Sixty years after its original publication, Ray Bradbury’s internationally acclaimed novel Fahrenheit 451 stands as a classic of world literature set in a bleak, dystopian future. Today its message has grown more relevant than ever before. Guy Montag is a fireman. His job is to destroy the most illegal of commodities, the printed book, along with the houses in which they are hidden. Montag never questions the destruction and ruin his actions produce, returning each day to his bland life and wife, Mildred, who spends all day with her television “family.” But when he meets an eccentric young neighbor, Clarisse, who introduces him to a past where people didn’t live in fear and to a present where one sees the world through the ideas in books instead of the mindless chatter of television, Montag begins to question everything he has ever known.

While the landmarks of the civil rights movement have become indelible parts of our collective memory, few have written about what life was like for white southerners who lived through that historic time. Now, in his brilliant debut book, historian Jason Sokol explores the untold stories of ordinary people experiencing the tumultuous decades that forever altered the American landscape. So often historical accounts of the era have focused on the movement’s most dramatic moments and figures, and paid greatest attention to the brave steps taken by blacks to effect long-awaited change. In this riveting book, Sokol goes beyond the 1955 Montgomery bus boycott, the 1960 student sit-ins, and the soul-stirring speeches of Martin Luther King, Jr., and into the lives of middle- and working-class whites whose world was becoming unrecognizable to them. He takes us to New Orleans’s Ninth Ward, where, in 1960, a painful episode of school integration brought out the fiercest prejudices in some and made accidental radicals of others; to Ollie’s Barbecue in Birmingham and Pickrick Fried Chicken in Atlanta, and thousands of lunch counters in between, where “some white employees greeted black customers as though they had been patrons for years; others slammed doors in their faces; still more served them hesitantly and reluctantly.” There Goes My Everything traces the origins of the civil rights struggle from World War II, when some black and white American soldiers lived and fought side by side overseas (leading them to question Jim Crow at home), to the beginnings of change in the 1950s and the flared tensions of the 1960s, into the 1970s, when strongholds of white rule suddenly found themselves overtaken by rising black political power. Through it all, Sokol resists the easy categorization of whites caught in the torrent of change; rather, he gives us nuanced portraits of people resisting, embracing, and questioning the social revolution taking place around them. Drawing on recorded interviews, magazine bureau dispatches, and newspaper editorials, Sokol seamlessly weaves together historical analysis with firsthand accounts. Here are the stories of white southerners in their own words, presented without condescension or moral judgment. An unprecedented picture of one of the historic periods in twentieth-century America.

Letters from Linda M. Montano is an anthology of writings by one of the seminal performance artists of the last century. It provides an autobiographical and historical record of Montano's artistic practice over the last thirty years, collecting together stories, fairytales, letters, interviews, manifestos and other previously unpublished writings. At the same time, the book acts as a 'how-to' manual for aspiring performance artists, offering practical guidance for students and a range of exercises that Montano has used in her teachings and workshops. Finally, Letters from Linda M. Montano represents a performance in itself, in which the artist considers the process of writing, creating and bringing the work to fruition as another form of 'endurance performance' similar to that of her durational works 14 Years of Living Art and Blood Family Art.

This book reveals the origin of self-hate, how self-hate works, how to identify it, and how to go beyond it. It provides examples of some of the forms self-hate takes, including taking blame but not credit, holding grudges, and trying to be perfect, and explores the many facets of self-hate, including its role in addiction, the battering cycle, and the illusion of control. After addressing these factors, it illustrates how a meditation practice can be developed and practiced in efforts to free oneself from self-hating beliefs.

This self-discovery workbook contains 16 short essays interspersed with writing and drawing excercises on numerous topics, including money, body image, relationships, and career.

Henry Henry is a queer reimagining of Shakespeare's Henriad, transposing the legend of Henry V's wayward youth into 21st-century Britain in the years leading up to the Brexit referendum. Henry Henry follows Hal Lancaster—22, gay, Catholic—as he spends his first years out of Oxford floating between internships, drinking with his actor friends, struggling through awkward hook-ups, and occasionally going to confession to be absolved of his sins. When a grouse shooting accident-—funny in retrospect—makes a romance out of Hal's rivalry with fumblingly leftist family friend Harry Percy, Hal finds that he wants, for the first time, to be himself. But his father Henry is an Englishman: he will not let his son escape tradition. To save himself, Hal must reckon not only with grief and shame but with the wounds of his family's past.

New edition of the first Gaunt's Ghosts omnibus, containing the opening story arc in the series, comprising the novels First and Only, Ghostmaker and Necropolis.In the Chaos-infested Sabbat System, the massed ranks of the Astra Militarum - more commonly known as the Imperial Guard - stand shoulder to shoulder as they counter an invasion by heretical forces. Amongst the defenders of the Imperium are the troops of the Tanith First-and-Only, a displaced regiment forced to flee their home planet before it succumbed to the unrelenting assault of Chaos. Nicknamed 'the Ghosts', their specialist scouting role sees them thrown into the thickest of the fighting. Led by Colonel-Commissar Ibram Gaunt, they must evade the treacherous scheming of rival regiments and the lethal firepower of the enemy if they are to have any hope of achieving victory over the forces of Chaos.

