Search results for ""new york review of books""

A Telegraph, Spectator, Prospect, and Times Best Book of the Year“Enthralling.”―Geoffrey Wheatcroft, New York Review of Books“This is a story not just about Pétain but about war and resistance, the moral compromises of leadership, and the meaning of France itself.”―Margaret MacMillanFor three weeks in July 1945 all eyes were fixed on Paris, where France’s former head of state was on trial. Would Philippe Pétain, hero of Verdun, be condemned as the traitor of Vichy?In the terrible month of October 1940, few things were more shocking than the sight of Marshal Philippe Pétain—supremely decorated hero of the First World War, now head of the French government—shaking hands with Hitler. Pausing to look at the cameras, Pétain announced that France would henceforth collaborate with Germany. “This is my policy,” he intoned. “My ministers are responsible to me. It is I alone who will be judged by History.”Five years later, in July 1945, after a wave of violent reprisals following the liberation of Paris, Pétain was put on trial for his conduct during the war. He stood accused of treason, charged with heading a conspiracy to destroy France’s democratic government and collaborating with Nazi Germany. The defense claimed he had sacrificed his personal honor to save France and insisted he had shielded the French people from the full scope of Nazi repression. Former resisters called for the death penalty, but many identified with this conservative military hero who had promised peace with dignity.The award-winning author of a landmark biography of Charles de Gaulle, Julian Jackson uses Pétain’s three-week trial as a lens through which to examine one of history’s great moral dilemmas. Was the policy of collaboration “four years to erase from our history,” as the prosecution claimed? Or was it, as conservative politicians insist to this day, a sacrifice that placed pragmatism above moral purity? As head of the Vichy regime, Pétain became the lightning rod for collective guilt and retribution. But he has also been an icon of the nationalist right ever since. In France on Trial, Jackson blends courtroom drama, political intrigue, and brilliant narrative history to highlight the hard choices and moral compromises leaders make in times of war.

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NOW A MAJOR TV SERIES BY BARRY JENKINS (COMING MAY 2021) WINNER OF THE PULITZER PRIZE FOR FICTION 2017WINNER OF THE ARTHUR C. CLARKE AWARD 2017LONGLISTED FOR THE BOOKER PRIZE 2017NATIONAL BOOK AWARD WINNER 2016'Whitehead is on a roll: the reviews have been sublime' Guardian'Luminous, furious, wildly inventive' Observer'Hands down one of the best, if not the best, book I've read this year' Stylist 'Dazzling' New York Review of BooksPraised by Barack Obama and an Oprah Book Club Pick, The Underground Railroad by Colson Whitehead won the National Book Award 2016 and the Pulitzer Prize for Fiction 2017.Cora is a slave on a cotton plantation in Georgia. All the slaves lead a hellish existence, but Cora has it worse than most; she is an outcast even among her fellow Africans and she is approaching womanhood, where it is clear even greater pain awaits. When Caesar, a slave recently arrived from Virginia, tells her about the Underground Railroad, they take the perilous decision to escape to the North.In Whitehead's razor-sharp imagining of the antebellum South, the Underground Railroad has assumed a physical form: a dilapidated box car pulled along subterranean tracks by a steam locomotive, picking up fugitives wherever it can. Cora and Caesar's first stop is South Carolina, in a city that initially seems like a haven. But its placid surface masks an infernal scheme designed for its unknowing black inhabitants. And even worse: Ridgeway, the relentless slave catcher sent to find Cora, is close on their heels. Forced to flee again, Cora embarks on a harrowing flight, state by state, seeking true freedom.At each stop on her journey, Cora encounters a different world. As Whitehead brilliantly recreates the unique terrors for black people in the pre-Civil War era, his narrative seamlessly weaves the saga of America, from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once the story of one woman's ferocious will to escape the horrors of bondage and a shatteringly powerful meditation on history.

