From the creator of the Emmy Award-winning Downton Abbey... "Damian Baxter was a friend of mine at Cambridge. We met around the time when I was doing the Season at the end of the Sixties. I introduced him to some of the girls. They took him up, and we ran about together in London for a while...." Nearly forty years later, the narrator hates Damian Baxter and would gladly forget their disastrous last encounter. But if it is pleasant to hear from an old friend, it is more interesting to hear from an old enemy, and so he accepts an invitation from the rich and dying Damian, who begs him to track down the past girlfriend whose anonymous letter claimed he had fathered a child during that ruinous debutante season. The search takes the narrator back to the extraordinary world of swinging London, where aristocratic parents schemed to find suitable matches for their daughters while someone was putting hash in the brownies at a ball at Madame Tussaud's. It was a time when everything seemed to be changing—and it was, but not always quite as expected. Past Imperfect is Julian Fellowes at his best--a novel of secrets, status, and a world in upheaval.

Essays that consider how classic movies have reflected history include the writings of such noted historians as Paul Fussell, Antonia Fraser, and Gore Vidal.

Woodrow Wilson, a practicing academic historian before he took to politics, defined the importance of history: "A nation which does not know what it was yesterday, does not know what it is today." He, like many men of his generation, wanted to impose a version of America's founding identity: it was a land of the free and a home of the brave. But not the braves. Or the slaves. Or the disenfranchised women. So the history of Wilson's generation omitted a significant proportion of the population in favor of a perspective that was predominantly white, male and Protestant. That flaw would become a fissure and eventually a schism. A new history arose which, written in part by radicals and liberals, had little use for the noble and the heroic, and that rankled many who wanted a celebratory rather than a critical history. To this combustible mixture of elements was added the flame of public debate. History in the 1990s was a minefield of competing passions, political views and prejudices. It was dangerous ground, and, at the end of the decade, four of the nation's most respected and popular historians were almost destroyed by it: Michael Bellesiles, Doris Kearns Goodwin, Stephen Ambrose and Joseph Ellis. This is their story, set against the wider narrative of the writing of America's history. It may be, as Flaubert put it, that "Our ignorance of history makes us libel our own times." To which he could have added: falsify, plagiarize and politicize, because that's the other story of America's history.

The uniquely prominent role of French intellectuals in European cultural and political life following World War II is the focus of Tony Judt's newest book. He analyzes this intellectual community's most divisive conflicts: how to respond to the promise and the betrayal of Communism and how to sustain a commitment to radical ideals when confronting the hypocrisy in Stalin's Soviet Union, in the new Eastern European Communist states, and in France itself. Judt shows why this was an all-consuming moral dilemma to a generation of French men and women, how their responses were conditioned by war and occupation, and how post-war political choices have come to sit uneasily on the conscience of later generations of French intellectuals. Judt's analysis extends beyond the writings of fashionable "Existentialist" personalities such as Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir to include a wide intellectual community of Catholic philosophers, non-aligned journalists, literary critics and poets, Communist and non-Communist alike. Judt treats the intellectual dilemmas of the postwar years as an unfinished history. French intellectuals have not fully come to terms with the gnawing sense of what Judt calls the "moral irresponsibility" of those years. The result, he suggests, is a legacy of bad faith and confusion that has damaged France's cultural standing, notably in newly liberated Eastern Europe, and which reflects the nation's larger difficulty in confronting its own ambivalent past.

The essays and talks gathered in Past Imperfect cover a broad range of topics of continuing relevance to the humanities and to scholarship in general. Part I collects Towner's historical essays on the indentured servants, apprentices, and slaves of colonial New England that are standards of the "new social history." The pieces in Part II express his vision of the library as an institution for research and education; here he discusses the rationale for the creation of research centers, the Newberry's pioneering policies for conservation and preservation, and the ways in which collections were built. In Part III Towner writes revealingly of his co-workers and mentors. Part IV assembles his statements as "spokesman for the humanities," addressing questions of national priorities in funding, and of so-called elitist scholarship versus public programs.

The beautiful and talented actress recounts her professional and personal life, from her childhood in England, through her three broken marriages and love affairs, to her daughter's accident and recovery

This book proposes to examine French and Francophone intellectual history in the period leading to the decolonization of sub-Saharan Africa (1945-1960). The analysis favours the epistemological links between ethnology, museology, sociology, and (art) history. In this discussion, a specific focus is placed on temporality and the role ascribed by these different disciplines to African pasts, presents, and futures. It is argued here that the post-war context, characterized, inter alia, by the creation of UNESCO, the birth of Pr�sence Africaine and the prevalence of existentialism, bore witness to the development of new regimes of historicity and to the partial refutation of a progress-based modernity. This investigation is predicated on case studies from West and Central Africa (AOF, AEF and Belgian Congo) and, whilst adopting a postcolonial methodology, it explores African and French authors such as Georges Balandier, Cheikh Anta Diop, Frantz Fanon, Chris Marker, Joseph Ki-Zerbo, Claude L�vi-Strauss, Alain Resnais, Jean-Paul Sartre and Placide Tempels. This study explores the intellectual legacy of the 'long nineteenth century' and the difficulty encountered by these authors to articulate their anti-colonial agenda away from the modern methodologies of the 'colonial library'. By focussing on issues of intellectual alienation, this book also demonstrates that the post-WW2 period foreshadowed twenty-first century debates on extroversion, racial inequalities, the decolonization of history, and cultural (mis)appropriation.