Traces Napoleon's rise to power, early mistakes, and military campaigns, while considering the emperor's darker side and the lengths to which he went to establish himself as a legitimate ruler.

In the history of post-colonial Latin America no person has held power so firmly and for so long as did Pedro II as emperor of Brazil. This is the first full-length biography in 60 years, and the first in any language to make close use of Pedro II's diaries and family papers.

Portrayed by Leonardo DiCaprio in the Martin Scorsese movie The Aviator, Howard Hughes is legendary as a playboy and pilot—but he is notorious for what he became: the ultimate mystery man. Citizen Hughes is the New York Times bestselling exposé of Hughes’s hidden life, and a stunning revelation of his “megalomaniac empire in the emperor’s own words” (Newsweek). At the height of his wealth, power, and invisibility, the world’s richest and most secretive man kept what amounted to a diary. The billionaire commanded his empire by correspondence, scrawling thousands of handwritten memos to unseen henchmen. It was the only time Howard Hughes risked writing down his orders, plans, thoughts, fears, and desires. Hughes claimed the papers were so sensitive—“the very most confidential, almost sacred information as to my innermost activities”—that not even his most trusted aides or executives were allowed to keep the messages he sent them. But in the early-morning hours of June 5, 1974, unknown burglars staged a daring break-in at Hughes’s supposedly impregnable headquarters and escaped with all the confidential files. Despite a top-secret FBI investigation and a million-dollar CIA buyback bid, none of the stolen secret papers were ever found—until investigative reporter Michael Drosnin cracked the case. In Citizen Hughes, Drosnin reveals the true story of the great Hughes heist—and of the real Howard Hughes. Based on nearly ten thousand never-before-published documents, more than three thousand in Hughes’s own handwriting, Citizen Hughes is far more than a biography, or even an unwilling autobiography. It is a startling record of the secret history of our times.

In Missing, Sunaina Marr Maira explores how young South Asian Muslim immigrants living in the United States experienced and understood national belonging (or exclusion) at a particular moment in the history of U.S. imperialism: in the years immediately following September 11, 2001. Drawing on ethnographic research in a New England high school, Maira investigates the cultural dimensions of citizenship for South Asian Muslim students and their relationship to the state in the everyday contexts of education, labor, leisure, dissent, betrayal, and loss. The narratives of the mostly working-class youth she focuses on demonstrate how cultural citizenship is produced in school, at home, at work, and in popular culture. Maira examines how young South Asian Muslims made sense of the political and historical forces shaping their lives and developed their own forms of political critique and modes of dissent, which she links both to their experiences following September 11, 2001, and to a longer history of regimes of surveillance and repression in the United States. Bringing grounded ethnographic analysis to the critique of U.S. empire, Maira teases out the ways that imperial power affects the everyday lives of young immigrants in the United States. She illuminates the paradoxes of national belonging, exclusion, alienation, and political expression facing a generation of Muslim youth coming of age at this particular moment. She also sheds new light on larger questions about civil rights, globalization, and U.S. foreign policy. Maira demonstrates that a particular subjectivity, the “imperial feeling” of the present historical moment, is linked not just to issues of war and terrorism but also to migration and work, popular culture and global media, family and belonging.

From the bestselling, award-winning author of The Buddha in the Attic and The Swimmers, this commanding debut novel paints a portrait of the Japanese American incarceration camps that is both a haunting evocation of a family in wartime and a resonant lesson for our times. On a sunny day in Berkeley, California, in 1942, a woman sees a sign in a post office window, returns to her home, and matter-of-factly begins to pack her family's possessions. Like thousands of other Japanese Americans they have been reclassified, virtually overnight, as enemy aliens and are about to be uprooted from their home and sent to a dusty incarceration camp in the Utah desert. In this lean and devastatingly evocative first novel, Julie Otsuka tells their story from five flawlessly realized points of view and conveys the exact emotional texture of their experience: the thin-walled barracks and barbed-wire fences, the omnipresent fear and loneliness, the unheralded feats of heroism. When the Emperor Was Divine is a work of enormous power that makes a shameful episode of our history as immediate as today's headlines.

Johnson's account of the last years of the Chinese Qing dynasty provides a unique Western perspective on this historic period.

In the early twentieth century China’s most famous commercial artists promoted new cultural and civic values through sketches of idealized modern women in journals, newspapers, and compendia called One Hundred Illustrated Beauties. This genre drew upon a centuries-old tradition of books featuring illustrations of women who embodied virtue, desirability, and Chinese cultural values, and changes in it reveal the foundational value shifts that would bring forth a democratic citizenry in the post-imperial era. The illustrations presented ordinary readers with tantalizing visions of the modern lifestyles that were imagined to accompany Republican China’s new civic consciousness. Citizens of Beauty is the first book to explore the One Hundred Illustrated Beauties in order to compare social ideals during China’s shift from imperial to Republican times. The book contextualizes the social and political significance of the aestheticized female body in a rapidly changing genre, showing how progressive commercial artists used images of women to promote a vision of Chinese modernity that was democratic, mobile, autonomous, and free from the crippling hierarchies and cultural norms of old China.

A fascinating, accessible, and up-to-date history of the Ancient Greeks. Covering the Archaic, Classical, and Hellenistic periods, and centred around the disunity of the Greeks, their underlying cultural unity, and their eventual political unification.