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‘IB was one of the great affirmers of our time.’ John Banville, New York Review of BooksThe title of this final volume of Isaiah Berlin’s letters is echoed by John Banville’s verdict in his review of its predecessor, Building: Letters 1960–75, which saw Berlin publish some of his most important work, and create, in Oxford’s Wolfson College, an institutional and architectural legacy. In the period covered by this new volume (1975–97) he consolidates his intellectual legacy with a series of essay collections. These generate many requests for clarification from his readers, and stimulate him to reaffirm and sometimes refine his ideas, throwing substantive new light on his thought as he grapples with human issues of enduring importance.Berlin’s comments on world affairs, especially the continuing conflict between Israel and the Palestinians, and the collapse of Communism, are characteristically acute. This is also the era of the Northern Ireland Troubles, the Iranian revolution, the rise of Solidarity in Poland, the Chernobyl nuclear disaster, the fall of the Berlin Wall, Ayatollah Khomeini’s fatwa against Salman Rushdie, the spread of Islamic fundamentalism, and wars in the Falkland Islands, the Persian Gulf and the Balkans. Berlin scrutinises the leading politicians of the day, including Reagan, Thatcher and Gorbachev, and draws illuminating sketches of public figures, notably contrasting the personas of Alexander Solzhenitsyn and Andrey Sakharov. He declines a peerage, is awarded the Agnelli Prize for ethics, campaigns against philistine architecture in London and Jerusalem, helps run the National Gallery and Covent Garden, and talks at length to his biographer. He reflects on the ideas for which he is famous – especially liberty and pluralism – and there is a generous leavening of the conversational brilliance for which he is also renowned, as he corresponds with friends about politics, the academic world, music and musicians, art and artists, and writers and their work, always displaying a Shakespearean fascination with the variety of humankind.Affirming is the crowning achievement both of Berlin’s epistolary life and of the widely acclaimed edition of his letters whose first volume appeared in 2004.

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A magisterial, one-volume history of political thought from Herodotus to the present, Ancient Athens to modern democracy - from author and professor Alan RyanThis is a book about the answers that historians, philosophers, theologians, practising politicians and would-be revolutionaries have given to one question: how should human beings best govern themselves? Almost every modern government claims to be democratic; but is democracy really the best way of organising our political life? Can we manage our own affairs at all? Should we even try? In the west, do we actually live in democracies? In this extraordinary book Alan Ryan engages with the great thinkers of the past to show us how vividly their ideas speak to us in today's uncertain world.ALAN RYAN was born in London in 1940 and taught for many years at Oxford, where he was a Fellow of New College and Reader in Politics. He was Professor of Politics at Princeton from 1988 to 1996, when he returned to Oxford to become Warden of New College and Professor of Political Theory until his retirement in 2009. His previous books include The Philosophy of John Stuart Mill, Bertrand Russell: A Political Life and John Dewey and the High Tide of American Liberalism. He is a Fellow of the British Academy.Reviews of On Politics:'An engaging and smart survey of major political thinkers ... Through Ryan [they] speak directly to the present' Mark Mazower, Prospect'Ryan's book is a magnificent piece of work, clear (even when the ideas he's exploring are obscure) and engaging (even when the theory in the original is forbidding) ... anyone remotely interested in political theory will profit from reading or dipping into Ryan's On Politics, whether this is their first acquaintance with the canon of political theory or whether they have been "Hobbing and Locking" for decades ... It's a remarkable experience' Jeremy Waldron, New York Review of Books'Ambitiously and elegantly covers two and a half millennia of political thinking ... despite covering huge intellectual terrain, [On Politics] a delight both when it explores detail and also when it draws conclusions of a broader perspective' Justin Champion, BBC History Magazine'On Politics is crammed with smart observations and wise advice' John Keane, Financial Times'An impressive achievement' Economist

