Arguably the single most influential literary work of the European Middle Ages, the Roman de la Rose of Guillaume de Lorris and Jean de Meun has traditionally posed a number of difficulties to modern critics, who have viewed its many interruptions and philosophical discussions as signs of a lack of formal organization and a characteristically medieval predilection for encyclopedic summation. In Fortune's Faces, Daniel Heller-Roazen calls into question these assessments, offering a new and compelling interpretation of the romance as a carefully constructed and far-reaching exploration of the place of fortune, chance, and contingency in literary writing. Situating the Romance of the Rose at the intersection of medieval literature and philosophy, Heller-Roazen shows how the thirteenth-century work invokes and radicalizes two classical and medieval traditions of reflection on language and contingency: that of the Provençal, French, and Italian love poets, who sought to compose their "verses of pure nothing"in a language Dante defined as "without grammar," and that of Aristotle's discussion of "future contingents" as it was received and refined in the logic, physics, theology, and epistemology of Boethius, Abelard, Albert the Great, and Thomas Aquinas.Through a close analysis of the poetic text and a detailed reconstruction of the logical and metaphysical concept of contingency, Fortune's Faces charts the transformations that literary structures (such as subjectivity, autobiography, prosopopoeia, allegory, and self-reference) undergo in a work that defines itself as radically contingent. Considered in its full poetic and philosophical dimensions, the Romance of the Rose thus acquires an altogether new significance in the history of literature: it appears as a work that incessantly explores its own capacity to be other than it is.

In this hugely appealing book, a finalist for the Pulitzer Prize, acclaimed author and journalist Daniel Okrent weaves together themes of money, politics, art, architecture, business, and society to tell the story of the majestic suite of buildings that came to dominate the heart of midtown Manhattan and with it, for a time, the heart of the world. At the center of Okrent's riveting story are four remarkable individuals: tycoon John D. Rockefeller, his ambitious son Nelson Rockefeller, real estate genius John R. Todd, and visionary skyscraper architect Raymond Hood. In the tradition of David McCullough's The Great Bridge, Ron Chernow's Titan, and Robert Caro's The Power Broker, Great Fortune is a stunning tribute to an American landmark that captures the heart and spirit of New York at its apotheosis.

This collection of essays presents new insights into what shaped and constituted the Renaissance and early modern views of fate and fortune. It argues that these ideas were emblematic of a more fundamental argument about the self, society, and the universe and shows that their influence was more widespread, both geographically and thematically, than hitherto assumed.

"An investigation of diaspora institutional entrepreneurship"--

KIRKUS REVIEWS: "A meticulously researched historical account presented in the form of a thrilling political drama." GRAND PRIZE 2019 Best Book, Chanticleer International Book Awards Theodora: actress, prostitute, mistress, feminist. And Byzantine Empress of the Roman world. Stephen: handsome Syrian boy, wizard's apprentice, palace eunuch. And Secretary to the Empress. How does this unlikely pair become such allies that one day Empress Theodora asks Stephen to write her biography? From a very young age, Theodora, daughter of a circus bearkeeper in Constantinople, sets her sights well above her station in life. Her exquisite beauty sets her apart on stages and in the eyes of men. Stephen, a Syrian lad of striking good looks, is sold by his parents to a Persian wizard, who teaches him a skill in languages that will serve him well. By the time Destiny brings them together in Antioch, Theodora has undergone heart-rending trials and a transformation, while Stephen has been sold again . . . and castrated. Discover the enduring bond that, however imperfect, prompts Theodora—as Empress—to request palace eunuch Stephen to write her biography.