For decades, the Commonwealth of Virginia led the nation. The premier state in population, size, and wealth, it produced a galaxy of leaders: Washington, Jefferson, Madison, Monroe, Mason, Marshall. Four of the first five presidents were Virginians. And yet by the middle of the nineteenth century, Virginia had become a byword for slavery, provincialism, and poverty. What happened? In her remarkable book, Dominion of Memories, historian Susan Dunn reveals the little known story of the decline of the Old Dominion. While the North rapidly industrialized and democratized, Virginia's leaders turned their backs on the accelerating modern world. Spellbound by the myth of aristocratic, gracious plantation life, they waged an impossible battle against progress and time itself. In their last years, two of Virginia's greatest sons, Thomas Jefferson and James Madison, grappled vigorously with the Old Dominion's plight. But bound to the traditions of their native soil, they found themselves grievously torn by the competing claims of state and nation, slavery and equality, the agrarian vision and the promises of economic development and prosperity. This fresh and penetrating examination of Virginia's struggle to defend its sovereignty, traditions, and unique identity encapsulates, in the history of a single state, the struggle of an entire nation drifting inexorably toward Civil War.

Winner of the Pulitzer Prize for History Finalist for the National Book Award Finalist for the Los Angeles Times Book Prize "Impressively researched and beautifully crafted…a brilliant account of slavery in Virginia during and after the Revolution." —Mark M. Smith, Wall Street Journal Frederick Douglass recalled that slaves living along Chesapeake Bay longingly viewed sailing ships as "freedom’s swift-winged angels." In 1813 those angels appeared in the bay as British warships coming to punish the Americans for declaring war on the empire. Over many nights, hundreds of slaves paddled out to the warships seeking protection for their families from the ravages of slavery. The runaways pressured the British admirals into becoming liberators. As guides, pilots, sailors, and marines, the former slaves used their intimate knowledge of the countryside to transform the war. They enabled the British to escalate their onshore attacks and to capture and burn Washington, D.C. Tidewater masters had long dreaded their slaves as "an internal enemy." By mobilizing that enemy, the war ignited the deepest fears of Chesapeake slaveholders. It also alienated Virginians from a national government that had neglected their defense. Instead they turned south, their interests aligning more and more with their section. In 1820 Thomas Jefferson observed of sectionalism: "Like a firebell in the night [it] awakened and filled me with terror. I considered it at once the knell of the union." The notes of alarm in Jefferson's comment speak of the fear aroused by the recent crisis over slavery in his home state. His vision of a cataclysm to come proved prescient. Jefferson's startling observation registered a turn in the nation’s course, a pivot from the national purpose of the founding toward the threat of disunion. Drawn from new sources, Alan Taylor's riveting narrative re-creates the events that inspired black Virginians, haunted slaveholders, and set the nation on a new and dangerous course.

Why do major historical events such as the Holocaust occupy the forefront of the collective consciousness, while profound moments such as the Armenian genocide, the McCarthy era, and France's role in North Africa stand distantly behind? Is it possible that history "overly remembers" some events at the expense of others? A landmark work in philosophy, Paul Ricoeur's Memory, History, Forgetting examines this reciprocal relationship between remembering and forgetting, showing how it affects both the perception of historical experience and the production of historical narrative. Memory, History, Forgetting, like its title, is divided into three major sections. Ricoeur first takes a phenomenological approach to memory and mnemonical devices. The underlying question here is how a memory of present can be of something absent, the past. The second section addresses recent work by historians by reopening the question of the nature and truth of historical knowledge. Ricoeur explores whether historians, who can write a history of memory, can truly break with all dependence on memory, including memories that resist representation. The third and final section is a profound meditation on the necessity of forgetting as a condition for the possibility of remembering, and whether there can be something like happy forgetting in parallel to happy memory. Throughout the book there are careful and close readings of the texts of Aristotle and Plato, of Descartes and Kant, and of Halbwachs and Pierre Nora. A momentous achievement in the career of one of the most significant philosophers of our age, Memory, History, Forgetting provides the crucial link between Ricoeur's Time and Narrative and Oneself as Another and his recent reflections on ethics and the problems of responsibility and representation. “His success in revealing the internal relations between recalling and forgetting, and how this dynamic becomes problematic in light of events once present but now past, will inspire academic dialogue and response but also holds great appeal to educated general readers in search of both method for and insight from considering the ethical ramifications of modern events. . . . It is indeed a master work, not only in Ricoeur’s own vita but also in contemporary European philosophy.”—Library Journal “Ricoeur writes the best kind of philosophy—critical, economical, and clear.”— New York Times Book Review

