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In the New England village of Grandville, Wendell deVries, the 65-year-old projectionist at the local movie theater, meets an attractive divorcee and an unexpected love affair blooms. Franny, Wendell's daughter and the leader of the town's drama group, is confronted by a newcomer from New York City who insists that her politically correct play be produced, sending Franny into a spiral of self-doubt. Lila, Franny's teenage daughter, hears a lecture at her high school that convinces her that she has African blood in her veins, leading her to discover long-lost relatives living nearby. The high school counselor is contacted by a man claiming to be a recruiter from Harvard who convinces him that his daughter is a shoo-in for acceptance if he follows his advice, a false promise that enrages him. Thousands of miles away in a mountain village in Columbia, a young man named Hector begins a journey that will lead him to Grandville where he will alter the lives of everyone he meets.
'THE history book for now. This is why and how historians do what they do. And why they need to' Dan Snow 'What is History, Now? demonstrates how our constructs of the past are woven into our modern world and culture, and offers us an illuminating handbook to understanding this dynamic and shape-shifting subject. A thought-provoking, insightful and necessary re-examination of the subject' Hallie Rubenhold, author of The Five 'The importance of history is becoming more evident every day, and this humane book is an essential navigation tool. Urgent and utterly compelling' Sathnam Sanghera, author of Empireland 'Important and exciting' Kate Williams, author of Rival Queens Inspired by the influential text WHAT IS HISTORY? authored by Helen Carr's great-grandfather, E.H. Carr, and published on the 60th anniversary of that book, this is a groundbreaking new collection addressing the burning issue of how we interpret history today. What stories are told, and by whom, who should be celebrated, and what rewritten, are questions that have been asked recently not just within the history world, but by all of us. Featuring a diverse mix of writers, both bestselling names and emerging voices, this is the history book we need NOW. WHAT IS HISTORY, NOW? covers topics such as the history of racism and anti-racism, queer history, the history of faith, the history of disability, environmental history, escaping imperial nostalgia, hearing women's voices and 'rewriting' the past. The list of contributors includes: Justin Bengry, Leila K Blackbird, Emily Brand, Gus Casely-Hayford, Sarah Churchwell, Caroline Dodds Pennock, Peter Frankopan, Bettany Hughes, Dan Hicks, Onyeka Nubia, Islam Issa, Maya Jasanoff, Rana Mitter, Charlotte Riley, Miri Rubin, Simon Schama, Alex von Tunzelmann and Jaipreet Virdi.
Exploring the rise and fall of global power from the mid-nineteenth century, this book tracks the long and interrelated trajectories of the most serious challenges facing the world today. Although at first the urgency of the coronavirus outbreak in 2020 seemed to take precedence over other global problems such as socioeconomic inequality and climate change, it has ultimately exacerbated these issues and created opportunities to address them boldly and innovatively. A Brief History of Now provides a bird’s-eye view of world hegemony, economic globalization and political regimes as they have evolved and developed over the last two hundred years, providing context and insights into the forces which have shaped the Western world. Presented in an accessible and engaging narrative, the book addresses key contemporary challenges and explores the repercussions of a technological revolution, the potential instability of democracy over the coming years, and the urgent struggle to tackle climate change. With his book, Diego Olstein helps to answer pressing questions about our world today and provides a roadmap for analysing future trajectories.
In the decades since the end of the Second World War, it has been widely assumed that the western model of liberal democracy and free trade is the way the world should be governed. However, events in the early years of the twenty-first century – first, the 2003 war with Iraq and its chaotic aftermath and, second, the financial crash of 2008 – have threatened the general acceptance that continued progress under the benign (or sometimes not so benign) gaze of the western powers is the only way forwards. And as America turns inwards and Europe is beset by austerity politics and populist nationalism, the post-war consensus looks less and less secure. But is this really the worst of times? In a forensic examination of the world we now live in, acclaimed historian Michael Burleigh sets out to answer that question. Who could have imagined that China would champion globalization and lead the battle on climate change? Or that post-Soviet Russia might present a greater threat to the world’s stability than ISIS? And while we may be on the cusp of still more dramatic change, perhaps the risks will – in time – bring not only change but a wholly positive transformation. Incisive, robust and always insightful, The Best of Times, The Worst of Times by Michael Burleigh is both a dazzling tour d’horizon of the world as it is today and a surprisingly optimistic vision of the world as it might become.
American History Now collects eighteen original historiographic essays that survey recent scholarship in American history and trace the shifting lines of interpretation and debate in the field. Building on the legacy of two previous editions of The New American History, this volume presents an entirely new group of contributors and a reconceptualized table of contents. The new generation of historians showcased in American History Now have asked new questions and developed new approaches to scholarship to revise the prevailing interpretations of the chronological periods from the Colonial era to the Reagan years. Covering the established subfields of women's history, African American history, and immigration history, the book also considers the history of capitalism, Native American history, environmental history, religious history, cultural history, and the history of "the United States in the world." American History Now provides an indispensible summation of the state of the field for those interested in the study and teaching of the American past.
