The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.

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“PURGE the world of dead art, imitation, artificial art. . . . Promote living art, anti-art, promote NON ART REALITY to be grasped by all peoples,” writes artist George Maciunas in his Fluxus manifesto of 1963. Reacting against an elitist art world enthralled by modernist aesthetics, Fluxus encouraged playfulness, chance, irreverence, and viewer participation. The diverse collective—including George Brecht, Robert Filliou, Dick Higgins, Alison Knowles, George Maciunas, Yoko Ono, Nam June Paik, Benjamin Patterson, Takako Saito, Mieko Shiomi, Ben Vautier, and Robert Watts—embraced humble objects and everyday gestures as critical means of finding freedom and excitement beyond traditional forms of art-making. While today the Fluxus collective is recognized for its radical neo-avant-garde works of performance, publishing, and relational art and its experimental, interdisciplinary approach, it was not taken seriously in its own time. With Fluxus Forms, Natilee Harren captures the magnetic energy of Fluxus activities and collaborations that emerged at the intersections of art, music, performance, and literature. The book offers insight into the nature of art in the 1960s as it traces the international development of the collective’s unique intermedia works—including event scores and Fluxbox multiples—that irreversibly expanded the boundaries of contemporary art.

Louis XIV was a man in pursuit of glory. Not content to be the ruler of a world power, he wanted the power to rule the world. And, for a time, he came tantalizingly close. Philip Mansel’s King of the World is the most comprehensive and up-to-date biography in English of this hypnotic, flawed figure who continues to captivate our attention. This lively work takes Louis outside Versailles and shows the true extent of his global ambitions, with stops in London, Madrid, Constantinople, Bangkok, and beyond. We witness the importance of his alliance with the Spanish crown and his success in securing Spain for his descendants, his enmity with England, and his relations with the rest of Europe, as well as Asia, Africa, and the Americas. We also see the king’s effect on the two great global diasporas of Huguenots and Jacobites, and their influence on him as he failed in his brutal attempts to stop Protestants from leaving France. Along the way, we are enveloped in the splendor of Louis’s court and the fascinating cast of characters who prostrated and plotted within it. King of the World is exceptionally researched, drawing on international archives and incorporating sources who knew the king intimately, including the newly released correspondence of Louis’s second wife, Madame de Maintenon. Mansel’s narrative flair is a perfect match for this grand figure, and he brings the Sun King’s world to vivid life. This is a global biography of a global king, whose power was extensive but also limited by laws and circumstances, and whose interests and ambitions stretched far beyond his homeland. Through it all, we watch Louis XIV progressively turn from a dazzling, attractive young king to a belligerent reactionary who sets France on the path to 1789. It is a convincing and compelling portrait of a man who, three hundred years after his death, still epitomizes the idea of le grand monarque.

Friedrich Nietzsche is one of the most widely read authors in the world, from the time of his death to the present—as well as one of the most controversial. He has been celebrated as a theorist of individual creativity and self-care but also condemned as an advocate of antimodern politics and hierarchical communalism. Rather than treating these approaches as mutually exclusive, Jeremy Fortier contends that we ought instead to understand Nietzsche’s complex legacy as the consequence of a self-conscious and artful tension woven into the fabric of his books. The Challenge of Nietzsche uses Nietzsche as a guide to Nietzsche, highlighting the fact that Nietzsche equipped his writings with retrospective self-commentaries and an autobiographical apparatus that clarify how he understood his development as an author, thinker, and human being. Fortier shows that Nietzsche used his writings to establish two major character types, the Free Spirit and Zarathustra, who represent two different approaches to the conduct and understanding of life: one that strives to be as independent and critical of the world as possible, and one that engages with, cares for, and aims to change the world. Nietzsche developed these characters at different moments of his life, in order to confront from contrasting perspectives such elemental experiences as the drive to independence, the feeling of love, and the assessment of one’s overall health or well-being. Understanding the tension between the Free Spirit and Zarathustra takes readers to the heart of what Nietzsche identified as the tensions central to his life, and to all human life.

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal—or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life, Fernando Domínguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art (MoMA) in New York, to explore the day-to-day dilemmas that museum workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Domínguez Rubio provides a rare view of the vast technological apparatus—from climatic infrastructures and storage facilities, to conservation labs and machine rooms—and teams of workers—from conservators and engineers to guards and couriers—who fight to hold artworks still. As MoMA reopens after a massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion.

The popular image of a midcentury adwoman is of a feisty girl beating men at their own game, a female Horatio Alger protagonist battling her way through the sexist workplace. But before the fictional rise of Peggy Olson or the real-life stories of Patricia Tierney and Jane Maas came Jean Wade Rindlaub: a female power broker who used her considerable success in the workplace to encourage other women—to stick to their kitchens. The Angel in the Marketplace is the story of one of America’s most accomplished advertising executives. It is also the story of how advertisers like Rindlaub sold a postwar American dream of capitalism and a Christian corporate order. Rindlaub was responsible for award-winning, mega sales-generating advertisements for all things domestic, including Oneida silverware, Betty Crocker cake mix, Campbell’s soup, and Chiquita bananas. Her success largely came from embracing, rather than subverting, the cultural expectations of women. She believed her responsibility as an advertiser was not to spring women from their trap, but to make that trap more comfortable. Rindlaub wasn’t just selling silverware and cakes; she was selling the virtues of free enterprise. By following the arc of Rindlaub’s career from the 1920s through the 1960s, we witness how a range of cultural narratives—advertising chief among them—worked powerfully to shape women’s emotional and economic behavior in support of the free market system. Alongside Rindlaub’s story, Ellen Wayland-Smith provides a riveting history of how women were repeatedly sold the idea that their role as housewives was more powerful, and more patriotic, than any outside the home. And by buying into the image of morality through an unregulated market, many of these women helped fuel backlash against economic regulation and socialization efforts throughout the twentieth century. The Angel in the Marketplace is a nuanced portrayal of a complex woman, one who both shaped and reflected the complicated cultural, political, and religious forces defining femininity in America at mid-century. This compelling account of one of advertising’s most fervent believers is a tale of a Mad Woman we haven’t been told.