A narrative history of the unlikely Maoist rebellion that terrorized Peru even after the fall of global Communism. On May 17, 1980, on the eve of Peru’s presidential election, five masked men stormed a small town in the Andean heartland. They set election ballots ablaze and vanished into the night, but not before planting a red hammer-and-sickle banner in the town square. The lone man arrested the next morning later swore allegiance to a group called Shining Path. The tale of how this ferocious group of guerrilla insurgents launched a decade-long reign of terror, and how brave police investigators and journalists brought it to justice, may be the most compelling chapter in modern Latin American history, but the full story has never been told. Described by a U.S. State Department cable as “cold-blooded and bestial,” Shining Path orchestrated bombings, assassinations, and massacres across the cities, countryside, and jungles of Peru in a murderous campaign to seize power and impose a Communist government. At its helm was the professor-turned-revolutionary Abimael Guzmán, who launched his single-minded insurrection alongside two women: his charismatic young wife, Augusta La Torre, and the formidable Elena Iparraguirre, who married Guzmán soon after Augusta’s mysterious death. Their fanatical devotion to an outmoded and dogmatic ideology, and the military’s bloody response, led to the death of nearly 70,000 Peruvians. Orin Starn and Miguel La Serna’s narrative history of Shining Path is both panoramic and intimate, set against the socioeconomic upheavals of Peru’s rocky transition from military dictatorship to elected democracy. They take readers deep into the heart of the rebellion, and the lives and country it nearly destroyed. We hear the voices of the mountain villagers who organized a fierce rural resistance, and meet the irrepressible black activist María Elena Moyano and the Nobel Prize–winning novelist Mario Vargas Llosa, who each fought to end the bloodshed. Deftly written, The Shining Path is an exquisitely detailed account of a little-remembered war that must never be forgotten.

Love Revolution presents a collection of poems by Robert Tinajero. Divided into five sections (three major and two smaller), Tinajeros verses explore a wide range of topics, situations, and emotions, particularly focusing on various types of love. Some excerpts from poems: this is my apology poem God im sorry for having written so many poems and so few praising you ----- the love-armies assembled but i did not enlist ----- im tired of soft poems today i want my words to jump up and stab a racist cop put on gloves sweat and bruise and bleed help a migrant pick a thorny crop ----- so what kind of bullets are you putting in your gun america? ----- if i'm hanging around the wrong ol' town i'm a spic can i be american? ----- i'm trying to put into words the poetry that drips from your body ----- may God bless me with my own nancy Reagan ----- maybe everywhere is in the middle of nowhere maybe its all just physics ----- what street will be the last one my casket rolls through ----- pero la realidad es el amor no es nicamente la belleza los erticos fuegos en los cielos estrellados de Neruda ----- qu saba yo de la viscosidad del amor?

This study examines how debates about history during the French Revolution informed and changed the nature of the British novel between 1790 and 1814. During these years, intersections between history, political ideology, and fiction, as well as the various meanings of the term "history" itself, were multiple and far reaching. Morgan Rooney elucidates these subtleties clearly and convincingly. While political writers of the 1790s--Burke, Price, Mackintosh, Paine, Godwin, Wollstonecraft, and others--debate the historical meaning of the Glorious Revolution as a prelude to broader ideological arguments about the significance of the past for the present and future, novelists engage with this discourse by representing moments of the past or otherwise vying to enlist the authority of history to further a reformist or loyalist agenda. Anti-Jacobin novelists such as Charles Walker, Robert Bisset, and Jane West draw on Burkean historical discourse to characterize the reform movement as ignorant of the complex operations of historical accretion. For their part, reform-minded novelists such as Charlotte Smith, William Godwin, and Maria Edgeworth travesty Burke's tropes and arguments so as to undermine and then redefine the category of history. As the Revolution crisis recedes, new novel forms such as Edgeworth's regional novel, Lady Morgan's national tale, and Jane Porter's early historical fiction emerge, but historical representation--largely the legacy of the 1790s' novel--remains an increasingly pronounced feature of the genre. Whereas the representation of history in the novel, Rooney argues, is initially used strategically by novelists involved in the Revolution debate, it is appropriated in the early nineteenth century by authors such as Edgeworth, Morgan, and Porter for other, often related ideological purposes before ultimately developing into a stable, nonpartisan, aestheticized feature of the form as practiced by Walter Scott. The French Revolution Debate and the British Novel, 1790-1814 demonstrates that the transformation of the novel at this fascinating juncture of British political and literary history contributes to the emergence of the historical novel as it was first realized in Scott's Waverley (1814).

A corrective addendum to Edward Said’s Orientalism, this book examines how sympathetic representations of Islam contributed significantly to Protestant Britain’s national and imperial identity in the eighteenth century. Taking a historical view, Humberto Garcia combines a rereading of eighteenth-century and Romantic-era British literature with original research on Anglo-Islamic relations. He finds that far from being considered foreign by the era’s thinkers, Islamic republicanism played a defining role in Radical Enlightenment debates, most significantly during the Glorious Revolution, French Revolution, and other moments of acute constitutional crisis, as well as in national and political debates about England and its overseas empire. Garcia shows that writers such as Edmund Burke, Lady Mary Wortley Montagu, Samuel Taylor Coleridge, Robert Southey, and Percy and Mary Shelley not only were influenced by international events in the Muslim world but also saw in that world and its history a viable path to interrogate, contest, and redefine British concepts of liberty. This deft exploration of the forgotten moment in early modern history when intercultural exchange between the Muslim world and Christian West was common resituates English literary and intellectual history in the wider context of the global eighteenth century. The direct challenge it poses to the idea of an exclusionary Judeo-Christian Enlightenment serves as an important revision to post-9/11 narratives about a historical clash between Western democratic values and Islam.

How and to what extent did women writers shape and inform the aesthetics of Romanticism? Were undervalued genres such as the romance, gothic fiction, the tale, and the sentimental and philosophical novel part of a revolution leading to newer, more democratic models of taste? Fiona Price takes up these important questions in her wide-ranging study of women's prose writing during an extended Romantic period. While she offers a re-evaluation of major women writers such as Mary Wollstonecraft, Maria Edgeworth, Ann Radcliffe and Charlotte Smith, Price also places emphasis on less well-known figures, including Joanna Baillie, Anna Letitia Barbauld, Elizabeth Hamilton and Priscilla Wakefield. The revolution in taste occasioned by their writing, she argues, was not only aesthetic but, following in the wake of British debates on the French Revolution, politically charged. Her book departs from previous studies of aesthetics that emphasize the differences between male and female writers or focus on higher status literary forms such as the treatise. In demonstrating that women writers' discussion of taste can be understood as an intervention at the most fundamental level of political involvement, Price advances our understanding of Romantic aesthetics.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

Between 1780 and 1920, modern conceptions of emotion-conceptions still very much present in the 21st century-first took shape. This book traces that history, charting the changing meaning and experience of feelings in an era shaped by political and market revolutions, romanticism, empiricism, the rise of psychology and psychoanalysis. During this period, the word emotion itself gained currency, gradually supplanting older vocabularies and visions of feeling. Terms to describe feelings changed; so too did conceptions of emotions' proper role in politics, economics, and culture. Political upheavals turned a spotlight on the role of feeling in public life; in domestic life, sentimental bonds gained new importance, as families were transformed from productive units to emotional ones. From the halls of parliaments to the familial hearth, from the art museum to the theatre, from the pulpit to the concert hall, lively debates over feelings raged across the 19th century.