Steven Barnes delivers the explosive follow-up to his groundbreaking alternate history novel Lion's Blood in Zulu Heart, a tale of racial unrest in a reimagined America circa 1860. Set in the late 1800s in an alternate universe in which Africa colonized the Americas, Zulu Heart continues the stories of two men from very different backgrounds. Kai is a politically important Ethiopian nobleman; Aidan, a white Irishman who was until recently Kai's slave. But just as the promise of freedom has separated these two men's fates, racial discourse is about to reunite them. A rebellion is building toward civil war. Loyalties are being drawn along the lines of homelands, namely Egypt and Ethiopia, and causing the New World to be torn into a North and a South—with Kai and Aidan caught in the crossfire.

Tracing the transformation of early modern academics into modern researchers from the Renaissance to Romanticism, Academic Charisma and the Origins of the Research University uses the history of the university and reframes the "Protestant Ethic" to reconsider the conditions of knowledge production in the modern world. William Clark argues that the research university—which originated in German Protestant lands and spread globally in the nineteenth and twentieth centuries—developed in response to market forces and bureaucracy, producing a new kind of academic whose goal was to establish originality and achieve fame through publication. With an astonishing wealth of research, Academic Charisma and the Origins of the Research University investigates the origins and evolving fixtures of academic life: the lecture catalogue, the library catalog, the grading system, the conduct of oral and written exams, the roles of conversation and the writing of research papers in seminars, the writing and oral defense of the doctoral dissertation, the ethos of "lecturing with applause" and "publish or perish," and the role of reviews and rumor. This is a grand, ambitious book that should be required reading for every academic.

The histories of Rome by Sallust, Livy, Tacitus and others shared the desire to demonstrate their practical applications and attempted to define the significance of the empire. Politics and military activity were the central subjects of these histories. Roman historians' claims to telling the truth probably meant they were denying bias rather than conforming to the modern tendency to be objective.

Known for her portraits of family, friends, writers, poets, artists, students, singers, salesmen, activists, and more, Alice Neel created forthright, intimate, and, at times, humorous paintings that quietly engaged with political and social issues. In Alice Neel, Uptown, writer and curator Hilton Als brings together a body of paintings and works on paper of African-Americans, Latinos, Asians, and other people of color for the first time. Highlighting the innate diversity of Neel’s approach, the selection looks at those whose portraits are often left out of the art-historical canon and how this extraordinary painter captured them; “what fascinated her was the breadth of humanity that she encountered,” Als writes. The publication, which opens with a foreword by Jeremy Lewison, advisor to The Estate of Alice Neel, explores Neel’s interest in the diversity of uptown New York and the variety of people amongst whom she lived. This group of portraits includes well-known figures such as playwright, actress, and author Alice Childress; the sociologist Horace R. Cayton, Jr.; the community activist Mercedes Arroyo; and the widely published academic Harold Cruse; alongside more anonymous individuals of a nurse, a ballet dancer, a taxi driver, a businessman, and a local kid who ran errands for Neel. In short and illuminating texts on specific works written in his characteristic narrative style, Als writes about the history of each sitter and offers insights into Neel and her work, while adding his own perspective. A contemporary and personal approach to the artist’s oeuvre, Als’s project is “an attempt to honor not only what Neel saw, but the generosity of her seeing.” This catalogue is published on the occasion of the 2017 exhibitions of Neel’s paintings and drawings at David Zwirner, New York, and Victoria Miro, London.

A comprehensive presentation of the ancient and diverse artifacts from the American Academy in Rome's collection.