The gripping history of electricity and how the fateful collision of Thomas Edison, Nikola Tesla, and George Westinghouse left the world utterly transformed. In the final decades of the nineteenth century, three brilliant and visionary titans of America’s Gilded Age—Thomas Edison, Nikola Tesla, and George Westinghouse—battled bitterly as each vied to create a vast and powerful electrical empire. In Empires of Light, historian Jill Jonnes portrays this extraordinary trio and their riveting and ruthless world of cutting-edge science, invention, intrigue, money, death, and hard-eyed Wall Street millionaires. At the heart of the story are Thomas Alva Edison, the nation’s most famous and folksy inventor, creator of the incandescent light bulb and mastermind of the world’s first direct current electrical light networks; the Serbian wizard of invention Nikola Tesla, elegant, highly eccentric, a dreamer who revolutionized the generation and delivery of electricity; and the charismatic George Westinghouse, Pittsburgh inventor and tough corporate entrepreneur, an industrial idealist who in the era of gaslight imagined a world powered by cheap and plentiful electricity and worked heart and soul to create it. Edison struggled to introduce his radical new direct current (DC) technology into the hurly-burly of New York City as Tesla and Westinghouse challenged his dominance with their alternating current (AC), thus setting the stage for one of the eeriest feuds in American corporate history, the War of the Electric Currents. The battlegrounds: Wall Street, the 1893 Chicago World’s Fair, Niagara Falls, and, finally, the death chamber—Jonnes takes us on the tense walk down a prison hallway and into the sunlit room where William Kemmler, convicted ax murderer, became the first man to die in the electric chair.

The gripping history of electricity and how the fateful collision of Thomas Edison, Nikola Tesla, and George Westinghouse left the world utterly transformed. In the final decades of the nineteenth century, three brilliant and visionary titans of America’s Gilded Age—Thomas Edison, Nikola Tesla, and George Westinghouse—battled bitterly as each vied to create a vast and powerful electrical empire. In Empires of Light, historian Jill Jonnes portrays this extraordinary trio and their riveting and ruthless world of cutting-edge science, invention, intrigue, money, death, and hard-eyed Wall Street millionaires. At the heart of the story are Thomas Alva Edison, the nation’s most famous and folksy inventor, creator of the incandescent light bulb and mastermind of the world’s first direct current electrical light networks; the Serbian wizard of invention Nikola Tesla, elegant, highly eccentric, a dreamer who revolutionized the generation and delivery of electricity; and the charismatic George Westinghouse, Pittsburgh inventor and tough corporate entrepreneur, an industrial idealist who in the era of gaslight imagined a world powered by cheap and plentiful electricity and worked heart and soul to create it. Edison struggled to introduce his radical new direct current (DC) technology into the hurly-burly of New York City as Tesla and Westinghouse challenged his dominance with their alternating current (AC), thus setting the stage for one of the eeriest feuds in American corporate history, the War of the Electric Currents. The battlegrounds: Wall Street, the 1893 Chicago World’s Fair, Niagara Falls, and, finally, the death chamber—Jonnes takes us on the tense walk down a prison hallway and into the sunlit room where William Kemmler, convicted ax murderer, became the first man to die in the electric chair.

In the early 1880s, only a few wealthy people had electric lighting in their homes. Everyone else had use more dangerous lighting, such as gas lamps. Eager companies wanted to be the first to supply electricity to more Americans. The early providers would set the standards—and reap great profits. Inventor Thomas Edison already had a leading role in the industry: he had invented the first reliable electrical lightbulb. By 1882 his Edison Electric Light Company was distributing electricity using a system called direct current, or DC. But an inventor named Nikola Tesla challenged Edison. Tesla believed that an alternating current—or AC—system would be better. With an AC system, one power station could deliver electricity across many miles, compared to only about one mile for DC. Each inventor had his backers. Business tycoon George Westinghouse put his money behind Tesla and built AC power stations. Meanwhile, Edison and his DC backers said that AC could easily electrocute people. Edison believed this risk would sway public opinion toward DC power. The battle over which system would become standard became known as the War of the Currents. This exciting book tells the story of that war, the people who fought it, and the ways in which both kinds of electric power changed the world.

Argues that human freedom is threatened by systems of intelligent persuasion developed by tech giants who compete for our time and attention. This title is also available as Open Access.

The spellbinding true account of the scientific competition to light the world with electricity. In the mid-to-late-nineteenth century, a burgeoning science called electricity promised to shine new light on a rousing nation. Inventive and ambitious minds were hard at work. Soon that spark was fanned, and a fiery war was under way to be the first to light—and run—the world with electricity. Thomas Alva Edison, the inventor of direct current (DC), engaged in a brutal battle with Nikola Tesla and George Westinghouse, the inventors of alternating current (AC). There would be no ties in this race—only a winner and a loser. The prize: a nationwide monopoly in electric current. Brimming with action, suspense, and rich historical and biographical information about these brilliant inventors, here is the rousing account of one of the world’s defining scientific competitions. A Christy Ottaviano Book

Storage jars of many shapes and sizes were in widespread use in the ancient world, transporting and storing agricultural products such as wine and oil, crucial to agriculture, economy, trade and subsistence. From the late 8th to the 2nd century BCE, the oval storage jars typical of Judah were often stamped or otherwise marked: in the late 8th and early 7th century BCE with lmlk stamp impressions, later in the 7th century with concentric circle incisions or rosette stamp impressions, in the 6th century, after the fall of Jerusalem, with lion stamp impressions, and in the Persian, Ptolemaic and Seleucid periods (late 6th–late 2nd centuries BCE) with yhwd stamp impressions. At the same time, several ad hoc systems of stamp impressions appeared: “private” stamp impressions were used on the eve of Sennacherib’s campaign, mwṣh stamp impressions after the destruction of Jerusalem, and yršlm impressions after the establishment of the Hasmonean state. While administrative systems that stamped storage jars are known elsewhere in the ancient Near East, the phenomenon in Judah is unparalleled in its scale, variety and continuity, spanning a period of some 600 years without interruption. This is the first attempt to consider the phenomenon as a whole and to develop a unified theory that would explain the function of these stamp impressions and shed new light on the history of Judah during six centuries of subjugation to the empires that ruled the region—as a vassal kingdom in the age of the Assyrian, Egyptian, and Babylonian empires and as a province under successive Babylonian, Persian, Ptolemaic, and Seleucid rule.

Light was central to the visual politics and imaginative geographies of empire, even beyond its role as a symbol of knowledge and progress in post-Enlightenment narratives. This book describes how imperial mappings of geographical space in terms of ‘cities of light’ and ‘hearts of darkness’ coincided with the industrialisation of light (in homes, streets, theatres) and its instrumentalisation through new representative forms (photography, film, magic lanterns, theatrical lighting). Cataloguing the imperial vision in its engagement with colonial India, the book evaluates responses by the celebrated Indian painter Ravi Varma (1848–1906) to reveal the centrality of light in technologies of vision, not merely as an ideological effect but as a material presence that produces spaces and inscribes bodies.