Bøger udgivet af Liveright Publishing Corporation

Tracy King was raised in a house of contradictions-her family was happy and creative, yet shadowed by debt, phobias, her father's alcoholism, and the illusory promises of a born-again Christian church. The uneasy balance of the King household was irrevocably upended on a rainy spring night in 1988, when her father was killed by teenagers just blocks from their public housing estate.Her mother's dysfunctional reliance on the church deepened following the tragedy, and King, suffering from undiagnosed anxiety, stopped attending school. The account of her father's death remained hazy, made worse by the fact that four of the accused teenagers-neighborhood boys she could not avoid-were never charged. What could have triggered such an act of aggression? Clinging to hearsay and what little information she had from the police, King allowed her imagination to fill in the rest.Over the years, in a bid to balm her grief and gaps in formal education, King journeyed through multiple belief systems: she distanced herself from fundamentalism, searching for clarity instead in the occult, paranormal beliefs, and conspiracy theories. Amid the chaos of her coming of age, she stumbled upon a copy of Carl Sagan's The Demon-Haunted World on the shelves of a Birmingham bookshop -a discovery that proved transformative. Sagan's sage caveat, "But I could be wrong," became King's guiding light, empowering her to confront her demons.An eloquently written and often sharply funny account that is ever sensitive to the fallibility of memory and the nuances of truth, Learning to Think is a resounding battle cry for the value of education and the freedom to think critically, imaginatively, and for oneself.

Michael Korda, the best-selling author of Hero and Alone, tells the story of the First World War not in any conventional way but through the intertwined lives of the soldier poets who came to describe it best, and indeed to symbolize the war's tragic arc and lethal fury.His epic narrative begins with Rupert Brooke, "the handsomest young man in England" and perhaps its most famous young poet in the halcyon days of the Edwardian Age, and ends five years later with Wilfred Owen, killed in action at twenty-five, only one week before the armistice. With bitter irony, Owen's mother received the telegram informing her of his death on November 11, just as church bells tolled to celebrate the war's end.Korda's dramatic account, which includes anecdotes from his own family history, not only brings to life the soldier poets but paints an unforgettable picture of life and death in the trenches, and the sacrifice of an entire generation. His cast of characters includes the young American poet Alan Seeger, who was killed in action as a private in the French Foreign Legion; Isaac Rosenberg, whose parents had fled czarist anti-Semitic persecution and who was killed in action at the age of twenty-eight before his fame as a poet and a painter was recognised; Robert Graves and Siegfried Sassoon, whose friendship and friendly rivalry endured through long, complicated private lives; and, finally, Owen, whose fame came only posthumously and whose poetry remains some of the most savage and heartbreaking to emerge from the cataclysmic war.As Korda demonstrates, the poets of the First World War were soldiers, heroes, martyrs, victims, their lives and loves endlessly fascinating-that of Rupert Brooke alone reads like a novel, with his journey to Polynesia in pursuit of a life like Gauguin's and some of his finest poetry written only a year before his tragic death. Muse of Fire is at once a portrait of their lives and a narrative of a civilisation destroying itself, among the rubble, shadows, and the unresolved problems of which we still live, from the revival of brutal trench warfare in Ukraine and in the Middle East.

