My Favorite Tyrants

Winner of the 2014 Brittingham Prize in Poetry, selected by Naomi Shihab Nye The word “tyrant” carries negative connotations, but in this new collection, Joanne Diaz tries to understand what makes tyranny so compelling, even seductive. These dynamic, funny, often poignant poems investigate the nature of tyranny in all of its forms—political, cultural, familial, and erotic. Poems about Stalin, Lenin, and Castro appear beside poems about deeply personal histories. The result is a powerful exploration of desire, grief, and loss in a world where private relationships are always illuminated and informed by larger, more despotic forces. Winner, Midwest Book Award for Poetry, Midwest Independent Publishers Association

“I’m personally against seeing my pictures and statues in the streets, but it’s what the people want.” — Saparmurat Niyazov, dictator of Turkmenistan Dictators may be among the worst people in history, but that doesn’t mean we shouldn’t laugh at them. In My Favourite Dictators, Chris Mikul tells the stories of eleven of the twentieth century’s most colourful and reviled human beings, including Benito Mussolini, Mao Zedong, Muammar Gaddafi, Idi Amin, Saddam Hussein and Kim Jong-il. In each case, he examines the political backgrounds to their rise to power and eventual downfall, but the focus here is on the personalities, peculiarities and private lives of these very strange men. You’ll be amazed and appalled by their effortless cruelties, voracious sexual appetites, absurd personality cults, ostentatious uniforms, promotion of dreadful art and pretensions to being great writers – not to mention their terrible taste in interior decoration.

Captain Laurence washes onto the shores of Japan with limited memories about his life, a situation that tests the strength of his bond with the dragon Temeraire.

A history of tyranny from Achilles to today's jihadists, this volume shows why tyrannical temptation is a permanent danger.

After years of struggle and sacrifice, Falcio val Mond, First Cantor of the Greatcoats, is on the brink of fulfilling his dead king's dream: Aline, the king's daughter, is about to take the throne and restore the rule of law once and for all. But for the Greatcoats, nothing is ever that simple. In the neighboring country of Avares, an enigmatic new warlord is uniting the barbarian armies that have long plagued Tristia's borders--and even worse, he is rumored to have a new ally: Trin, who's twice tried to kill Aline to claim the throne of Tristia for herself. With the armies of Avares at her back, led by a bloodthirsty warrior, she'll be unstoppable. Falcio, Kest, and Brasti race north to stop her, but in those cold and treacherous climes they discover something altogether different, and far more dangerous: a new player is planning to take the throne of Tristia, and with a sense of dread the three friends realize that the Greatcoats, for all their skill, may not be able to stop him. As the nobles of Tristia and even the Greatcoats themselves fight over who should rule, the Warlord of Avares threatens to invade. With so many powerful contenders vying for power, it will fall to Falcio to render the one verdict he cannot bring himself to utter, much less enforce. Should he help crown the young woman he vowed to put on the throne, or uphold the laws he swore to serve?

A history of tyranny from Achilles to today's Jihadists, this volume shows why tyrannical temptation is a permanent danger.

“Filled with political intrigue and emotional tension, Carleson’s riveting novel features a teenage refugee caught in a web of deceit and conspiracy.” —PW, starred review When her father is killed in a coup, Laila and her mother and brother leave their war-torn homeland for a fresh start in the suburbs of Washington, D.C. At her new high school, Laila makes mistakes, makes friends, and even meets a boy who catches her eye. But this new life brings unsettling facts to light. The American newspapers call her father a brutal dictator and suggest that her family’s privilege came at the expense of innocent lives. Meanwhile, her mother would like nothing more than to avenge his death, and she’ll go to great lengths to regain their position of power. As an international crisis takes shape around her, Laila is pulled in one direction, then another, but there’s no time to sort out her feelings. She has to pick a side now, and her decision will affect not just her own life, but countless others. . . . Inspired by the author's experience as a CIA officer in Iraq and Syria, this book is as timely as it is relevant. Praise for The Tyrant’s Daughter: “Carleson, a former undercover CIA officer, infuses her story with compelling details and gripping authenticity.” —The Boston Globe “Every American should read this book. It’s an eye-opener.” —Suzanne Fisher Staples, Newbery Honor–winning author of Shabanu

As conventional understanding would have it, the sometimes brutal business of governing can only be carried out at the price of distance from art, while poetic beauty best fl ourishes at a distance from actions executed at the pole of power. Dramatically contradicting this idea is the fact that violent rulers are often the greatest friends of art, and indeed draw attention to themselves as artists. Why do tyrants of all people often have a particularly poetic vein? Where do terror and fi ction meet? The cultural history of totalitarian regimes is unwrapped in ten case studies, in a comparative perspective. The book focuses on the phenomenon that many of the great despots in history were themselves writers. By studying the artistic ambitions of Nero, Mussolini, Stalin, Hitler, Mao Zedong, Kim Il-sung, Gaddafi, Saddam Hussein, Saparmurat Nyyazow and Radovan Karadzic, the studies explore the complicated relationship between poetry and political violence, and open our eyes for the aesthetic dimensions of total power. The essays make an important contribution to a number of fields: the study of totalitarian regimes, cultural studies, biographies of 20th century leaders. They underscore the frequent correlation between tyrannical governance and an excessive passion for language, and prove that the merging of artistic and political charisma tends to justify the claim to absolute power.