The world is at war. And time is running out...

INSTANT NEW YORK TIMES BESTSELLER From the author of the New York Times bestseller Homecoming—“An ambitious, compelling historical mystery with a fabulous cast of characters…Kate Morton at her very best.” —Kristin Hannah “An elaborate tapestry…Morton doesn’t disappoint.” —The Washington Post "Classic English country-house Goth at its finest." —New York Post In the depths of a 19th-century winter, a little girl is abandoned on the streets of Victorian London. She grows up to become in turn a thief, an artist’s muse, and a lover. In the summer of 1862, shortly after her eighteenth birthday, she travels with a group of artists to a beautiful house on a bend of the Upper Thames. Tensions simmer and one hot afternoon a gunshot rings out. A woman is killed, another disappears, and the truth of what happened slips through the cracks of time. It is not until over a century later, when another young woman is drawn to Birchwood Manor, that its secrets are finally revealed. Told by multiple voices across time, this is an intricately layered, richly atmospheric novel about art and passion, forgiveness and loss, that shows us that sometimes the way forward is through the past.

Historical film has been an important genre since the earliest silent films. The French Revolution, the American Civil War, the conquest of the New World, World War II--all have been repeatedly represented in film. But how do we distinguish between fictionalized spectacle and authentic historical representation? Writing History in Film sets out the narratological, semiological, rhetorical, and philosophical bases for understanding how film can function as a form of historical interpretation and representation. With case studies and an interdisciplinary approach, William Guynn examines the key issues facing film students and scholars, historians, and anyone interested in how we see our historical past.

A passionate call for citizen action to uphold the rule of law when government does not. This book is a passionate call for citizen action to uphold the rule of law when government does not. Arguing that post-9/11 legislation and foreign policy severed the executive branch from the will of the people, Elaine Scarry in Rule of Law, Misrule of Men offers a fierce defense of the people's role as guarantor of our democracy. She begins with the groundswell of local resistance to the 2001 Patriot Act, when hundreds of towns, cities, and counties passed resolutions refusing compliance with the information-gathering the act demanded, showing that citizens can take action against laws that undermine the rights of citizens and noncitizens alike. Scarry, once described in the New York Times Sunday Magazine as “known for her unflinching investigations of war, torture, and pain,” then turns to the conduct of the Iraqi occupation, arguing that the Bush administration led the country onto treacherous moral terrain, violating the Geneva Conventions and the armed forces' own most fundamental standards. She warns of the damage done to democracy when military personnel must choose between their own codes of warfare and the illegal orders of their civilian superiors. If our military leaders uphold the rule of law when civilian leaders do not, might we come to prefer them? Finally, reviewing what we know now about the Bush administration's crimes, Scarry insists that prosecution—whether local, national, or international—is essential to restoring the rule of law, and she shows how a brave town in Vermont has taken up the challenge. Throughout the book, Scarry finds hope in moments where citizens withheld their consent to grievous crimes, finding creative ways to stand by their patriotism.

Austin might be known for its live music, but its beer scene is just as vibrant and historic. As early as 1860, German immigrant Johann Schneider started brewing beer out of a saloon on Congress Avenue, later crafting innovative brew vaults, the first of their kind in the city. Proving that Austin taste buds were thirsty for something more dynamic than a Lonestar, the end of the twentieth century and beginning of the twenty-first saw a huge boom in craft beer production by native Austinites and transplants alike, creating a culture of local beer advocates, homebrewing enthusiasts and innovators that could only come out of Austin. Join the ladies behind hilarious and informative beer blog BitchBeer.org as they explore Austin beer history, developments and culture--complete with read-along drinking games and local beer pairings.

“This book, the first scholarly consideration of Weill’s complete output of stage works, is without doubt the most important critical study of the composer’s oeuvre to date in any language. Hinton’s scholarship is superior and his insights original and illuminating. The product of several decades of engagement with Weill’s works, their sources and reception, as well as the secondary literature, the book is a stunning achievement. Brilliantly conceived and executed, it will take its place as one of the cornerstones of Weill studies.”—Kim H. Kowalke, University of Rochester and President, Kurt Weill Foundation for Music “In Weill’s Musical Theater: Stages of Reform, Stephen Hinton reminds us that Kurt Weill was always a revolutionary. The composer’s insistent dedication to a provocative, constantly evolving lyric theater that spoke directly to audiences meant that Weill remained as controversial as he was popular. The celebrity that endeared him to Broadway made him anathema in Berlin. Some sixty years after Weill’s death, Hinton is finally able to demonstrate the consistent brilliance, theatrical power, and coherence of a composer who revolutionized every genre he touched (or used) and whose collaborators read as a who’s who of twentieth-century theater.” —David Savran, author of Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class "Stephen Hinton presents us with an image of Weill that is at once monumental yet still alive. A truly Protean figure, Weill is not an easy man to grasp in his totality; Brecht once wrote that a man thrown into water will have to develop webbed feet, and as a refugee from Nazi Germany, Weill had to become a cultural amphibian. But in Weill's Musical Theater we see the composer from every angle: through the gaze of countless critics and reviewers, through Weill's own eyes, and finally through the filter of Hinton's judicious, focused prose. This account will stand."—Daniel Albright, author of Untwisting the Serpent: Modernism in Music, Literature, and Other Arts