In Divided Empire, Robert T. Fallon examines the influence of John Milton's political experience on his great poems: Paradise Lost, Paradise Regained, and Samson Agonistes. This study is a natural sequel to Fallon's previous book, Milton in Government, which examined Milton's decade of service as Secretary for Foreign Languages to the English Republic. Milton's works are crowded with political figures—kings, counselors, senators, soldiers, and envoys—all engaged in a comparable variety of public acts—debate, decree, diplomacy, and warfare—in a manner similar to those who exercised power on the world stage during his time in public office. Traditionally, scholars have cited this imagery for two purposes: first, to support studies of the poet's political allegiances as reflected in his prose and his life; and, second, to demonstrate that his works are sympathetic to certain ideological positions popular in present times. Fallon argues that Paradise Lost is not a political testament, however, and to read its lines as a critique of allegiances and ideologies outside the work is limit the range and scope of critical inquiry and to miss the larger purpose of the political imagery within the poem. That imagery, the author proposes, like that of all Milton's later works, serves to illuminate the spiritual message, a vision of the human soul caught up in the struggle between vast metaphysical forces of good and evil. Fallon seeks to enlarge the range of critical inquiry by assessing the influence of personal and historical events upon art, asking, as he puts it, "not what the poetry says about the events, but what the events say about the poetry." Divided Empire probes, not Milton's judgment on his sources, but the use he made of them.

In this widely praised book, Vladislav Zubok argues that Western interpretations of the Cold War have erred by exaggerating either the Kremlin's pragmatism or its aggressiveness. Explaining the interests, aspirations, illusions, fears, and misperceptions of the Kremlin leaders and Soviet elites, Zubok offers a Soviet perspective on the greatest standoff of the twentieth century. Using recently declassified Politburo records, ciphered telegrams, diaries, and taped conversations, among other sources, Zubok offers the first work in English to cover the entire Cold War from the Soviet side. A Failed Empire provides a history quite different from those written by the Western victors. In a new preface for this edition, the author adds to our understanding of today's events in Russia, including who the new players are and how their policies will affect the state of the world in the twenty-first century.

A man sets out to Mexico to avenge his father's death in this western from USA Today bestselling author Ralph Compton. Nathan Stone, the man they called The Gunfighter, lay dead in the dust of an El Paso street. The Sandlin gang kicked up that dust as they rode back laughing into Mexico, where the U.S. law couldn't touch them and local law didn't want to. Behind him Nathan Stone left his horse, his Winchester, his custom-made Colts, and his name. The son who had grown up without him took them all. His name is Wes Stone. He used to be a lawman, but when he picks up his father's guns, he takes down the star from his chest. Wes knows the impossible odds of going against the outlaw army and its empire of evil. But he knows something else too. He's his father's son, and he's going to teach his father's killers exactly what that means... More Than Six Million Ralph Compton Books In Print!

In the Empire of the Saviours, the People are forced to live in fortified towns. Their walls are guarded by an army of Heroes, whose task is to keep marauding pagans out as much as it is to keep the People inside. Several times a year, living Saints visit the towns to exact the Saviours' tithe from all those coming of age - a tithe often paid in blood. When a young boy, Jillan, unleashes pagan magicks in an accident, his whole town turns against him. He goes on the run, but what hope can there be when the Saviours and the entire Empire decide he must be caught? Jillan is initially hunted by just the soldiers of the Saint of his region, but others soon begin to hear of his increasing power and seek to use him for their own ends. Some want Jillan to join the fight against the Empire, others wish to steal his power for themselves and others still want Jillan to lead them to the Geas, the source of all life and power in the world. There are very few Jillan can trust, except for a ragtag group of outcasts. His parents threatened, his life in tatters, his beliefs shaken to the core, Jillan must decide which side he is on, and whether to fight or run ...

In Empire and Poetic Voice Patrick Colm Hogan draws on a broad and detailed knowledge of Indian, African, and European literary cultures to explore the way colonized writers respond to the subtle and contradictory pressures of both metropolitan and indigenous traditions. He examines the work of two influential theorists of identity, Judith Butler and Homi Bhabha, and presents a revised evaluation of the important Nigerian critics, Chinweizu, Jemie, and Madubuike. In the process, he presents a novel theory of literary identity based equally on recent work in cognitive science and culture studies. This theory argues that literary and cultural traditions, like languages, are entirely personal and only appear to be a matter of groups due to our assertions of categorical identity, which are ultimately both false and dangerous.

Of Irony and Empire is a dynamic, thorough examination of Muslim writers from former European colonies in Africa who have increasingly entered into critical conversations with the metropole. Focusing on the period between World War I and the present, "the age of irony," this book explores the political and symbolic invention of Muslim Africa and its often contradictory representations. Through a critical analysis of irony and resistance in works by writers who come from nomadic areas around the Sahara—Mustapha Tlili (Tunisia), Malika Mokeddem (Algeria), Cheikh Hamidou Kane (Senegal), and Tayeb Salih (Sudan)—Laura Rice offers a fresh perspective that accounts for both the influence of the Western, instrumental imaginary, and the Islamic, holistic one.

A lively account of the Romantic-era revival of epic literature set against the background of British imperialism's evangelical turn.