For readers who relish the image of clinging to a sinking makeshift raft while fighting off sword-wielding and delirious mutineers wrenching the last cask of water from a sailor's sun-scorched hands (while sharks circle in famished anticipation), Shipwrecked! Adventures and Disasters at Sea is an irresistible read. A heady voyage through human suffering at the hands of unforgiving oceans, cruel captains, and implacable fate, this latest collection of Evan Balkan's impeccably researched true adventures details 14 major maritime disasters. Included are such legendary stories as the 1629 maiden voyage of the Batavia that ended in mutiny and murder, and the dramatic destruction of the majestic three-masted barquentine Endurance in ice-clogged Antarctic waters in 1912. A vast spectrum of human emotion and activity is featured in these exciting profiles, from deadly incompetence and brutish cannibalism to surprising self-sacrifice and quiet heroism.

A Sea of Misadventures examines more than one hundred documented shipwreck narratives from the seventeenth to the nineteenth century as a means to understanding gender, status, and religion in the history of early America. Though it includes all the drama and intrigue afforded by maritime disasters, the book's significance lies in its investigation of how the trauma of shipwreck affected American values and behavior. Through stories of death and devastation, Amy Mitchell-Cook examines issues of hierarchy, race, and gender when the sphere of social action is shrunken to the dimensions of a lifeboat or deserted shore. Rather than debate the veracity of shipwreck tales, Mitchell-Cook provides a cultural and social analysis that places maritime disasters within the broader context of North American society. She answers questions that include who survived and why, how did gender or status affect survival rates, and how did survivors relate their stories to interested but unaffected audiences? Mitchell-Cook observes that, in creating a sense of order out of chaotic events, the narratives reassured audiences that anarchy did not rule the waves, even when desperate survivors resorted to cannibalism. Some of the accounts she studies are legal documents required by insurance companies, while others have been a form of prescriptive literature—guides that taught survivors how to act and be remembered with honor. In essence, shipwreck revealed some of the traits that defined what it meant to be Anglo-American. In an elaboration of some of the themes, Mitchell-Cook compares American narratives with Portuguese narratives to reveal the power of divergent cultural norms to shape so basic an event as a shipwreck.

This edited collection re-examines the relationship between art and the sea, reflecting growing interest in the intersections between art and maritime history. Artists have always been fascinated by and drawn to the sea and this book considers some of the themes and approaches in art that have evolved as a result of this captivation. The chapters consider how an examination of art can provide new insights into existing knowledge of port and maritime history, and are representative of a ‘cultural turn’ in port and maritime studies, which is becoming increasingly visible. In Art and the Sea, multiple perspectives are offered as a result of the contributors’ individual positions and methodologies: some museological, others art historical or maritime-historical. Each chapter proposes a new way of building upon available interpretations of port and maritime history: whether this be to reject, support or reconsider existing knowledge. The book as a whole is a timely addition, therefore, to the developing body of revisionist texts in port and maritime history. The interdisciplinary nature of the volume relates to a current trend for interdisciplinarity in art history and will appeal to those with an interest in art history, geography, sociology, history and transport / maritime studies.

"A dazzlingly erudite synthesis of history, philosophy, anthropology, genetics, sociology, economics, epidemiology, statistics, and more" (Frank Bruni, The New York Times), Blueprint shows why evolution has placed us on a humane path -- and how we are united by our common humanity. For too long, scientists have focused on the dark side of our biological heritage: our capacity for aggression, cruelty, prejudice, and self-interest. But natural selection has given us a suite of beneficial social features, including our capacity for love, friendship, cooperation, and learning. Beneath all of our inventions -- our tools, farms, machines, cities, nations -- we carry with us innate proclivities to make a good society. In Blueprint, Nicholas A. Christakis introduces the compelling idea that our genes affect not only our bodies and behaviors, but also the ways in which we make societies, ones that are surprisingly similar worldwide. With many vivid examples -- including diverse historical and contemporary cultures, communities formed in the wake of shipwrecks, commune dwellers seeking utopia, online groups thrown together by design or involving artificially intelligent bots, and even the tender and complex social arrangements of elephants and dolphins that so resemble our own -- Christakis shows that, despite a human history replete with violence, we cannot escape our social blueprint for goodness. In a world of increasing political and economic polarization, it's tempting to ignore the positive role of our evolutionary past. But by exploring the ancient roots of goodness in civilization, Blueprint shows that our genes have shaped societies for our welfare and that, in a feedback loop stretching back many thousands of years, societies are still shaping our genes today.