From Angola and Liberia to Iraq and the Congo, wars have taken place in resource rich countries full of poor people. In Wars of Plunder Philippe Le Billon explores how resources have shaped recent conflicts, and what the international community has tried to do about it. Focusing on key resources-oil, diamonds, and timber-he argues that resources and wars are linked in three main ways. First, resource revenues finance belligerents, a trend that has become all the more conspicuous since the withdrawal of Cold War foreign sponsorship in the late 1980s. Although the 'War on Terror' has redefined military assistance and the internationalisation of war, many belligerents continue to rely on and profit from 'conflict resources'. Second, resource exploitation generates conflict. As global demand for raw materials has sharply increased, competition over critical resources such as oil has resulted in a flurry of 'resource conflicts', from local community struggles against mining multinationals to regional and international tensions. Third, economic shocks and poor governance sharply increase the risk of war (the 'resource curse'). While today's resource boom is a major economic opportunity for resource rich but poor countries, reliance on resource exports often implies sharp economic downturns. Not all resources are the same, however, and effective responses are at hand. Sanctions, military interventions and wealth sharing have helped bring an end to conflicts, yet only deeper domestic and international reforms in resource governance can stop the plunder.

One of The Christian Science Monitor's Ten Best Books of May "A highly original work of history . . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two.” —Roger Lowenstein, The Wall Street Journal A captivatingstudy of Napoleon’s plundering of Europe’s art for the Louvre, told through the story of a Renaissance masterpiece seized from Venice Cynthia Saltzman’s Plunder recounts the fate of Paolo Veronese’s Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers’ space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings. As Saltzman tells the larger story of Napoleon’s looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness—to carry forward the finest aspects of civilization—and his ruthlessness in getting whatever he sought. After Napoleon’s 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre’s plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa. Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.

Though pillage, profit, and plunder have been a mainstay of war since pre-colonial times, there is little contemporary focus on the role of finance and economics in today's "Drug Wars"—despite the fact that they boost US banks and fill our prisons with poor people. They feed political campaigns, increase the arms trade, and function as long-term fixes to capitalism's woes, cracking open new territories to privatization and foreign direct investment. Combining on-the-ground reporting with extensive research, Dawn Paley moves beyond the usual horror stories, beyond journalistic rubbernecking and hand-wringing, to follow the thread of the Drug War story throughout the entire region of Latin America and all the way back to US boardrooms and political offices. This unprecedented book chronicles how terror is used against the population at large in cities and rural areas, generating panic and facilitating policy changes that benefit the international private sector, particularly extractive industries like petroleum and mining. This is what is really going on. This is drug war capitalism. Dawn Paley is a freelance journalist who has been reporting from South America, Central America, and Mexico for over ten years. Her writing has been published in the Nation, the Guardian, Vancouver Sun, Globe and Mail, Ms. magazine, the Tyee, Georgia Straight, and NACLA, among others.

Do countries fight wars for oil? Given the resource's exceptional military and economic importance, most people assume that states will do anything to obtain it. Challenging this conventional wisdom, The Oil Wars Myth reveals that countries do not launch major conflicts to acquire petroleum resources. Emily Meierding argues that the costs of foreign invasion, territorial occupation, international retaliation, and damage to oil company relations deter even the most powerful countries from initiating "classic oil wars." Examining a century of interstate violence, she demonstrates that, at most, countries have engaged in mild sparring to advance their petroleum ambitions. The Oil Wars Myth elaborates on these findings by reassessing the presumed oil motives for many of the twentieth century's most prominent international conflicts: World War II, the two American Gulf wars, the Iran–Iraq War, the Falklands/Malvinas War, and the Chaco War. These case studies show that countries have consistently refrained from fighting for oil. Meierding also explains why oil war assumptions are so common, despite the lack of supporting evidence. Since classic oil wars exist at the intersection of need and greed—two popular explanations for resource grabs—they are unusually easy to believe in. The Oil Wars Myth will engage and inform anyone interested in oil, war, and the narratives that connect them.

The remarkable untold story of France’s courageous, clever vinters who protected and rescued the country’s most treasured commodity from German plunder during World War II. "To be a Frenchman means to fight for your country and its wine." –Claude Terrail, owner, Restaurant La Tour d’Argent In 1940, France fell to the Nazis and almost immediately the German army began a campaign of pillaging one of the assets the French hold most dear: their wine. Like others in the French Resistance, winemakers mobilized to oppose their occupiers, but the tale of their extraordinary efforts has remained largely unknown–until now. This is the thrilling and harrowing story of the French wine producers who undertook ingenious, daring measures to save their cherished crops and bottles as the Germans closed in on them. Wine and War illuminates a compelling, little-known chapter of history, and stands as a tribute to extraordinary individuals who waged a battle that, in a very real way, saved the spirit of France.

Armies fight battles, states fight wars. To focus solely on armies is to neglect the broader story of victory and defeat. Military power stems from an economic base, and without wealth, soldiers cannot be paid, weapons cannot be procured, and food cannot be bought. War finance is among the most consequential decisions any state makes: how a state finances a war affects not only its success on the battlefield but also its economic stability and its leadership tenure. In How States Pay for Wars, Rosella Cappella Zielinski clarifies several critical dynamics lying at the nexus of financial and military policy.Cappella Zielinski has built a custom database on war funding over the past two centuries, and she combines those data with qualitative analyses of Truman's financing of the Korean War, Johnson’s financing of the Vietnam War, British financing of World War II and the Crimean War, and Russian and Japanese financing of the Russo-Japanese War. She argues that leaders who attempt to maximize their power at home, and state power abroad, are in a constant balancing act as they try to win wars while remaining in office. As a result of political risks, they prefer war finance policies that meet the needs of the war effort within the constraints of the capacity of the state.