On a scorching July afternoon in 1878, at the dawn of the Gilded Age, the moon's shadow descended on the American West, darkening skies from Montana Territory to Texas. This rare celestial event-a total solar eclipse-offered a priceless opportunity to solve some of the solar system's most enduring riddles, and it prompted a clutch of enterprising scientists to brave the wild frontier in a gruelling race to the Rocky Mountains. Acclaimed science journalist David Baron, long fascinated by eclipses, re-creates this epic tale of ambition, failure and glory in a narrative that reveals as much about the historical trajectory of a striving young nation as it does about those scant three minutes when the blue sky blackened and stars appeared in mid-afternoon.In vibrant historical detail, American Eclipse animates the fierce jockeying that came to dominate late nineteenth-century American astronomy, bringing to life the challenges faced by three of the most determined eclipse chasers who participated in this adventure. James Craig Watson, virtually forgotten in the twenty-first century, was in his day a renowned asteroid hunter who fantasised about becoming a Gilded Age Galileo. Hauling a telescope, a star chart, and his long-suffering wife out west, Watson believed that he would discover Vulcan, a hypothesised "intra-Mercurial" planet hidden in the sun's brilliance. No less determined was Vassar astronomer Maria Mitchell, who-in an era when women's education came under fierce attack-fought to demonstrate that science and higher learning were not anathema to femininity. Despite obstacles erected by the male-dominated astronomical community, an indifferent government and careless porters, Mitchell courageously charged west with a contingent of female students intent on observing the transcendent phenomenon for themselves. Finally, Thomas Edison-a young inventor and irrepressible showman-braved the wilderness to prove himself to the scientific community. Armed with his newest invention, the tasimeter and pursued at each stop by throngs of reporters, Edison sought to leverage the eclipse to cement his place in history. What he learned on the frontier, in fact, would help him illuminate the world.With memorable accounts of train robberies and Indian skirmishes, David Baron's page-turning drama refracts nineteenth-century science through the mythologised age of the Wild West, revealing a history no less fierce and fantastical.

With a historian's eye and a theorist's ingenuity, Michael Doyle, whose writings on liberal peace have revolutionised modern statesmanship, cogently assesses the tectonic shifts threatening a global order that has held for more than seventy years. As tensions among China, Russia and the US escalate perilously towards a new Cold War, Doyle introduces a radical paradigm that will facilitate the international co-operation necessary to avert the global threats of our time.Combining dramatic history with trenchant analysis and landmark theory, Doyle explores the impacts of cyber-warfare, foreign election meddling and the unprecedented schism of modern politics on American foreign policy. He demonstrates that there can be no success in addressing climate change without China's cooperation, nor any hope of averting nuclear catastrophe without Russia's.In the tradition of Gaddis' The Cold War and Clark's The Sleepwalkers, Cold Peace provides one of the most necessary analyses of global power in decades.

For decades now, Adam Gopnik has been one of our most beloved writers, a brilliantly perceptive critic of art, food, France, and more. But recently, he became obsessed by a more fundamental matter, one he had often meditated on in The New Yorker: How do masters learn their miraculous skill, whether it was drawing a museum-ready nude or baking a perfect sourdough loaf? How could anyone become so good at anything? There seemed to be a fundamental mystery to mastery. Was it possible to unravel it?In The Real Work-the term magicians use for the accumulated craft that makes for a great trick-Gopnik becomes a dedicated student of several masters of their craft: a classical painter, a boxer, a dancing instructor, a driving instructor, and others. Rejecting self-help bromides and bullet points, he nevertheless shows that the top people in any field share a set of common qualities and methods. For one, their mastery is always a process of breaking down and building up-of identifying and perfecting the small constituent parts of a skill and the combining them for an overall effect greater than the sum of those parts. For another, mastery almost always involves intentional imperfection-as in music, where vibrato, a way of not quite landing on the right note, carries maximum expressiveness. Gopnik's simplest and most invigorating lesson, however, is that we are surrounded by mastery. Far from rare, mastery is commonplace, if we only know where to look: from the parent who can whip up a professional strudel to the social worker who-in one of the most personally revealing passages Gopnik has ever written-helps him master his own demons.Spirited and profound, The Real Work will help you understand how mastery can happen in your own life-and, significantly, why each of us relentlessly seeks to better ourselves in the first place.

Anna Fort wants to be a supportive wife, even if that means accompanying her husband for the winter of 1918 to a remote, frozen island estate so he can finish his book as the guest of an eccentric millionaire. When she learns three girls are missing from a school run by their host, Anna realises finding them is up to her-even if that means risking her husband's career and possibly her life.Her husband's masterpiece-in-progress features strange meteorological anomalies along with wild speculations about "facts" he believes scientists hide from the public. Most people think Charles Fort is a crackpot. That's about to change now that wealthy Claude Arkel is his patron.Yet Anna is sure something's not right on Prosper Island, though the alarming return of her "troubles" makes her question her own sanity. Is the figure in the woods really the ghost of her long-lost friend Mary or a product of her disturbed imagination? Accompanied reluctantly by a fellow guest, the elegant and troubled Stella Bixby, Anna embarks on a dangerous quest to find the missing girls before Arkel finds her-or her own mind unravels.A contemporary feminist tale with a dreamlike, gothic setting, King Nyx reintroduces readers, twenty-five years after her acclaimed debut, to one of our most astonishingly imaginative storytellers.