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2016 continues to be the most surreal and unpredictable election year in recent memory and this is due in large part to one Donald J. Trump and the millions of Americans who made him this year's Republican nominee for president. As Trump continues to succeed despite behavior that would cripple any other politician, whether it is questioning the patriotism of the Gold Star Khan family or banishing a baby from one of his press conferences, it is imperative to understand why so many continue to support him. And this is what makes The Gilded Rage so important; it provides insight into the forgotten Americans that continue to befuddle pundits and "experts" on CNN and FOX alike. This grippingly intimate and heart-breaking book provides a portrait of the walking wounded who make up the base of the Trump movement. Desperate and angry, these are the Americans of the vanishing industrial heartland, depressed Appalachian coal country, and the no-man's land along the Southwestern border. These are coal miners, out of work construction workers, and small business owners, who have watched their fortunes dwindle with each passing year. They have no illusions about the grandstanding billionaire and his glaring flaws. But these men and women feel forgotten and screwed over by political, corporate and media elites...and they feel that Donald Trump, despite his flamboyant demagoguery, might well be their last chance for salvation. Reminiscent of Studs Terkel's Working, with a dash of Hunter S. Thompson, Alexander Zaitchik in this important book takes us deeper into the ravaged soul of America than any other chronicler of our times.Selected as one of Publishers Weekly's Top Ten picks for Politics & Current Events of Fall 2016Praise for Alexander Zaitchik's Common Sense: Glenn Beck and the Triumph of Ignorance: “A sharp and informative smackdown. For Zaitchik, [Glenn] Beck is just one more American con artist in the P.T. Barnum tradition, a shameless pseudoconservative bottom-feeder who will say anything to keep the spotlight on himself while the money rolls in.” —Mark Lilla, The New York Review of Books “A sensational book… This is a beautifully written and insightful biography—thoughtful, considered, and very intentional about the need to understand Beck both as a symbol of something larger going on in America and as a person.” —Susan Gardner, Daily Kos “A scathing profile that follows the powerful pundit from a single-parent home in rural Washington state to conservative superstardom.” —The Boston Globe “A great political book. Zaitchik tells [Beck’s story] well and nobody has told it more soberly.” —Slate “An informative study.” —Sean Wilentz, The New Yorker “A gripping and thoroughly researched biography.” —Joe Conason, Salon

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THE NEW YORK TIMES BESTSELLER'A virtuosic memoir . . . elegant, frank and well-structured, that entirely resists cliche . . . readable for both diehard classical music fans and complete newcomers alike . . . A rare feat.' - The GuardianA uniquely illuminating memoir of the making of a musician, in which renowned pianist Jeremy Denk explores what he learned from his teachers about classical music: its forms, its power, its meaning - and what it can teach us about ourselves.In this searching and funny memoir, based on his popular New Yorker article, renowned pianist Jeremy Denk traces an implausible journey. Life is difficult enough as a precocious, temperamental, and insufferable six-year-old piano prodigy in New Jersey. But then a family meltdown forces a move to New Mexico, far from classical music’s nerve centers, and he has to please a new taskmaster while navigating cacti, and the perils of junior high school. Escaping from New Mexico at last, he meets a bewildering cast of college music teachers, ranging from boring to profound, and experiences a series of humiliations and triumphs, to find his way as one of the world’s greatest living pianists, a MacArthur 'Genius,' and a frequent performer at Carnegie Hall.There are few writers working today who are willing to eloquently explore both the joys and miseries of artistic practice. Hours of daily repetition, mystifying early advice, pressure from parents and teachers who drove him on – an ongoing battle of talent against two enemies: boredom and insecurity. As we meet various teachers, with cruel and kind streaks, Denk composes a fraught love letter to the act of teaching. He brings you behind the scenes, to look at what motivates both student and teacher, locked in a complicated and psychologically perilous relationship.In Every Good Boy Does Fine, Denk explores how classical music is relevant to 'real life,' despite its distance in time. He dives into pieces and composers that have shaped him – Bach, Mozart, Schubert, and Brahms, among others – and gives unusual lessons on melody, harmony, and rhythm. Why and how do these fundamental elements have such a visceral effect on us? He tries to sum up many of the lessons he has received, to repay the debt of all his amazing teachers; to remind us that music is our creation, and that we need to keep asking questions about its purpose.'Denk . . . has written a book that shows what it’s like to be a pianist, but also what it’s like to be Jeremy Denk. As if that were not enough, it is also about the elements of music, and beyond that an account of the ways in which music and life mirror each other. It is a book like none other' - Simon Callow, The New York Review of Books

