Traces the history of the Parthenon, explains how and why its sculptures and friezes were taken to Britain, and discusses the arguments for returning them

Walk into any European museum today and you will see the curated spoils of Empire. They sit behind plate glass: dignified, tastefully lit. Accompanying pieces of card offer a name, date and place of origin. They do not mention that the objectsare all stolen. Few artefacts embody this history of rapacious and extractive colonialism better than the Benin Bronzes - a collection of thousands of brass plaques and carved ivory tusks depicting the history of the Royal Court of the Obas of BeninCity, Nigeria. Pillaged during a British naval attack in 1897, the loot was passed on to Queen Victoria, the British Museum and countless private collections. The story of the Benin Bronzes sits at the heart of a heated debate about cultural restitution, repatriation and the decolonisation of museums. In The Brutish Museums, Dan Hicks makes a powerful case for the urgent return of such objects, as part of a wider project of addressing the outstanding debt of colonialism.

(B)ordering Britain argues that Britain is the spoils of empire, its immigration law is colonial violence and irregular immigration is anti-colonial resistance. In announcing itself as postcolonial through immigration and nationality laws passed in the 60s, 70s and 80s, Britain cut itself off symbolically and physically from its colonies and the Commonwealth, taking with it what it had plundered. This imperial vanishing act cast Britain's colonial history into the shadows. The British Empire, about which Britons know little, can be remembered fondly as a moment of past glory, as a gift once given to the world. Meanwhile immigration laws are justified on the basis that they keep the undeserving hordes out. In fact, immigration laws are acts of colonial seizure and violence. They obstruct the vast majority of racialised people from accessing colonial wealth amassed in the course of colonial conquest. Regardless of what the law, media and political discourse dictate, people with personal, ancestral or geographical links to colonialism, or those existing under the weight of its legacy of race and racism, have every right to come to Britain and take back what is theirs.

They thought they could force her to conform. They were wrong. Inside a dystopian school in the Singularity, the twelve-year-old girl known as One Twenty-Four struggles to survive. Failure to conform means death at the hands of her teacher. Assuming her clone sisters don't kill her first. The Terran Empire has tasked Imperial Marine Lieutenant Grace Tolliver to lead her platoon into the Singularity as a privateer. Her mission: to tear a great bloody strip off their enemies and to take anything that isn't nailed down. The collision of this unlikely pair will change the humanity in ways that no one could predict. If they survive. Author's Note: This novel takes place more than five centuries before the Empire of Bones series and the events unfolding here have implications there.

From the bestselling author of The English comes Empire, Jeremy Paxman's history of the British Empire accompanied by a flagship 5-part BBC TV series, for readers of Simon Schama and Andrew Marr. The influence of the British Empire is everywhere, from the very existence of the United Kingdom to the ethnic composition of our cities. It affects everything, from Prime Ministers' decisions to send troops to war to the adventurers we admire. From the sports we think we're good at to the architecture of our buildings; the way we travel to the way we trade; the hopeless losers we will on, and the food we hunger for, the empire is never very far away. In this acute and witty analysis, Jeremy Paxman goes to the very heart of empire. As he describes the selection process for colonial officers ('intended to weed out the cad, the feeble and the too clever') the importance of sport, the sweating domestic life of the colonial officer's wife ('the challenge with cooking meat was "to grasp the fleeting moment between toughness and putrefaction when the joint may possibly prove eatable"') and the crazed end for General Gordon of Khartoum, Paxman brings brilliantly to life the tragedy and comedy of Empire and reveals its profound and lasting effect on our nation and ourselves. 'Paxman is witty, incisive, acerbic and opinionated . . . In short, he carries the whole thing off with panache bordering on effrontery' Piers Brendon, Sunday Times 'Paxman is a magnificent historian, and Empire may be remembered as his finest work' Independent on Sunday Jeremy Paxman was born in Yorkshire and educated at Cambridge. He is an award-winning journalist who spent ten years reporting from overseas, notably for Panorama. He is the author of five books including The English. He is the presenter of Newsnight and University Challenge and has presented BBC documentaries on various subjects including Victorian art and Wilfred Owen.

In a time of aggressive imperial expansion, Latin elegists expressed geographical concerns about boundaries and limits through masculine and feminine subjects in their poetry. Latin Elegy and the Space of Empire argues that the subject in Latin elegy, beginning with Catallus, constitutes itself in relation to the dynamic space of empire from the late Republic to the end of the Augustan age. The lack of fixiity in the elegiac subject and space of empire go hand in hand, and in imagining geographical space the question of our very nature as subjects comes to the fore. Catullus, Propertius, Tibullus and Ovid each offers his own unique expression of the gendered subject, and their poetry runs the gamut of responses to the expanding geographical empire. First comes the dream of Roman imperium sine fine, an empire that capaciously stretches to the ends of the inhabited world. And yet, imperium sine fine requires the existence of some sort of fines, even if the fantasy demands that they be overrun. Formlessness, or worse, rapidly alternating forms, gives rise to anxieties and the desire to set down some fines, to establish where, exactly, the boundaries of empire are, what belongs "inside" and what can be relegated to "outside". But fines, cartographically speaking, are never as stable as we want them to be, and, for a rapidly expanding empire, are always under pressure. The very constitution of the gendered elegiac subject mirrors, anticipates, runs parallel to the problems and anxieties that the map of expanding empire both tries to solve, yet simultaneously reveals in its production of space.