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A psychologically twisting novel about a politically-charged act of violence that echoes through a small Spanish town; a debut novel that the New York Times Book Review calls "a triumph."
It's 2004 in Muriga, a quiet town in Spain's northern Basque Country, a place with more secrets than inhabitants. Five years have passed since the kidnapping and murder of a young local politician-a family man and father-and the town's rhythms have almost returned to normal. But in the aftermath of the Atocha train bombings in Madrid, an act of terrorism that rocked a nation and a world, the townspeople want a reckoning of Muriga's own troubled past: Everyone knows who pulled the trigger five years ago, but is the young man now behind bars the only one to blame? All That Followed peels away the layers of a crime complicated by history, love, and betrayal. The accounts of three townspeople in particular-the councilman's beautiful young widow, the teenage radical now in jail for the crime, and an aging American teacher hiding a traumatic past of his own-hold the key to what really happened. And for these three, it's finally time to confront what they can find of the truth.
Inspired by a true story, All That Followed is a powerful, multifaceted novel about a nefarious kind of violence that can take hold when we least expect. Urgent, elegant, and gorgeously atmospheric, Urza's debut is a book for the world we live in now, and it marks the arrival of a brilliant new writer to watch.
“You get in the habit of living a certain kind of life, you keep going in a certain direction, but most of the pressure on you is just momentum. As soon as you stop the momentum goes away. It’s easier than people think to walk out on things, I mean things like cities, leases, relationships and jobs.”
Greg Marnier, Marny to his friends, leaves a job he doesn’t much like and moves to Detroit, Michigan in 2009, where an old friend has a big idea about real estate and the revitalization of a once great American city. Once there, he gets involved in a fist-fight between two of his friends, a racially charged trial, an act of vigilante justice, a love affair with a local high school teacher, and a game of three-on-three basketball with the President—not to mention the money-soaked real estate project itself, cut out of 600 acres of emaciated Detroit. Marny’s billionaire buddy from Yale, Robert James, calls his project “the Groupon model for gentrification,” others call it “New Jamestown,” and Marny calls it home— until Robert James asks him to leave. This is the story of what went wrong.
You Don’t Have to Live Like This is the breakout novel from the “fabulously real” (Guardian) voice of the only American included in Granta’s Best of Young British Novelists. Using the framework of our present reality, Benjamin Markovits blurs the line between the fictional and the fact-based, and captures an invisible current threaded throughout American politics, economics, and society that is waiting to explode.
The plot is based on Thomas North's translation of Plutarch's Life of Markus Antonius and follows the relationship between Cleopatra and Mark Antony from the time of the Parthian War to Cleopatra's suicide. The major antagonist is Octavius Caesar, one of Antony's fellow triumvirs and the future first emperor of Rome. The tragedy is a Roman play characterized by swift, panoramic shifts in geographical locations and in registers, alternating between sensual, imaginative Alexandria and the more pragmatic, austere Rome. Many consider the role of Cleopatra in this play one of the most complex female roles in Shakespeare's work. She is frequently vain and histrionic, provoking an audience almost to scorn; at the same time, Shakespeare's efforts invest both her and Antony with tragic grandeur. These contradictory features have led to famously divided critical responses.
A sweeping, "magisterial" history of the Roman Empire from one of our foremost classicists shows why Rome remains "relevant to people many centuries later" (Atlantic).
In SPQR, an instant classic, Mary Beard narrates the history of Rome "with passion and without technical jargon" and demonstrates how "a slightly shabby Iron Age village" rose to become the "undisputed hegemon of the Mediterranean" (Wall Street Journal). Hailed by critics as animating "the grand sweep and the intimate details that bring the distant past vividly to life" (Economist) in a way that makes "your hair stand on end" (Christian Science Monitor) and spanning nearly a thousand years of history, this "highly informative, highly readable" (Dallas Morning News) work examines not just how we think of ancient Rome but challenges the comfortable historical perspectives that have existed for centuries. With its nuanced attention to class, democratic struggles, and the lives of entire groups of people omitted from the historical narrative for centuries, SPQR will to shape our view of Roman history for decades to come.
Each Edition Includes:
• Comprehensive explanatory notes
• Vivid introductions and the most up-to-date scholarship
• Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English
• Completely updated, detailed bibliographies and performance histories
• An interpretive essay on film adaptations of the play, along with an extensive filmography
1599 was an epochal year for Shakespeare and England. During that year, Shakespeare wrote four of his most famous plays: Henry the Fifth, Julius Caesar, As You Like It, and, most remarkably, Hamlet; Elizabethans sent off an army to crush an Irish rebellion, weathered an Armada threat from Spain, gambled on a fledgling East India Company, and waited to see who would succeed their aging and childless queen.
James Shapiro illuminates both Shakespeare’s staggering achievement and what Elizabethans experienced in the course of 1599, bringing together the news and the intrigue of the times with a wonderful evocation of how Shakespeare worked as an actor, businessman, and playwright. The result is an exceptionally immediate and gripping account of an inspiring moment in history.
As Contested Will makes clear, much more than proper attribution of Shakespeare’s plays is at stake in this authorship controversy. Underlying the arguments over whether Christopher Marlowe, Francis Bacon, or the Earl of Oxford wrote Shakespeare’s plays are fundamental questions about literary genius, specifically about the relationship of life and art. Are the plays (and poems) of Shakespeare a sort of hidden autobiography? Do Hamlet, Macbeth, and the other great plays somehow reveal who wrote them?
Shapiro is the first Shakespeare scholar to examine the authorship controversy and its history in this way, explaining what it means, why it matters, and how it has persisted despite abundant evidence that William Shakespeare of Stratford wrote the plays attributed to him. This is a brilliant historical investigation that will delight anyone interested in Shakespeare and the literary imagination.