For as long as people have been working to bring peace to areas suffering long-standing, violent conflict, there have also been those working to spoil this peace. These "spoilers" work to disrupt the peace process, and often this disruption takes the form of violence on a catastrophic level. Galia Golan and Gilead Sher offer a broader perspective. They examine this phenomenon by analyzing groups who have spoiled or attempted to spoil peace efforts by political or other nonviolent means. By focusing in particular on the Israeli-Arab conflict, this collection of essays considers the impact of a democratic society operating within a broader context of violence. Contributors bring to light the surprising efforts of negotiators, members of the media, political leaders, and even the courts to disrupt the peace process, and they offer coping strategies for addressing this kind of disruption. Taking into account the multitude of factors that can lead to the breakdown of negotiations, Spoiling and Coping with Spoilers shows how spoilers have been a key factor in Israeli-Arab negotiations in the past and explores how they will likely shape negotiations in the future.

For as long as people have been working to bring peace to areas suffering long-standing, violent conflict, there have also been those working to spoil this peace. These "spoilers" work to disrupt the peace process, and often this disruption takes the form of violence on a catastrophic level. Galia Golan and Gilead Sher offer a broader perspective. They examine this phenomenon by analyzing groups who have spoiled or attempted to spoil peace efforts by political or other nonviolent means. By focusing in particular on the Israeli-Arab conflict, this collection of essays considers the impact of a democratic society operating within a broader context of violence. Contributors bring to light the surprising efforts of negotiators, members of the media, political leaders, and even the courts to disrupt the peace process, and they offer coping strategies for addressing this kind of disruption. Taking into account the multitude of factors that can lead to the breakdown of negotiations, Spoiling and Coping with Spoilers shows how spoilers have been a key factor in Israeli-Arab negotiations in the past and explores how they will likely shape negotiations in the future.

Landes, a medievalist and historian of apocalyptic movements, takes us through the first years of the third millennium (2000-2003), documenting how a radical inability of Westerners to understand the medieval mentality that drove Global Jihad prompted a series of disastrous misinterpretations and misguided reactions that have shaped our so-far unhappy century. These misinterpretations in 2000, 2001, 2002, and 2005, contributed fundamentally to the ever-worsening moral and empirical disorientations of our information elites (journalists, academics, pundits). So while journalists reported Palestinian war propaganda as news (lethal journalism), they were also reporting Jihadi war propaganda as news (own-goal war journalism). These radical disorientations have created our current dilemma of pervasive information distrust, deep splits within the voting public in most democracies, the politicization of science, and the inability of Western elites to defend their civilization, and instead, to stand down before an invasion.

One of the "10 Must-Read Histories of the Palestine-Israel Conflict" —Ian Black, Literary Hub, on the 100th anniversary of the Balfour Declaration The new edition of the acclaimed text that explores the issues continuing to define the Israeli-Palestinian conflict Numerous instances of competing, sometimes incompatible narratives of controversial events are found throughout history. Perhaps the starkest example of such contradictory representations is the decades-long conflict between Israel and Palestine. For over 140 years, Israelis, Palestinians, and scores of peacemakers have failed to establish a sustainable, mutually-acceptable solution. The Israel-Palestine Conflict introduces the historical basis of the dispute and explores both the tangible issues and intangible factors that have blocked a peaceful resolution. Author Neil Caplan helps readers understand the complexities and contradictions of the conflict and why the histories of Palestine and Israel are so fiercely contested. Now in its second edition, this book has been thoroughly updated to reflect the events that have transpired since its original publication. Fresh insights consider the impact of current global and regional instability and violence on the prospects of peace and reconciliation. New discussions address recent debates over two-state versus one-state solutions, growing polarization in public discourse outside of the Middle East, the role of public intellectuals, and the growing trend of merging scholarship with advocacy. Part of the Wiley-Blackwell Contested Histories series, this clear and accessible volume: Offers a balanced, non-polemic approach to current academic discussions and political debates on the Israel-Palestine conflict Highlights eleven core arguments viewed by the author as unwinnable Encourages readers to go beyond simply assigning blame in the conflict Explores the major historiographical debates arising from the dispute Includes updated references and additional maps Already a standard text for courses on the history and politics of the Middle East, The Israel-Palestine Conflict is an indispensable resource for students, scholars, and interested general readers.

The end of the Cold War has changed the shape of organized violence in the world and the ways in which governments and others try to set its limits. Even the concept of international conflict is broadening to include ethnic conflicts and other kinds of violence within national borders that may affect international peace and security. What is not yet clear is whether or how these changes alter the way actors on the world scene should deal with conflict: Do the old methods still work? Are there new tools that could work better? How do old and new methods relate to each other? International Conflict Resolution After the Cold War critically examines evidence on the effectiveness of a dozen approaches to managing or resolving conflict in the world to develop insights for conflict resolution practitioners. It considers recent applications of familiar conflict management strategies, such as the use of threats of force, economic sanctions, and negotiation. It presents the first systematic assessments of the usefulness of some less familiar approaches to conflict resolution, including truth commissions, "engineered" electoral systems, autonomy arrangements, and regional organizations. It also opens up analysis of emerging issues, such as the dilemmas facing humanitarian organizations in complex emergencies. This book offers numerous practical insights and raises key questions for research on conflict resolution in a transforming world system.

The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival

Whose truth is the lie? Stay up all night reading the sensational psychological thriller that has readers obsessed, from the #1 New York Times bestselling author of Too Late and It Ends With Us. #1 New York Times Bestseller · USA Today Bestseller · Globe and Mail Bestseller · Publishers Weekly Bestseller Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of bestselling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity’s notes and outlines, hoping to find enough material to get her started. What Lowen doesn’t expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read. Page after page of bone-chilling admissions, including Verity's recollection of the night her family was forever altered. Lowen decides to keep the manuscript hidden from Jeremy, knowing its contents could devastate the already grieving father. But as Lowen’s feelings for Jeremy begin to intensify, she recognizes all the ways she could benefit if he were to read his wife’s words. After all, no matter how devoted Jeremy is to his injured wife, a truth this horrifying would make it impossible for him to continue loving her.