"This is a new translation of the classic play. It combines a poet's translation with a scholar's introduction and notes." "Among surviving Greek tragedies only Euripides' Trojan Women shows us the extinction of a whole city, an entire people. Despite its grim theme, or more likely because of the centrality of that theme to the deepest fears of our own age, this is one of the relatively few Greek tragedies that regularly finds its way to the stage. Here the power of Euripides' theatrical and moral imagination speaks clearly across the twenty-five centuries that separate our world from his." The theme is really a double one: the suffering of the victims of war, exemplified by the woman who survive the fall of Troy, and the degradation of the victors, shown by the Greeks' reckless and ultimately self-destructive behavior. It offers an enduring picture of human fortitude in the midst of despair. Trojan Women gains special relevance, of course, in times of war. It presents a particularly intense account of human suffering and uncertainty, but one that is also rooted in considerations of power and policy, morality and expedience. Furthermore, the seductions of power and the dangers both of its exercise and of resistance to it as portrayed in Trojan Women are not simply philosophical or rhetorical gambits but part of the lived experience of Euripides' day.

Newly translated and unabridged in English for the first time, Simone de Beauvoir’s masterwork is a powerful analysis of the Western notion of “woman,” and a groundbreaking exploration of inequality and otherness.  This long-awaited new edition reinstates significant portions of the original French text that were cut in the first English translation. Vital and groundbreaking, Beauvoir’s pioneering and impressive text remains as pertinent today as it was back then, and will continue to provoke and inspire generations of men and women to come.

Baku, 1905. Nascere in una famiglia scandalosamente ricca - il capostipite, Assadullah, nato contadino, morì milionario grazie al petrolio zampillato dal suo campo pieno di sassi - ma allo stesso tempo altrettanto stravagante e popolata da loschi individui, porta con sé sicuri privilegi e indubbi grattacapi. Ultima di quattro sorelle, Banine viene alla luce in un giorno d'inverno movimentato da scioperi, pogrom e altre manifestazioni del genio umano. Nonostante questo, la sua infanzia trascorre felice, allietata dalle torte rigonfie di crema di Fraulein Anna, balia tedesca, e dalle perenni recriminazioni in azero della nonna paterna, una creatura stupefacente, un gigante sbucato da una fiaba di Perrault. Ogni anno la famiglia trascorre diversi mesi in campagna. La casa è grande, eppure a malapena sufficiente a ospitare l'orda che la invade in primavera: la temibile nonna con le sue innumerevoli serve; la figlia maggiore con il marito, la minore senza marito; i loro cinque figli, terrore di Fraulein Anna, bugiardi, ladri, spioni e quant'altro; infine, il figlio più piccolo della nonna, l'infantile e allegro zio Ibrahim, ancora celibe. Là dove i doveri diminuiscono, la libertà cresce, il tempo favorisce i giochi - le zie sono tutte avide giocatrici di poker, passione che coltivano assieme a quella per la maldicenza - e, soprattutto, le liti. Nella famiglia di Banine i litigi hanno infatti un ruolo fondamentale, e per due ragioni: una è da attribuire al temperamento violento e naturalmente predisposto alla lite di tutti i suoi membri; l'altra è l'eredità. La famosa, eterna, inafferrabile eredità, quella che bisogna dividere dopo la morte del capostipite. Questa vita di splendori e baruffe è tuttavia destinata a subire un drastico mutamento. La Rivoluzione d'Ottobre porterà il caos nel Caucaso, una dittatura militare, dominata dagli armeni, prenderà il potere a Baku e darà la caccia ai ricchi azeri, costringendo Banine e la sua famiglia a una precipitosa fuga... Memoir animato da un irresistibile humour, "I miei giorni nel Caucaso" ritrae la vita e il mondo che rendevano un tempo attraenti le rive del Caspio.

Nineteen Arab women journalists speak out about what it’s like to report on their changing homelands in this first-of-its-kind essay collection, with a foreword by CNN chief international correspondent Christiane Amanpour“A stirring, provocative and well-made new anthology . . . that rewrites the hoary rules of the foreign correspondent playbook, deactivating the old clichés.” —Dwight Garner, The New York Times A growing number of intrepid Arab and Middle Eastern sahafiyat—female journalists—are working tirelessly to shape nuanced narratives about their changing homelands, often risking their lives on the front lines of war. From sexual harassment on the streets of Cairo to the difficulty of traveling without a male relative in Yemen, their challenges are unique—as are their advantages, such as being able to speak candidly with other women at a Syrian medical clinic or with men on Whatsapp who will go on to become ISIS fighters, rebels, or pro-regime soldiers.  In Our Women on the Ground, nineteen of these women tell us, in their own words, about what it’s like to report on conflicts that (quite literally) hit close to home. Their daring and heartfelt stories, told here for the first time, shatter stereotypes about the region’s women and provide an urgently needed perspective on a part of the world that is frequently misunderstood. INCLUDING ESSAYS Donna Abu-Nasr, Aida Alami, Hannah Allam, Jane Arraf, Lina Attalah, Nada Bakri, Shamael Elnoor, Zaina Erhaim, Asmaa al-Ghoul, Hind Hassan, Eman Helal, Zeina Karam, Roula Khalaf, Nour Malas, Hwaida Saad, Amira Al-Sharif, Heba Shibani, Lina Sinjab, and Natacha Yazbeck

From the very first sentence, “I was in my last year of school in Kiev when the telegram came saying that my father was dying,” readers will be in thrall to the voice of Konstantin Paustovsky. This universally acclaimed memoir gives us an extraordinary picture of Russia during the tumultuous first two decades of the twentieth century. Here are startlingly vivid vignettes of country life, poignant remembrances of the disintegration of the writer’s family, and anecdotes from his student days. Here too are devastating eyewitness reports of the horrors of pogroms, searing visions of towns ravaged by disease, hunger, and violence, and what will stand as the definitive account of the chaos and passion of a nation in the throes of revolution.