An award-winning novel from one of Ukraine's most prolific contemporary authors, Forgottenness tells a spellbinding story of belonging and uprootedness, as understood by two exiles across time. An exceedingly anxious narrator grapples with a host of conditions, from obsessive-compulsive disorder to a creeping sense of agoraphobia. As her symptoms deepen, she finds unexpected solace researching Viacheslav Lypynskyi (1882-1931), a social and political activist of Polish descent who played a pivotal role in the struggle for Ukrainian independence-and who nursed his own comorbidities. In this long-deceased ideologue the narrator finally finds companionship, mining her country's history in pursuit of a better grasp over her own. Brilliantly translated by Zenia Tompkins, Forgottenness movingly illuminates the intricacies of the Ukrainian experience and announces Tanja Maljartschuk as an essential voice in contemporary world literature.

Following the internationally acclaimed publication of Stitches, David Small emerged as a storied figure in graphic literature, eliciting comparisons to Stan Lee and Alfred Hitchcock. Werewolf at Dusk, appearing fifteen years later, is his homage to ageing-gracefully or otherwise. The three stories in this collection are linked, Small writes, "by the dread of things internal". In the title story, an adaptation of Lincoln Michel's much-loved short, the dread is that of a man who has reached old age with something repellant-even bestial-in his nature. The spectre of old age also haunts the semi-autobiographical story "A Walk in the Old City", with its looming spiders and cascading brain-matter-a dreamscape that gives way to the ominous environs of 1930s Berlin in the final story, a reinterpretation of Jean Ferry's "The Tiger in Vogue". As fluid as manga and rife with unsettling imagery, Werewolf at Dusk affirms Small's place as a modern master of graphic fiction.

Few sporting events attract as much attention, or create as much spectacle, as the Iditarod Trail Sled Dog Race. Each March, despite subzero temperatures and white-out winds, hundreds of dogs and dozens of mushers journey to Anchorage, Alaska, to participate in "The Last Great Race on Earth," a grueling, thousand-mile race across the Alaskan wilderness.While many veterinarians apply, only a small number are approved to examine the elite canine athletes who, using solely their muscle and an innate drive to race, carry handlers between frozen outposts each year, risking injury, illness, and fatigue along the way. In Four Thousand Paws, award-winning veterinarian Lee Morgan-a member of the Iditarod's expert veterinary corps-tells the story of these heroic dogs, following the teams as they traverse deep spruce forests, climb steep mountain slopes, and navigate over ice-bound rivers toward Nome, on the coast of the Bering Sea, where the famed Burled Arch awaits.From the huskies of Iditarods past to the intrepid dogs of today, Morgan shows how these fierce competitors surmount the dangers of the Arctic, aided, along the way, by attentive mushers and volunteer veterinarians. A world away from his Georgetown veterinary clinic, Morgan examines dogs at each checkpoint, and sees how their body language reflects the thrill of the race-and how, when pulled from it, they often refuse to eat. As in any team sport, distinct personalities among the sled dogs create complex group dynamics, and Morgan captures moments of intense rivalry, defeat, camaraderie, and, ultimately, triumph.In the tradition of Why Elephants Weep, Four Thousand Paws is an intimate look inside the animal mind, and an exciting new account of a storied race.

Few, if any, historians have brought such insight, wisdom, and empathy to public discourse as Jill Lepore. Arriving at The New Yorker in 2005, Lepore, with her panoptical range and razor-sharp style, brought a transporting freshness and a literary vivacity to everything from profiles of long-dead writers to urgent constitutional analysis to an unsparing scrutiny of the woeful affairs of the nation itself. The astonishing essays collected in The Deadline offer a prismatic portrait of Americans' techno-utopianism, frantic fractiousness, and unprecedented-but armed-aimlessness. From lockdowns and race commissions to Bratz dolls and bicycles, to the losses that haunt Lepore's life, these essays again and again cross what she calls the deadline, the "river of time that divides the quick from the dead." Echoing Gore Vidal's United States in its massive intellectual erudition, The Deadline, with its remarkable juxtaposition of the political and the personal, challenges the very nature of the essay-and of history-itself.