Each time history repeats itself, so it's said, the price goes up. The twentieth century was a time of runaway growth in human population, consumption, and technology, placing a colossal load on all natural systems, especially earth, air, and water — the very elements of life. The most urgent questions of the twenty-first century are: where will this growth lead? can it be consolidated or sustained? and what kind of world is our present bequeathing to our future?In his #1 bestseller A Short History of Progress Ronald Wright argues that our modern predicament is as old as civilization, a 10,000-year experiment we have participated in but seldom controlled. Only by understanding the patterns of triumph and disaster that humanity has repeated around the world since the Stone Age can we recognize the experiment's inherent dangers, and, with luck and wisdom, shape its outcome.
E. H. Carr's What is History? was originally published by Macmillan in 1961. Since then it has sold hundreds of thousands of copies throughout the world. In this book, ten internationally renowned scholars, writing from a range of historical vantage points, answer Carr's question for a new generation of historians: What does it mean to study history at the start of the Twenty-first century? This volume stands alongside Carr's classic, paying tribute to his seminal enquiry while moving the debate into new territory, to ensure its freshness and relevance for a new century of historical study.
The beloved New York Times columnist "inspires women to embrace aging and look at it with a new sense of hope" in this lively, fascinating, eye-opening look at women and aging in America (Parade Magazine). "You're not getting older, you're getting better," or so promised the famous 1970's ad -- for women's hair dye. Americans have always had a complicated relationship with aging: embrace it, deny it, defer it -- and women have been on the front lines of the battle, willingly or not. In her lively social history of American women and aging, acclaimed New York Times columnist Gail Collins illustrates the ways in which age is an arbitrary concept that has swung back and forth over the centuries. From Plymouth Rock (when a woman was considered marriageable if "civil and under fifty years of age"), to a few generations later, when they were quietly retired to elderdom once they had passed the optimum age for reproduction, to recent decades when freedom from striving in the workplace and caretaking at home is often celebrated, to the first female nominee for president, American attitudes towards age have been a moving target. Gail Collins gives women reason to expect the best of their golden years.
Why does the West rule? In this magnum opus, eminent Stanford polymath Ian Morris answers this provocative question, drawing on 50,000 years of history, archeology, and the methods of social science, to make sense of when, how, and why the paths of development differed in the East and West — and what this portends for the 21st century. There are two broad schools of thought on why the West rules. Proponents of "Long-Term Lock-In" theories such as Jared Diamond suggest that from time immemorial, some critical factor — geography, climate, or culture perhaps — made East and West unalterably different, and determined that the industrial revolution would happen in the West and push it further ahead of the East. But the East led the West between 500 and 1600, so this development can't have been inevitable; and so proponents of "Short-Term Accident" theories argue that Western rule was a temporary aberration that is now coming to an end, with Japan, China, and India resuming their rightful places on the world stage. However, as the West led for 9,000 of the previous 10,000 years, it wasn't just a temporary aberration. So, if we want to know why the West rules, we need a whole new theory. Ian Morris, boldly entering the turf of Jared Diamond and Niall Ferguson, provides the broader approach that is necessary, combining the textual historian's focus on context, the anthropological archaeologist's awareness of the deep past, and the social scientist's comparative methods to make sense of the past, present, and future — in a way no one has ever done before.
For decades now, the story of art in America has been dominated by New York. It gets the majority of attention, the stories of its schools and movements and masterpieces the stuff of pop culture legend. Chicago, on the other hand . . . well, people here just get on with the work of making art. Now that art is getting its due. Art in Chicago is a magisterial account of the long history of Chicago art, from the rupture of the Great Fire in 1871 to the present, Manierre Dawson, László Moholy-Nagy, and Ivan Albright to Chris Ware, Anne Wilson, and Theaster Gates. The first single-volume history of art and artists in Chicago, the book—in recognition of the complexity of the story it tells—doesn’t follow a single continuous trajectory. Rather, it presents an overlapping sequence of interrelated narratives that together tell a full and nuanced, yet wholly accessible history of visual art in the city. From the temptingly blank canvas left by the Fire, we loop back to the 1830s and on up through the 1860s, tracing the beginnings of the city’s institutional and professional art world and community. From there, we travel in chronological order through the decades to the present. Familiar developments—such as the founding of the Art Institute, the Armory Show, and the arrival of the Bauhaus—are given a fresh look, while less well-known aspects of the story, like the contributions of African American artists dating back to the 1860s or the long history of activist art, finally get suitable recognition. The six chapters, each written by an expert in the period, brilliantly mix narrative and image, weaving in oral histories from artists and critics reflecting on their work in the city, and setting new movements and key works in historical context. The final chapter, comprised of interviews and conversations with contemporary artists, brings the story up to the present, offering a look at the vibrant art being created in the city now and addressing ongoing debates about what it means to identify as—or resist identifying as—a Chicago artist today. The result is an unprecedentedly inclusive and rich tapestry, one that reveals Chicago art in all its variety and vigor—and one that will surprise and enlighten even the most dedicated fan of the city’s artistic heritage. Part of the Terra Foundation for American Art’s year-long Art Design Chicago initiative, which will bring major arts events to venues throughout Chicago in 2018, Art in Chicago is a landmark publication, a book that will be the standard account of Chicago art for decades to come. No art fan—regardless of their city—will want to miss it.