In the city of Queen Mab, nothing is quite as it seems. Pariah, spy and Inquisitorial agent, Alizebeth Bequin is all of these things and yet none of them. An enigma, even to herself, she is caught between Inquisitors Gregor Eisenhorn and Gideon Ravenor, former allies now enemies who are playing a shadow game against a mysterious and deadly foe. Coveted by the Archenemy, pursued by the Inquisition, Bequin becomes embroiled in a dark plot of which she knows not her role or purpose. Helped by a disparate group of allies, she must unravel the secrets of her life and past if she is to survive a coming battle in which the line between friends and foes is fatally blurred. Read it because It's an intriguing and evocative story that shows characters you know and love through new (yet strangely familiar) eyes, and forges a stunning mystery that will leave you astonished.

This extraordinary play, which swept across Europe before coming to America, is based on two historical truths: the infamous Marquis de Sade was confined in the lunatic asylum of Charenton, where he staged plays; and the revolutionary Jean-Paul Marat was stabbed in a bathtub by Charlotte Corday at the height of the Terror during the French Revolution. But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity?

An essay on capital punishment by the 1957 Nobel Prize winner.

The Reign of Terror continues to fascinate scholars as one of the bloodiest periods in French history, when the Committee of Public Safety strove to defend the first Republic from its many enemies, creating a climate of fear and suspicion in revolutionary France. R. R. Palmer's fascinating narrative follows the Committee's deputies individually and collectively, recounting and assessing their tumultuous struggles in Paris and their repressive missions in the provinces. A foreword by Isser Woloch explains why this book remains an enduring classic in French revolutionary studies.

Since his execution by guillotine in July 1794, Maximilien Robespierre has been contested terrain for historians. Was he a bloodthirsty charlatan or the only true defender of revolutionary ideals? The first modern dictator or the earliest democrat? Was his extreme moralism a heroic virtue or a ruinous flaw? Against the dramatic backdrop of the French Revolution, historian Ruth Scurr tracks Robespierre's evolution from provincial lawyer to devastatingly efficient revolutionary leader, righteous and paranoid in equal measure. She explores his reformist zeal, his role in the fall of the monarchy, his passionate attempts to design a modern republic, even his extraordinary effort to found a perfect religion. And she follows him into the Terror, as the former death- penalty opponent makes summary execution the order of the day, himself falling victim to the violence at the age of thirty-six. Written with epic sweep, full of nuance and insight, Fatal Purity is a fascinating portrait of a man who identified with the Revolution to the point of madness, and in so doing changed the course of history.

Choosing Terror: Virtue, Friendship and Authenticity in the French Revolution examines the leaders of the French Revolution - Robespierre and his fellow Jacobins - and particularly the gradual process whereby many of them came to 'choose terror'. These men led the Jacobin Club between 1789 and 1794, and were attempting to establish new democratic politics in France. Exploring revolutionary politics through the eyes of these leaders, and against a political backdrop of a series of traumatic events, wars, and betrayals, Marisa Linton portrays the Jacobins as complex human beings who were influenced by emotions and personal loyalties, as well as by their revolutionary ideology. The Jacobin leaders' entire political careers were constrained by their need to be seen by their supporters as 'men of virtue', free from corruption and ambition, and concerned only with the public good. In the early stages of the Revolution, being seen as 'men of virtue' empowered the Jacobin leaders, and aided them in their efforts to forge their political careers. However, with the onset of war, there was a growing conviction that political leaders who feigned virtue were 'the enemy within', secretly conspiring with France's external enemies. By Year Two, the year of the Terror, the Jacobin identity had become a destructive force: in order to demonstrate their own authenticity, they had to be seen to act virtuously, and be prepared, if the public good demanded it, to denounce and destroy their friends, and even to sacrifice their own lives. This desperate thinking resulted in the politicians' terror, one of the most ruthless of all forms of terror during the Revolution. Choosing Terror seeks neither to cast blame, nor to exonerate, but to understand the process whereby such things can happen.

Although the French Revolution is associated with efforts to dechristianize the French state and citizens, it actually had long-term religious―even Christian―origins, claims Dale Van Kley in this controversial new book. Looking back at the two and a half centuries that preceded the revolution, Van Kley explores the diverse, often warring religious strands that influenced political events up to the revolution. Van Kley draws on a wealth of primary sources to show that French royal absolutism was first a product and then a casualty of religious conflict. On the one hand, the religious civil wars of the sixteenth century between the Calvinist and Catholic internationals gave rise to Bourbon divine-right absolutism in the seventeenth century. On the other hand, Jansenist-related religious conflicts in the eighteenth century helped to "desacralize" the monarchy and along with it the French Catholic clergy, which was closely identified with Bourbon absolutism. The religious conflicts of the eighteenth century also made a more direct contribution to the revolution, for they left a legacy of protopolitical and ideological parties (such as the Patriot party, a successor to the Jansenist party), whose rhetoric affected the content of revolutionary as well as counterrevolutionary political culture. Even in its dechristianizing phase, says Van Kley, revolutionary political culture was considerably more indebted to varieties of French Catholicism than it realized.