The complex story of a notorious law-suit in which love and inheritance are set against the classic urban background of 19th-century London, where fog on the river, seeping into the very bones of the characters, symbolizes the corruption of the legal system and the society which supports it. “Jarndyce and Jarndyce” is an infamous lawsuit that has been in process for generations. Nobody can remember exactly how the case started but many different individuals have found their fortunes caught up in it. Esther Summerson watches as her friends and neighbours are consumed by their hopes and disappointments with the proceedings. But while the intricate puzzles of the lawsuit are being debated by lawyers, other more dramatic mysteries are unfolding that involve heartbreak, lost children, blackmail and murder. The fog and cold that permeate Bleak House mirror a Victorian England mired in spiritual insolvency. Dickens brought all his passion, brilliance, and narrative verve to this huge novel of lives entangled in a multi-generational lawsuit—and through it, he achieved, at age 41, a stature almost Shakespearean.

From the #1 New York Times bestselling author of Braiding Sweetgrass, a bold and inspiring vision for how to orient our lives around gratitude, reciprocity, and community, based on the lessons of the natural world.As indigenous scientist and author of Braiding Sweetgrass Robin Wall Kimmerer harvests serviceberries alongside the birds, she considers the ethic of reciprocity that lies at the heart of the gift economy. How, she asks, can we learn from indigenous wisdom and the plant world to reimagine what we value most? Our economy is rooted in scarcity, competition, and the hoarding of resources, and we have surrendered our values to a system that actively harms what we love. Meanwhile, the serviceberry’s relationship with the natural world is an embodiment of reciprocity, interconnectedness, and gratitude. The tree distributes its wealth—its abundance of sweet, juicy berries—to meet the needs of its natural community. And this distribution insures its own survival. As Kimmerer explains, “Serviceberries show us another model, one based upon reciprocity, where wealth comes from the quality of your relationships, not from the illusion of self-sufficiency.” As Elizabeth Gilbert writes, Robin Wall Kimmerer is “a great teacher, and her words are a hymn of love to the world.” The Serviceberry is an antidote to the broken relationships and misguided goals of our times, and a reminder that “hoarding won’t save us, all flourishing is mutual.”

A brilliant, action-packed reimagining of The Adventures of Huckleberry Finn , both harrowing and ferociously funny, told from the enslaved Jim's point of view. When the enslaved Jim overhears that he is about to be sold to a man in New Orleans, separated from his wife and daughter forever, he decides to hide on nearby Jackson Island until he can formulate a plan. Meanwhile, Huck Finn has faked his own death to escape his violent father, recently returned to town. As all readers of American literature know, thus begins the dangerous and transcendent journey by raft down the Mississippi River toward the elusive and too-often-unreliable promise of the Free States and beyond. While many narrative set pieces of The Adventures of Huckleberry Finn remain in place (floods and storms, stumbling across both unexpected death and unexpected treasure in the myriad stopping points along the river’s banks, encountering the scam artists posing as the Duke and Dauphin…), Jim’s agency, intelligence and compassion are shown in a radically new light.

Offering a fundamental reinterpretation of the emergence of the Soviet state, Peter Holquist situates the Bolshevik Revolution within the continuum of mobilization and violence that began with World War I and extended through Russia's civil war. In so doing, Holquist provides a new genealogy for Bolshevik political practices, one that places them clearly among Russian and European wartime measures. From this perspective, the Russian Revolution was no radical rupture with the past, but rather the fulcrum point in a continent-wide era of crisis and violence that began in 1914. While Tsarist and Revolutionary governments implemented policies for total mobilization common to other warring powers, they did so in a supercharged and concentrated form. Holquist highlights how the distinctive contours of Russian political life set its experience in these years apart from other wartime societies. In pursuit of revolution, statesmen carried over crisis-created measures into political life and then incorporated them into the postwar political structure. Focusing on three particular policies--state management of food; the employment of official violence for political ends; and state surveillance--Holquist demonstrates the interplay of state policy and local implementation, and its impact on the lives of ordinary citizens. Making War, Forging Revolution casts a new light on Russia's revolution and boldly inserts it into the larger story of the Great War and twentieth-century European history.

The complex story of a notorious law-suit in which love and inheritance are set against the classic urban background of 19th-century London, where fog on the river, seeping into the very bones of the characters, symbolizes the corruption of the legal system and the society which supports it. “Jarndyce and Jarndyce” is an infamous lawsuit that has been in process for generations. Nobody can remember exactly how the case started but many different individuals have found their fortunes caught up in it. Esther Summerson watches as her friends and neighbours are consumed by their hopes and disappointments with the proceedings. But while the intricate puzzles of the lawsuit are being debated by lawyers, other more dramatic mysteries are unfolding that involve heartbreak, lost children, blackmail and murder. The fog and cold that permeate Bleak House mirror a Victorian England mired in spiritual insolvency. Dickens brought all his passion, brilliance, and narrative verve to this huge novel of lives entangled in a multi-generational lawsuit—and through it, he achieved, at age 41, a stature almost Shakespearean.