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THE NEW YORK TIMES BESTSELLER'A virtuosic memoir . . . elegant, frank and well-structured, that entirely resists cliche . . . The concert pianist’s account of striving for musical mastery sits alongside a stirring coming of age narrative . . . readable for both diehard classical music fans and complete newcomers alike . . . A rare feat.' - The Guardian‘Jeremy Denk’s writing is as engaged and probing as his playing. Every Good Boy Does Fine hits the spot - a scintillating account of his way into music’ - Ian BostridgeA uniquely illuminating memoir of the making of a musician, in which renowned pianist Jeremy Denk explores what he learned from his teachers about classical music: its forms, its power, its meaning - and what it can teach us about ourselves.In this searching and funny memoir, based on his popular New Yorker article, renowned pianist Jeremy Denk traces an implausible journey. Life is difficult enough as a precocious, temperamental, and insufferable six-year-old piano prodigy in New Jersey. But then a family meltdown forces a move to New Mexico, far from classical music’s nerve centers, and he has to please a new taskmaster while navigating cacti, and the perils of junior high school. Escaping from New Mexico at last, he meets a bewildering cast of college music teachers, ranging from boring to profound, and experiences a series of humiliations and triumphs, to find his way as one of the world’s greatest living pianists, a MacArthur 'Genius,' and a frequent performer at Carnegie Hall.There are few writers working today who are willing to eloquently explore both the joys and miseries of artistic practice. Hours of daily repetition, mystifying early advice, pressure from parents and teachers who drove him on – an ongoing battle of talent against two enemies: boredom and insecurity. As we meet various teachers, with cruel and kind streaks, Denk composes a fraught love letter to the act of teaching. He brings you behind the scenes, to look at what motivates both student and teacher, locked in a complicated and psychologically perilous relationship.In Every Good Boy Does Fine, Denk explores how classical music is relevant to 'real life,' despite its distance in time. He dives into pieces and composers that have shaped him – Bach, Mozart, Schubert, and Brahms, among others – and gives unusual lessons on melody, harmony, and rhythm. Why and how do these fundamental elements have such a visceral effect on us? He tries to sum up many of the lessons he has received, to repay the debt of all his amazing teachers; to remind us that music is our creation, and that we need to keep asking questions about its purpose.'Denk . . . has written a book that shows what it’s like to be a pianist, but also what it’s like to be Jeremy Denk. As if that were not enough, it is also about the elements of music, and beyond that an account of the ways in which music and life mirror each other. It is a book like none other . . . Denk weaves invisible threads connecting life and art into something very close to musical form.' Simon Callow, The New York Review of Books

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'A further and devastating indictment not only of Tony Blair personally but of a whole apparatus of state and government, Cabinet, Parliament, armed forces, and, far from least, intelligence agencies. — GEOFFREY WHEATCROFT, THE NEW YORK REVIEW OF BOOKS 'It offers a long and painful account of an episode that may come to be seen as marking the moment when the UK fell off its global perch, trust in government collapsed and the country turned inward and began to disintegrate.' — PHILIPPE SANDS, LONDON REVIEW OF BOOKS Description All the key findings of the public inquiry into the handling of the 2003 Iraq war by Tony Blair's government in a 60,000-word book. Chaired by Sir John Chilcot, the Iraq Inquiry (known as the 'Chilcot Report') tackled: Saddam Hussein's threat to Britain the legal advice for the invasion intelligence about weapons of mass destruction and planning for a post-conflict Iraq. The behaviour of the GCHQ whistleblower Katharine Gun and the controversy over whether Iraq had weapons of mass destruction was the subject of the film Official Secrets. Contents Introduction Pre-conflict strategy and planning The UK decision to support US military action. UK policy before 9/11; The impact of 9/11; Decision to take the UN route; Negotiation of resolution 1441; The prospect of military action; The gap between the Permanent Members of the Security Council widens; The end of the UN route Why Iraq? Why now? Was Iraq a serious or imminent threat?; The predicted increase in the threat to the UK as a result of military action in Iraq The UK’s relationship with the US Decision-making. Collective responsibility Advice on the legal basis for military action. The timing of Lord Goldsmith’s advice on the interpretation of resolution 1441; Goldsmith’s advice of 7 March 2003; Goldsmith’s arrival at a “better view”; The exchange of letters on 14 and 15 March 2003; Goldsmith’s Written Answer of 17 March 2003 Weapons of mass destruction. Iraq WMD assessments, pre-July 2002; Iraq WMD assessments, July to September 2002; Iraq WMD assessments, October 2002 to March 2003; The search for WMD Planning for a post-Saddam Hussein Iraq. The failure to plan or prepare for known risks; The planning process and decision-making Occupation. Looting in Basra; Looting in Baghdad; UK influence on post-invasion strategy: resolution 1483; UK influence on the Coalition Provisional Authority; A decline in security; The turning point Transition. UK influence on US strategy post-CPA; Planning for withdrawal; The impact of Afghanistan; Iraqiisation Preparation for withdrawal. A major divergence in strategy; A possible civil war; Force Level Review; The beginning of the end Did the UK achieve its objectives in Iraq? Key Findings 1. Development of UK strategy and options, 9/11 to early January 2002; Development of UK strategy and options, January to April 2002 – “axis of evil” to Crawford; Development of UK strategy and options, April to July 2002 Key Findings 2. Development of UK strategy and options, November 2002 to January 2003; Development of UK strategy and options, 1 February to 7 March 2003; Iraq WMD assessments, pre-July 2002; Iraq WMD assessments, July to September 2002; Iraq WMD assessments, October 2002 to March 2003; WMD search Key Findings 3. Advice on the legal basis for military action, November 2002 to March 2003; Development of the military options for an invasion of Iraq; Military planning for the invasion, January to March 2003; Military equipment (pre-conflict); Planning for a post-Saddam Hussein Iraq; Invasion Key Findings 4. The post-conflict period; Reconstruction; De-Ba’athification; Security Sector Reform; Resources; Military equipment (post-conflict); Civilian personnel; Service Personnel; Civilian casualties Lessons. The decision to go to war; Weapons of mass destruction; The invasion of Iraq; The post-conflict period; Reconstruction; De-Ba’athification; Security Sector Reform; Resources; Military equipment (post-conflict); Civilian personnel