Albert Soboul has held the Chair of the History of the French Revolution at the Sorbone since 1967, and is probably the leading Marxist scholar working in that field today. The book translated here should be regarded more as a synopsis of Professor Soboul's interpretation of the Revolution than as a detailed account of the course of events; it is an essay in analysis rather than a narrative. In it the author argues that the French Revolution can only be understood in terms of class struggle, and that any attempt to diminish the significance of class conflict as its motive force obscures the meaning of the events of the Revolution and rends them ultimately incomprehensible. The course of the Revolution and its final outcome, which was clear by the time Napoleon seized power in 1799, were the products of a complex class struggle enacted simultaneously on many levels, leading finally to the triumph of the bourgeoisie, the defeat of the aristocracy, and the fragmentation and collapse of the popular forces, who as the allies of the bourgeoisie had played a vital part in securing its victory. Professor Soboul shows that although the Revolution was caused initially by specific factors peculiar to the structure of French society at the end of the Old Regime, it came to constitute the definitive type of the bourgeois revolution and opened the way for the ascendary of industrial capitalism in the next century, not merely in France, but in the rest of Europe and the world at large.

A bold new history of the French Revolution from the standpoint of the peasants, workers, women and sans culottes The assault on the Bastille, the Reign of Terror, Danton mocking his executioner, Robespierre dispensing a fearful justice, and the archetypal gadfly Marat—the events and figures of the French Revolution have exercised a hold on the historical imagination for more than 200 years. It has been a template for heroic insurrection and, to more conservative minds, a cautionary tale. In the hands of Eric Hazan, author of The Invention of Paris, the revolution becomes a rational and pure struggle for emancipation. In this new history, the first significant account of the French Revolution in over twenty years, Hazan maintains that it fundamentally changed the Western world—for the better. Looking at history from the bottom up, providing an account of working people and peasants, Hazan asks, how did they see their opportunities? What were they fighting for? What was the Terror and could it be justified? And how was the revolution stopped in its tracks? The People’s History of the French Revolution is a vivid retelling of events, bringing them to life with a multitude of voices. Only in this way, by understanding the desires and demands of the lower classes, can the revolutionary bloodshed and the implacable will of a man such as Robespierre be truly understood.

Not a sermon or a prediction, but a rigorously plausible end‑times scenario spanning five decades and the full arc of biblical prophecy ANTICHRIST: His Origin, Rise, Reign, and Fall is a gritty, sweeping end‑times epic that combines the high‑stakes suspense of a geopolitical thriller with the rigor of serious biblical scholarship. Crafted by an NSA and DIA intelligence analyst with more than forty years at the intersection of scripture, science, and geopolitics, ANTICHRIST delivers scene‑by‑scene fulfillment of the Rapture, the Ezekiel 38-39 war, Revelation’s seals, trumpets, and bowls—as well as scores of lesser‑known Old and New Testament prophecies—all rendered in politically and scientifically plausible detail. ANTICHRIST offers prophecy‑minded readers a richly imagined narrative that is both deeply faithful to Scripture and relentlessly readable. In addition to the main narrative, the author weaves in dozens of short, self-contained vignettes, dropping the reader into the lives of ordinary people, so global judgments never remain abstract. These are not sermon inserts; they’re short, charged dramas in which doctrine shows up with dirt under its fingernails. The vignettes maintain the destructive magnitude of apocalyptic prophecy while continuously re‑anchoring it in the ordinary, frightened, stubborn, sometimes surprisingly brave people who have to live—and die—through it. Instead of watching only the main characters in war rooms and UN council chambers, we emerge from a storm cellar with a family to find their home and city wiped from existence in the first trumpet judgment; we stand on the deck of an oil tanker as John’s “huge mountain, all ablaze” is thrown into the sea, engulfing our vessel in flame before drawing us with it down into the open ocean abyss; we walk with an Argentine grandfather taking his grandson fishing for the first time, only to find the surface of the lake covered with dead fish, poisoned by the great star Wormwood. In other vignettes, we experience the Antichrist’s entrancing deceit in very personal ways as he fills the whole world with wonders, causing all but the elect to eagerly follow. As a result, the story feels more like a mosaic of intersecting lives than a single plot on rails, giving readers a richer sense of the world’s breadth, the stakes of every judgment, and the quiet heroism or failure of people who will never walk the halls of power.

Two wandering adventurers and unlikely soulmates are variously plying their trades as swords for hire, horse thieves and con artists - until fortune entangles them in the myriad schemes and battles that follow a bloody coup in the medieval Jewish empire of the Khazars.