On the morning of 4 November 2019, an unassuming caravan of women and children was ambushed by masked gunmen on a desolate stretch of road in northern Mexico controlled by the Sinaloa drug cartel. Firing semi-automatic weapons, the attackers killed nine people and gravely injured five more. The victims were members of the LeBaron and La Mora communities-fundamentalist Mormons whose forebears broke from the LDS Church and settled in Mexico when their religion outlawed polygamy in the late nineteenth century. The massacre produced international headlines for weeks and prompted President Donald Trump to threaten to send in the US Army.In The Colony, bestselling investigative journalist Sally Denton picks up where the initial, incomplete reporting on the attacks ended, and delves into the complex story of the LeBaron clan. Their homestead-Colonia LeBaron-is a portal into the past, a place that offers a glimpse of life within a polygamous community on an arid and dangerous frontier in the mid-1800s, though with smartphones and machine guns. Rooting her narrative in written sources as well as interviews with anonymous women from LeBaron itself, Denton unfolds an epic, disturbing tale that spans the first polygamist emigrations to Mexico through the LeBarons' internal blood feud in the 1970s-started by Ervil LeBaron, known as the "Mormon Manson"-and up to the family's recent alliance with the NXIVM sex cult, whose now-imprisoned leader, Keith Raniere, may have based his practices on the society he witnessed in Colonia LeBaron.The LeBarons' tense but peaceful interactions with Sinaloa deteriorated in the years leading up to the ambush. LeBaron patriarchs believed they were deliberately targeted by the cartel. Others suspected that local farmers had carried out the attacks in response to the LeBarons' seizure of water rights for their massive pecan orchards. As Denton approaches answers to who committed the murders, and why, The Colony transforms into something more than a crime story. A descendant of polygamist Mormons herself, Denton explores what drove so many women over generations to join or remain in a community based on male supremacy and female servitude. Then and now, these women of Zion found themselves in an isolated desert, navigating the often-mysterious complications of plural marriage-and supported, Denton shows, only by one another.A mesmerising feat of investigative journalism, The Colony doubles as an unforgettable account of sisterhood that can flourish in polygamist communities, against the odds.

Arriving as a young writer in an ancient Dutch town, Benjamin Moser found himself visiting-casually at first, and then more and more obsessively-the country's great museums. Inside these old buildings, he discovered the remains of the Dutch Golden Age and began to unearth the strange, inspiring, and terrifying stories of the artists who gave shape to one of the most luminous moments in the history of human creativity.Beyond the sainted Rembrandt-who harbored a startling darkness-and the mysterious Vermeer, whose true subject, it turned out, was lurking in plain sight, Moser got to know a whole galaxy of geniuses: the doomed virtuoso Carel Fabritius, the anguished wunderkind Jan Lievens, the deaf prodigy Hendrik Avercamp. And through their artwork, he got to know their country, too: from the translucent churches of Pieter Saenredam to Paulus Potter's muddy barnyards, and from Pieter de Hooch's cozy hearths to Jacob van Ruisdael's tragic trees.Year after year, as he tried to make a life for himself in the Netherlands, Moser found friends among these centuries-dead artists. And he found that they, too, were struggling with the same questions that he was. Why do we make art? What even is art, anyway-and what is an artist? What does it mean to succeed as an artist, and what does it mean to fail? Is art a consolation-or a mortal danger?The Upside-Down World is an invitation to ask these questions, and to turn them on their heads: to look, and then to look again. This is Holland and its great artists as we've never seen them before. And it's a sumptuously illustrated, highly personal coming-of-age-story, twenty years in the making: a revealing self-portrait by one of the most acclaimed writers of his generation.

