwin O. Reischauer, former ambassador to Japan, has pointed out, this book offers “a lesson that the postwar generations need most ... with eloquence, crushing detail, and power.”

This book punctures once and for all common excuses for Western inaction in the face of incontrovertible evidence of the most egregious crimes against humanity to occur in Europe since World War II.

Rarely have the horror and tragedy of war been so graphically--and brilliantly--portrayed as in Robert Fisk's epic account of the Lebanon conflict. A Critical scrutiny of a terrible war that has yet to be resolved.