Cinema Memories brings together and analyses the memories of almost a thousand people of going to the cinema in Britain during the 1960s. It offers a fresh perspective on the social, cultural and film history of what has come to be seen as an iconic decade, with the release of films such as A Taste of Honey, The Sound of Music, Darling, Blow-Up, Alfie, The Graduate, and Bonnie and Clyde. Drawing on first-hand accounts, authors Melvyn Stokes, Matthew Jones and Emma Pett explore how cinema-goers constructed meanings from the films they watched - through a complex process of negotiation between the films concerned, their own social and cultural identities, and their awareness of changes in British society. Their analysis helps the reader see what light the cultural memory of 1960s cinema-going sheds on how the Sixties in Britain is remembered and interpreted. Positioning their study within debates about memory, 1960s cinema, and the seemingly transformative nature of this decade of British history, the authors reflect on the methodologies deployed, the use of memories as historical sources, and the various ways in which cinema and cinema-going came to mean something to their audiences.

A stunning and vibrant collection from a rising star of the genre. This collection of fourteen tales showcase the range and talent that garnered Aliette de Bodard multiple awards, from Nebulas to the Locus Award. From a dark Gothic Paris devastated by a magical war, where Fallen angels, dragons and magicians intrigue in the drawing rooms of ruined mansions; to the Vietnamese-tinged space opera universe of Xuya, where sentient spaceships become the heart and living memory of families and scholar-officials travel from planets to space stations. In the Nebula award and Locus award winning “Immersion”, two women on a colonised space station grapple with loss of identity and culture. In the Hugo finalist “Children of Thorns, Children of Water”, a shapeshifting dragon on an infiltration mission to a ruined mansion must rescue his partner from creepy, child-like creatures. And in “A Salvaging of Ghosts,” a diver-scavenger cast off into deep spaces faces a dying midship and the ghost of her daughter. Unique to this collection is a new novella, “Of Birthdays, and Fungus, and Kindness”, set in Bodard’s alternative dark Paris. Praise for Of Wars, and Memories, and Starlight: “This stunning collection showcases de Bodard’s lush worldbuilding, meticulous research, and emotional prose.” —Library Journal (starred review) “De Bodard (The House of Shattered Wings, 2015) proves, again and again, that space opera can be intensely personal against its galactic backdrop.... The collection covers the consequences of war, survival in colonial culture, motherhood, mindships and space-travel, and aspects of grief.” —Booklist

Sweet Revenge? When two senseless killings hit close to home, columnist Clarence Abernathy seeks revenge for the murders—and, ultimately, answers to his own struggles regarding race and faith. After being dragged into the world of inner-city gangs and racial conflict, Clarence is encouraged by fellow columnist Jake Woods to forge an unlikely partnership with a redneck homicide detective. Soon the two find themselves facing dark forces, while unseen eyes watch from above. This re-release of Randy Alcorn’s powerful bestseller spins off from Deadline and offers a fascinating glimpse inside heaven. Can One Man’s Search for Justice Stand Up to the Forces of Evil Threatening to Destroy Him? A shocking murder drags black newspaper columnist Clarence Abernathy into the disorienting world of inner-city gangs and racial conflict. In a desperate hunt for answers to the violence (and to his own struggles with race and faith), Clarence forges an unlikely partnership with redneck detective Ollie Chandler. Despite their differences, Clarence and Ollie soon find themselves sharing the same mission: victory over the forces of darkness vying for dominion. Filled with insight—and with characters so real you’ll never forget them—Dominion is a dramatic story of spiritual searching, racial reconciliation, and hope. I don’t know when I have read a novel that affected me so profoundly. Randy Alcorn has combined a superb mystery/detective story with a lesson in racial relations in America, gang dynamics and symbols, Christian values, and spiritual warfare. —Dave Kirby, Troy (Alabama) Broadcasting Corporation Even better than its predecessor…Alcorn’s writing remains top-notch. —Sean Taylor, CBA Marketplace READER’S GUIDE INCLUDED Story Behind the Book Randy Alcorn thoroughly researched his characters, spending time in the inner city with homicide and gang detectives to better create the scenes for this bestselling novel. He set the story in his hometown of Portland, Oregon, and the main character, Clarence Abernathy, is a black journalist whose unforgettable father played baseball in the old Negro Leagues. Randy has received many letters from readers who assume he is African American due to his accurate portrayals of racial issues.