In her international bestseller SPQR, Mary Beard told the thousand-year story of ancient Rome, from its slightly shabby Iron Age origins to its reign as the undisputed hegemon of the Mediterranean. Now, drawing on more than thirty years of teaching and writing about Roman history, Beard turns to the emperors who ruled the Roman Empire, beginning with Julius Caesar (assassinated 44 BCE) and taking us through the nearly three centuries-and some thirty emperors-that separate him from the boy-king Alexander Severus (assassinated 235 CE).Yet Emperor of Rome is not your typical chronological account of Roman rulers, one emperor after another: the mad Caligula, the monster Nero, the philosopher Marcus Aurelius. Instead, Beard asks different, often larger and more probing questions: What power did emperors actually have? Was the Roman palace really so bloodstained? What kind of jokes did Augustus tell? And for that matter, what really happened, for example, between the emperor Hadrian and his beloved Antinous? Effortlessly combining the epic with the quotidian, Beard tracks the emperor down at home, at the races, on his travels, even on his way to heaven.Along the way, Beard explores Roman fictions of imperial power, overturning many of the assumptions that we hold as gospel, not the least of them the perception that emperors one and all were orchestrators of extreme brutality and cruelty. Here Beard introduces us to the emperor's wives and lovers, rivals and slaves, court jesters and soldiers, and the ordinary people who pressed begging letters into his hand-whose chamber pot disputes were adjudicated by Augustus, and whose budgets were approved by Vespasian, himself the son of a tax collector.With its finely nuanced portrayal of sex, class, and politics, Emperor of Rome goes directly to the heart of Roman fantasies (and our own) about what it was to be Roman at its richest, most luxurious, most extreme, most powerful, and most deadly, offering an account of Roman history as it has never been presented before.

In his time, the Austrian American composer Arnold Schoenberg (1874-1951) was an international icon. His twelve-tone system was considered the future of music itself. Today, however, leading orchestras rarely play his works, and his name is met with apathy, if not antipathy. With this interpretative account, the acclaimed biographer of Toscanini finally restores Schoenberg to his rightful place in the canon, revealing him as one of the twentieth century's most influential composers and teachers. Sachs shows how Schoenberg, a thorny character who composed thorny works, raged against the "Procrustean bed" of tradition. Defying his critics-among them the Nazis, who described his music as "degenerate"-he constantly battled the anti-Semitism that eventually precipitated his flight from Europe to Los Angeles. Yet Schoenberg, synthesising Wagnerian excess with Brahmsian restraint, created a shock wave that never quite subsided and, as Sachs powerfully argues, his compositions must be confronted by anyone interested in the past, present or future of Western music.

There have been countless books, articles, and televised reports in recent years about the almost mythic "white working class," a tide of commentary that has obscured the labor, and even the very existence, of entire groups of working people, including everyday Black workers. In this brilliant corrective, Black Folk, acclaimed historian Blair LM Kelley restores the Black working class to the center of the American story.Spanning two hundred years-from one of Kelley's earliest known ancestors, an enslaved blacksmith, to the essential workers of the Covid-19 pandemic-Black Folk highlights the lives of the laundresses, Pullman porters, domestic maids, and postal workers who established the Black working class as a force in the late nineteenth and early twentieth centuries. Taking jobs white people didn't want and confined to segregated neighborhoods, Black workers found community in intimate spaces, from stoops on city streets to the backyards of washerwomen, where multiple generations labored from dawn to dusk, talking and laughing in a space free of white supervision and largely beyond white knowledge. As millions of Black people left the violence of the American South for the promise of a better life in the North and West, these networks of resistance and joy sustained early arrivals and newcomers alike and laid the groundwork for organizing for better jobs, better pay, and equal rights.As her narrative moves from Georgia to Philadelphia, Florida to Chicago, Texas to Oakland, Kelley treats Black workers not just as laborers, or members of a class, or activists, but as people whose daily experiences mattered-to themselves, to their communities, and to a nation that denied that basic fact. Through affecting portraits of her great-grandfather, a sharecropper named Solicitor, and her grandmother, Brunell, who worked for more than a decade as a domestic maid, Kelley captures, in intimate detail, how generation after generation of labor was required to improve, and at times maintain, her family's status. Yet her family, like so many others, was always animated by a vision of a better future. The church yards, factory floors, railcars, and postal sorting facilities where Black people worked were sites of possibility, and, as Kelley suggests, Amazon package processing centers, supermarkets, and nursing homes can be the same today. With the resurgence of labor activism in our own time, Black Folk presents a stirring history of our possible future.

