Centuries Of Darkness

The Old World has confronted archaeologists with many riddles, perhaps the most tantalizing of which is the Dark Age, an economic and cultural recession so devastating that it is supposed to have lasted for 400 years, from 1200 to 800 BC. In Centuries of Darkness, a group of archaeologists presents a controversial challenge to this claim. The dates for the Near East and Mediterranean are derived from the highly regarded chronology of ancient Egypt. Peter James and his team ask whether those dates might have been miscalculated. In this intricate piece of scholarly detective work, the authors propose a pioneering theory. Deciphering the clues from papyri and pottery, they search layer by layer through the excavated treasures of a vast area from Spain to France and from Denmark to the Sudan, until they reach Egypt - where they unearth 250 years of "ghost history". Their discoveries lead to a questioning of the so-called Dark Age and the purposes which belief in it has served. As a result, our notions about the Trojan War, the foundation of Rome, the origins of the Greek alphabet, and the Golden Age of Solomon all have to be reexamined, revolutionizing our view of the ancient world.

The "Ethiope," the "tawny Tartar," the "woman blackamoore," and "knotty Africanisms"—allusions to blackness abound in Renaissance texts. Kim F. Hall's eagerly awaited book is the first to view these evocations of blackness in the contexts of sexual politics, imperialism, and slavery in early modern England. Her work reveals the vital link between England's expansion into realms of difference and otherness—through exploration and colonialism-and the highly charged ideas of race and gender which emerged. How, Hall asks, did new connections between race and gender figure in Renaissance ideas about the proper roles of men and women? What effect did real racial and cultural difference have on the literary portrayal of blackness? And how did the interrelationship of tropes of race and gender contribute to a modern conception of individual identity? Hall mines a wealth of sources for answers to these questions: travel literature from Sir John Mandeville's Travels to Leo Africanus's History and Description of Africa; lyric poetry and plays, from Shakespeare's Antony and Cleopatra and The Tempest to Ben Jonson's Masque of Blackness; works by Emilia Lanyer, Philip Sidney, John Webster, and Lady Mary Wroth; and the visual and decorative arts. Concentrating on the sixteenth and seventeenth centuries, Hall shows how race, sexuality, economics, and nationalism contributed to the formation of a modern ( white, male) identity in English culture. The volume includes a useful appendix of not readily accessible Renaissance poems on blackness.

A 2016 Michael L. Printz Honoree "This is East Texas, and there's lines. Lines you cross, lines you don't cross. That clear?" New London, Texas. 1937. Naomi Vargas and Wash Fuller know about the lines in East Texas as well as anyone. They know the signs that mark them. They know the people who enforce them. But sometimes the attraction between two people is so powerful it breaks through even the most entrenched color lines. And the consequences can be explosive. Ashley Hope Pérez takes the facts of the 1937 New London school explosion—the worst school disaster in American history—as a backdrop for a riveting novel about segregation, love, family, and the forces that destroy people.

Heart of Darkness is often considered the world’s best short novel. The book serves as a bridge between the 19th century and modernism, an adventure tale revolving around the ambiguity of themes such as truth, morality, and evil. Joseph Conrad witnessed the European exploitation of the Congo with his own eyes. He once sailed up the Congo River himself to locate a countryman at a trading station deep within the country – even though this man wasn't named Kurtz. The goal and enigma of the journey have become synonymous with this name, one of the most unforgettable fictional characters of our time. JOSEPH CONRAD [1857–1924] was born in Ukraine to Polish parents, went to sea at the age of seventeen, and ended his career as a captain in the English merchant navy. His most famous work is the novella Heart of Darkness [1899], adapted into a film by Francis Ford Coppola in 1979 as Apocalypse Now.

Selected by the Modern Library as one of the 100 best novels of all time • Nominated as one of America’s best-loved novels by PBS’s The Great American Read Introduction by Caryl Phillips Commentary by H. L. Mencken, E. M. Forster, Virginia Woolf, Ernest Hemingway, Bertrand Russell, Lionel Trilling, Chinua Achebe, and Philip Gourevitch Originally published in 1902, Heart of Darkness remains one of this century’s most enduring works of fiction. Written several years after Joseph Conrad’s grueling sojourn in the Belgian Congo, the novel is a complex meditation on colonialism, evil, and the thin line between civilization and barbarity. This edition contains selections from Conrad’s Congo Diary of 1890—the first notes, in effect, for the novel, which was composed at the end of that decade. Virginia Woolf wrote of Conrad: “His books are full of moments of vision. They light up a whole character in a flash. . . . He could not write badly, one feels, to save his life.”

Winter is an Earth-like planet with two major differences: conditions are semi artic even at the warmest time of the year, and the inhabitants are all of the same sex. Tucked away in a remote corner of the universe, they have no knowledge of space travel or of life beyond their own world. And when a strange envoy from space brings news of a vast coalition of planets which they are invited to join, he is met with fear, mistrust and disbelief . . . 'The Left Hand of Darkness' is a groundbreaking work of feminist science fiction, an imaginative masterpiece which poses challenging questions about sexuality, sexism and the organisation of society.

A rich and surprising look at the robust European culture that thrived after the collapse of Rome. The barbarians who destroyed the glory that was Rome demolished civilization along with it, and for the next four centuries the peasants and artisans of Europe barely held on. Random violence, mass migration, disease, and starvation were the only ways of life. This is the picture of the Dark Ages that most historians promote. But archaeology tells a different story. Peter Wells, one of the world’s leading archaeologists, surveys the archaeological record to demonstrate that the Dark Ages were not dark at all. The kingdoms of Christendom that emerged starting in the ninth century sprang from a robust, previously little-known European culture, albeit one that left behind few written texts.