Harvard University Press: 1090 books

Nations carry out geopolitical combat through economic means. Yet America often reaches for the gun over the purse to advance its interests abroad. Robert Blackwill and Jennifer Harris show that if U.S. policies are left uncorrected, the price in blood and treasure will only grow. Geoeconomic warfare requires a new vision of U.S. statecraft.

This is the rollicking, never-before-published memoir of a fascinating African American woman with an uncanny knack for being in the right place in the most interesting times. Actress, dancer, model, literary critic, psychologist, and free-spirited provocateur, Anita Reynolds was, as her Parisian friends nicknamed her, an American Cocktail.

In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima’s Ground Zero, comics have shown a stunning capacity to bear witness to trauma. Hillary Chute explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.

Michel Winock situates Flaubert in France’s century of great democratic transition. Wary of the masses, Flaubert rejected universal suffrage, but above all he hated the vulgar, ignorant bourgeoisie, a class that embodied every vice of the democratic age. His loathing became a fixation—and a source of literary inspiration.

China was the most advanced country in the world when Huizong ascended the throne in 1100 CE. Artistically gifted, he guided the Song Dynasty toward cultural greatness but is known to posterity as a political failure who lost the throne to Jurchen invaders and died their prisoner. In this comprehensive...

As anyone who has wielded a camera knows, photography has a unique relationship to chance. It also represents a struggle to reconcile aesthetic aspiration with a mechanical process. Robin Kelsey reveals how daring innovators expanded the aesthetic limits of photography in order to create art for a modern world.

Critic, poet, editor, chronicler of the Lost Generation, elder statesman of the Republic of Letters, Malcolm Cowley (1898­-1989) was an eloquent witness to American literary and political life. His letters, mostly unpublished, provide a self-portrait of Cowley and his time and make possible a full appreciation of his long, varied career.

The first book in many years to take in the full sweep of national fiction, The Dream of the Great American Novel explains why this supposedly antiquated idea continues to thrive. It shows that four G.A.N. "scripts" are keys to the dynamics of American literature and identity--and to the myth of a nation perpetually under construction.

The 700-year history of the novel in English defies straightforward telling. Encompassing a range of genres, it is geographically and culturally boundless and influenced by great novelists working in other languages. Michael Schmidt, choosing as his travel companions not critics or theorists but other novelists, does full justice to its complexity.

A mere forty miles apart, these cities have enjoyed a scratchy rivalry since wistful Edinburgh lost parliamentary sovereignty and defiant Glasgow came into its industrial promise. Crawford brings them to life between the covers of one book, in a tale that mixes novelty and familiarity, as Scotland’s cultural capital and largest commercial city do.

In 1889 Emma Goldman and Alexander Berkman met in a Lower East Side coffee shop. Over the next fifty years they became fast friends, fleeting lovers, and loyal comrades. This dual biography offers a glimpse into their intertwined lives, the influence of the anarchist movement they shaped, and their unyielding commitment to equality and justice.

This is a secret history of modern times, told by way of what conventional history tries to exclude. Lipstick Traces tells a story as disruptive and compelling as the century itself.

Greil Marcus delves into three distinct episodes in the history of American commonplace song and shows how each one manages to convey the uncanny sense that it was written by no one. In these seemingly anonymous productions, we discover three different ways of talking about the United States, and three separate nations within its borders.

Architects, we like to believe, shape the world as they please. Reinier de Graaf draws on his own tragicomic experiences to present a candid account of what it is really like to work as an architect. To achieve anything, he notes, architects must serve the powers they strive to critique, finding themselves in a perpetual conflict of interest.