First published in 1843 under the pseudonym Johannes de silentio ("John of Silence"), Søren Kierkegaard's richly resonant Fear and Trembling has for generations stood as a pivotal text in the history of moral philosophy, inspiring such artistic and philosophical luminaries as Edvard Munch, W. H. Auden, Walter Benjamin, and existentialist Jean-Paul Sartre. Now, in our era of immense uncertainty, renowned Kierkegaard scholar Bruce H. Kirmmse eloquently brings this classic work to a new generation of readers.Retelling the biblical story of the binding of Isaac, Fear and Trembling expounds on the ordeal of Abraham, who was commanded by God to sacrifice his own son in an exceptional test of faith. Disgusted at the self-certainty of his own age, Kierkegaard investigates the paradox underlying Abraham's decision to allow his duty to God to take precedence over his duties to his family. As Kierkegaard's narrator explains, the story presents a difficulty that is not often considered-namely, that after the ordeal is over and Isaac has been spared at the last moment, Abraham is capable of receiving him again and living normally, even joyfully, for the rest of his days. Almost inexplicably, "Abraham had faith and did not doubt."Deftly tracing the autobiographical threads that run throughout the work, Kirmmse initially, in his lucid and engaging introduction, demystifies Kierkegaard's fictive narrator, Johannes de silentio, drawing parallels between Abraham's willingness to sacrifice his son and the author's personal "sacrifices." Ultimately, however, Kirmmse reveals Fear and Trembling as a fiercely polemical volume, designed to provoke the reader into considering what is actually meant by the word "faith", and whether those who consider themselves "true believers" actually are.With a vibrancy almost never before seen in English, and "a matchless grasp of the intricacies of Kierkegaard's writing process" (Gordon Marino), Kirmmse here definitively demonstrates Kierkegaard's enduring power to illuminate the terrible wonder of faith.

"The most forceful argument ever published on how federal, state, and local governments gave rise to and reinforced neighbourhood segregation" (William Julius Wilson), The Color of Law has become a landmark work, selling nearly 1,000,000 copies. Aware that twenty-first-century segregation continues to promote inequality and exploit political polarisation, Richard Rothstein paired with housing policy expert Leah Rothstein to write Just Action, a book that energises local organisations to win community victories that might finally challenge residential segregation and cascade into a groundswell movement. The co-authors have produced a social blueprint for community leaders, concerned residents and everyday citizens alike, insisting that the private sector take responsibility for redressing the segregation that it played a large part in creating. Whether providing strategies for protecting renters' rights and security, diminishing the dangerous black-white wealth gap, opening up exclusive white areas to diverse residents or stemming "white flight" from neighbourhoods in transition, Just Action, with trenchant insight, provides the groundwork for remedying America's profoundly unconstitutional past.

Margaret Jull Costa and Robin Patterson's critically acclaimed translations of Posthumous Memoirs of Brás Cubas and The Collected Stories of Machado de Assis introduced a new generation of readers to one of Brazil's most ground-breaking authors. Hailed as "the greatest writer ever produced in Latin America" (Susan Sontag), Machado's genius is on full display in this fresh translation of the 1899 classic Dom Casmurro. In his supposed memoir, Bento Santiago, an engaging yet unreliable narrator, suspects his wife, Capitu, of having an affair with his closest friend. Withdrawn and obsessive, our antihero mines the origins of their love story: from childhood neighbours playing innocently in the backyard to his brief spell in a seminary to marriage and the birth of their child-whom, he fears, does not resemble him. A gripping domestic drama brimming with Machado's signature humour, this is another stunningly modern tale from the progenitor of twentieth-century fiction.

