Alexis de Tocqueville’s Souvenirs was his extraordinarily lucid and trenchant analysis of the 1848 revolution in France. Despite its bravura passages and stylistic flourishes, however, it was not intended for publication. Written just before Louis-Napoléon Bonaparte’s 1851 coup prompted the great theorist of democracy to retire from political life, it was initially conceived simply as an exercise in candid personal reflection. In Recollections: The French Revolution of 1848 and Its Aftermath, renowned historian Olivier Zunz and award-winning translator Arthur Goldhammer offer an entirely new translation of Tocqueville’s compelling book. The book has an interesting publishing history. Yielding to pressure from friends, Tocqueville finally approved its publication, although only after those portrayed in the work—most, unflatteringly—had died. After Tocqueville’s death, his grandnephew published a redacted version, but it was not until 1942 that French editors restored the potentially offensive passages. Goldhammer’s is the first English translation to do justice to Tocqueville’s original uncensored masterpiece of analytical description, stylistic subtlety, vivid social panorama, and incisive critique of political blundering and cowardice. Zunz’s introduction—and his addition of several of Tocqueville’s ancillary speeches, occasional texts, and letters—round out a unique volume that significantly enhances our understanding of the revolutionary period and Tocqueville’s role in it. In this new edition, Zunz highlights the persistent influence of the United States on the life and work of a man who tirelessly, albeit futilely, promoted the American model of government for the New French Republic.

First Published in 2005. This book constitutes the continuation and complement of a work, The Chatham House Version and Other Middle-Eastern Studies, published in 1970. Both works are concerned with certain themes prominent in recent middle-eastern history, namely the influence of great-power, and particularly British policies in the region; the character of middle-eastern, and particularly Arab, politics and political thought during the last hundred years or so; and the fate of so-called minorities, and particularly the Jews of the Arab world, caught as they were in the cross-fire of antagonistic ideologies and of international conflicts.

An electric portrait of the artist as a young woman that asks how a writer finds her voice in a society that prefers women to be silent In Recollections of My Nonexistence, Rebecca Solnit describes her formation as a writer and as a feminist in 1980s San Francisco, in an atmosphere of gender violence on the street and throughout society and the exclusion of women from cultural arenas. She tells of being poor, hopeful, and adrift in the city that became her great teacher; of the small apartment that, when she was nineteen, became the home in which she transformed herself; of how punk rock gave form and voice to her own fury and explosive energy. Solnit recounts how she came to recognize the epidemic of violence against women around her, the street harassment that unsettled her, the trauma that changed her, and the authority figures who routinely disdained and disbelieved girls and women, including her. Looking back, she sees all these as consequences of the voicelessness that was and still is the ordinary condition of women, and how she contended with that while becoming a writer and a public voice for women's rights. She explores the forces that liberated her as a person and as a writer--books themselves, the gay men around her who offered other visions of what gender, family, and joy could be, and her eventual arrival in the spacious landscapes and overlooked conflicts of the American West. These influences taught her how to write in the way she has ever since, and gave her a voice that has resonated with and empowered many others.

In the aftermath of the Civil War, Republicans and Democrats who advocated conflicting visions of American citizenship could agree on one thing: the rhetorical power of Abraham Lincoln’s life. This volume examines the debates over his legacy and their impact on America’s future. In the thirty-five years following Lincoln’s assassination, acquaintances of Lincoln published their memories of him in newspapers, biographies, and edited collections in order to gain fame, promote partisan aims, champion his hardscrabble past and exalted rise, and define his legacy. Shawn Parry-Giles and David Kaufer explore how style, class, and character affected these reminiscences. They also analyze the ways people used these writings to reinforce their beliefs about citizenship and presidential leadership in the United States, with specific attention to the fissure between republicanism and democracy that still exists today. Their study employs rhetorical and corpus research methods to assess more than five hundred reminiscences. A novel look at how memories of Lincoln became an important form of political rhetoric, this book sheds light on how divergent schools of U.S. political thought came to recruit Lincoln as their standard-bearer.

In this moving book, two skilled oral historians collect the words of Americans who have been victims of political repression in their own country. Disturbing and provocative, It Did Happen Here is must-reading for everyone who cares about protecting the rights and liberties upon which this country has been built.

This remarkable first novel depicts life in the small Mexican town of Ixtepec during the grim days of the Revolution. The town tells its own story against a variegated background of political change, religious persecution, and social unrest. Elena Garro, who has also won a high reputation as a playwright, is a masterly storyteller. Although her plot is dramatically intense and suspenseful, the novel does not depend for its effectiveness on narrative continuity. It is a book of episodes, one that leaves the reader with a series of vivid impressions. The colors are bright, the smells pungent, the many characters clearly drawn in a few bold strokes. Octavio Paz, the distinguished poet and critic, has written that it "is truly an extraordinnary work, one of the most perfect creations in contemporary Latin American literature."