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"I had heard about this book for years. The person who put the word out, at least in lay circles, was probably Luigi Barzini, in The Italians (1964). Praising his countrymen's gift for talking with their hands, Barzini lamented that so little had been written on this subject. To his knowledge, only one person—Andrea de Jorio, a Neapolitan priest—had attempted a lexicon of Italian hand gestures, in an 1832 volume entitled La Mimica degli antichi investigata nel gestire napoletano. . . . Barzini offered a little sample . . . . Upon reading [it], you felt that if you could not get hold of de Jorio's book immediately, you would bite your elbows. . . . [N]ot until this year was de Jorio's treatise brought out in English. The translation, the copious notes, and the long, helpful introduction . . . [are] a source of wisdom and delight." —Joan Acocella, New York Review of Books"The twentieth century found little time for de Jorio's pioneering work until recently, when the rise of semiotics combined with an interest among art historians in gesture to invest his achievement with an importance that not even he could have imagined. Even so, this book has been more often cited than read. In view of its immense relevance to contemporary studies of gesture in the context of language and culture, it is surprising that we have had to wait so long for a translation into English. Adam Kendon has now given us the first complete, annotated rendering of [de Jorio's book]. Kendon himself is an established leader in the new scientific approach to the study of gesture." —G.W. Bowersock, The New RepublicAndrea de Jorio's La mimica degli antichi investigata nel gestire napoletano ('Gestural Expression of the Ancients in the light of Neapolitan gesturing'), was first published in Naples in 1832. It soon became famous for its descriptions and depictions of Neapolitan gestures, but it is only with the recent expansion of scholarly interest in gesture that its true importance has come to be recognized. It is the first book ever written which presents what is, in effect, an ethnographic study of gesture. Treating gesture as a culturally established communicative code, analogous to language, the book sets out to describe, with reference to an explicitly defined cultural group, the gestural expressions of ordinary people as these are used in everyday life. It also deals with numerous issues important for any semiotics of gesture, such as the question of the relationship between physical form and meaning, the problem of how to present a description of the gestural repertoire of a community in a consistent manner, the importance of context for the interpretation of gesture, how gestures may be combined, how they develop as metaphorical expressions, among many others.Andrea de Jorio (1769-1851) was a cleric and a Canon of the Cathedral of Naples, but he was also an archaeologist and a curator at the Royal Borbonic Museum (today the National Archaeological Museum) in that city. He was an expert on Greek vases and intimately involved in all aspects of archaeology then developing in relation to the excavations at Herculaneum, Pompeii, Pozzuoli, Cuma and other sites within the district of Naples. He believed that the ordinary people of Naples had preserved in their culture the traditions of the ancient Greek founders of the city. For this reason he supposed that an understanding of contemporary gestural expression would be useful in interpreting the gestures and bodily postures depicted in the frescoes, mosaics, sculptures, and painted vases of Greco-Roman antiquity that had come to light from the excavations near Naples and elsewhere. Thus he was led to describe the gesturing of contemporary Neapolitans as fully as possible.

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