Nearly a century after his wrenching death, the Portuguese poet Fernando Pessoa (1888-1935) remains one of our most enigmatic writers. Believing he could do "more in dreams than Napoleon," yet haunted by the specter of hereditary madness, Pessoa invented dozens of alter egos, or "heteronyms," under whose names he wrote in Portuguese, English, and French. Unsurprisingly, this "most multifarious of writers" (Guardian) has long eluded a definitive biographer-but in renowned translator and Pessoa scholar Richard Zenith, he has met his match.Relatively unknown in his lifetime, Pessoa was all but destined for literary oblivion when the arc of his afterlife bent, suddenly and improbably, toward greatness, with the discovery of some 25,000 unpublished papers left in a large, wooden trunk. Drawing on this vast archive of sources as well as on unpublished family letters, and skillfully setting the poet's life against the nationalist currents of twentieth-century European history, Zenith at last reveals the true depths of Pessoa's teeming imagination and literary genius.Much as Nobel laureate José Saramago brought a single heteronym to life in The Year of the Death of Ricardo Reis, Zenith traces the backstories of virtually all of Pessoa's imagined personalities, demonstrating how they were projections, spin-offs, or metamorphoses of Pessoa himself. A solitary man who had only one, ultimately platonic love affair, Pessoa used his and his heteronyms' writings to explore questions of sexuality, to obsessively search after spiritual truth, and to try to chart a way forward for a benighted and politically agitated Portugal.Although he preferred the world of his mind, Pessoa was nonetheless a man of the places he inhabited, including not only Lisbon but also turn-of-the-century Durban, South Africa, where he spent nine years as a child. Zenith re-creates the drama of Pessoa's adolescence-when the first heteronyms emerged-and his bumbling attempts to survive as a translator and publisher. Zenith introduces us, too, to Pessoa's bohemian circle of friends, and to Ophelia Quieroz, with whom he exchanged numerous love letters. Pessoa reveals in equal force the poet's unwavering commitment to defending homosexual writers whose books had been banned, as well as his courageous opposition to Salazar, the Portuguese dictator, toward the end of his life. In stunning, magisterial prose, Zenith contextualizes Pessoa's posthumous literary achievements-especially his most renowned work, The Book of Disquiet.A modern literary masterpiece, Pessoa simultaneously immortalizes the life of a literary maestro and confirms the enduring power of Pessoa's work to speak prophetically to the disconnectedness of our modern world.

From one of the most perceptive observers of the English today comes a brilliantly insightful, mordantly funny account of their seemingly irrational embrace of nationalism.

Beginning his volume in the ancient and medieval worlds, Geoffrey R. Stone demonstrates how the Founding Fathers, deeply influenced by their philosophical forebears, saw traditional Christianity as an impediment to the pursuit of happiness and to the quest for human progress. Acutely aware of the need to separate politics from the divisive forces of religion, the Founding Fathers crafted a constitution that expressed the fundamental values of the Enlightenment.Although the Second Great Awakening later came to define America through the lens of evangelical Christianity, nineteenth-century Americans continued to view sex as a matter of private concern, so much so that sexual expression and information about contraception circulated freely, abortions before "quickening" remained legal, and prosecutions for sodomy were almost nonexistent.The late nineteenth and early twentieth centuries reversed such tolerance, however, as charismatic spiritual leaders and barnstorming politicians rejected the values of our nation's founders. Spurred on by Anthony Comstock, America's most feared enforcer of morality, new laws were enacted banning pornography, contraception, and abortion, with Comstock proposing that the word "unclean" be branded on the foreheads of homosexuals. Women increasingly lost control of their bodies, and birth control advocates, like Margaret Sanger, were imprisoned for advocating their beliefs. In this new world, abortions were for the first time relegated to dank and dangerous back rooms.The twentieth century gradually saw the emergence of bitter divisions over issues of sexual "morality" and sexual freedom. Fiercely determined organizations and individuals on both the right and the left wrestled in the domains of politics, religion, public opinion, and the courts to win over the soul of the nation. With its stirring portrayals of Supreme Court justices, Sex and the Constitution reads like a dramatic gazette of the critical cases they decided, ranging from Griswold v. Connecticut (contraception), to Roe v. Wade (abortion), to Obergefell v. Hodges (gay marriage), with Stone providing vivid historical context to the decisions that have come to define who we are as a nation.Now, though, after the 2016 presidential election, we seem to have taken a huge step backward, with the progress of the last half century suddenly imperiled. No one can predict the extent to which constitutional decisions safeguarding our personal freedoms might soon be eroded, but Sex and the Constitution is more vital now than ever before.