First published in 1973, this is a study of the force of photographic images, which are continually inserted between experience and reality. When anything can be photographed, and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely, with no expectations of discovering what it means. This collection of six lucid and invigorating essays, with the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.

Susan Sontag was one of the most formidable, original, and influential thinkers of the last century. On Women presents seven essays and exchanges, spanning a range of subjects: the challenges and humiliations women face as they age; the relationship between women’s liberation and class struggle; beauty, which Sontag calls “that over-rich brew of so many familiar opposites”; feminism; fascism; and film. Taken together, these pieces—relentlessly curious, historically precise, politically robust, and allergic to easy categorization Sontag’s inimitable mind at work.

On November 15, 1959, in the small town of Holcomb, Kansas, four members of the Clutter family were savagely murdered by blasts from a shotgun held a few inches from their faces. There was no apparent motive for the crime, and there were almost no clues.

Originally published in 1966, Susan Sontag's first collection of essays is a modern classic and includes the famous essays "Notes on Camp" and "Against Interpretation", as well as, her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Levi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.

In 1978 Susan Sontag wrote Illness as Metaphor, a classic work described by Newsweek as “one of the most liberating books of its time”. A cancer patient herself when she was writing the book, Sontag shows how the metaphors and myths surrounding certain illnesses, especially cancer, add greatly to the suffering of patients and often inhibit them from seeking proper treatment.

"I intend to do everything...I shall anticipate pleasure everywhere and find it too, for it is everywhere! I shall involve myself wholly...everything matters!" This first selection from Susan Sontag's diaries (from 1947-1963) takes us from early adolescence through to when Sontag was in her early 30s. It is an astonishingly affecting and honest self-portrait which is also a fascinating, revealing account of an artist and critic being born. We see Sontag honing her skills and fashioning herself, by a supreme act of will, into an intellectual force.

Walter Benjamin was an icon of criticism, renowned for his insight on art, literature, and philosophy. This volume includes his views on Kafka, with whom he felt a close personal affinity; his studies on Baudelaire and Proust; and his essays on Leskov and Brecht’s epic theater. Illuminations also includes his penetrating study “The Work of Art in the Age of Mechanical Reproduction”, an enlightening discussion of translation as a literary mode, and his theses on the philosophy of history.

What if you woke up one morning and found you’d acquired another self—a double who was almost you and yet not you at all? What if that double shared many of your preoccupations but, in a twisted, upside-down way, furthered the very causes you’d devoted your life to fighting against? Not long ago, the celebrated activist and public intellectual Naomi Klein had just such an experience—she was confronted with a doppelganger whose views she found abhorrent but whose name and public persona were sufficiently similar to her own that many people got confused about who was who.

Sontag's most important critical writings from 1972 to 1980 are collected in Under the Sign of Saturn. One of America's leading essayists, Sontag's writings are commentaries on the relation between moral and aesthetic ideas, discussing the works of Antonin Artaud, Leni Riefenstahl, Elias Canetti, Walter Benjamin, and others. The collection includes a variety of her well-known essays. Sontag's writings are famously full of intellectual range and depth, and are at turns exhilarating, ominous, disturbing, and beautiful.

Nearly a century after his wrenching death, the Portuguese poet Fernando Pessoa (1888-1935) remains one of our most enigmatic writers. Believing he could do "more in dreams than Napoleon," yet haunted by the specter of hereditary madness, Pessoa invented dozens of alter egos, or "heteronyms," under whose names he wrote in Portuguese, English, and French. Unsurprisingly, this "most multifarious of writers" (Guardian) has long eluded a definitive biographer—but in renowned translator and Pessoa scholar Richard Zenith, he has met his match.

First published in Portuguese in 1968, Pedagogy of the Oppressed was translated and published in English in 1970. Paulo Freire's work has helped to empower countless people throughout the world and has taken on special urgency in the United States and Western Europe, where the creation of a permanent underclass among the underprivileged and minorities in cities and urban centers is ongoing. This 50th anniversary edition includes an updated introduction by Donaldo Macedo, a new afterword by Ira Shor, and many inspirational interviews.

In Black and Blur - the first volume in his sublime and compelling trilogy Consent Not to Be a Single Being - Fred Moten engages in a capacious consideration of the place and force of Blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms.

When Roland Barthes's groundbreaking Mythologies first appeared in English in 1972, it was immediately recognized as one of the most significant works in French theory - yet nearly half of the essays from the original work were missing. This new edition of Mythologies is the first complete, authoritative English version of the French classic. It includes the brilliant "Astrology", never published in English before.

In a future world racked by violence and environmental catastrophes, George Orr wakes up one day to discover that his dreams have the ability to alter reality. He seeks help from Dr. William Haber, a psychiatrist who immediately grasps the power George wields. Soon George must preserve reality itself as Dr. Haber becomes adept at manipulating George's dreams for his own purposes.

A companion volume to Illuminations, the first collection of Walter Benjamin’s writings, Reflections presents a further sampling of his wide-ranging work. Here Benjamin evolves a theory of language as the medium of all creation, discusses theater and surrealism, reminisces about Berlin in the 1920s, recalls conversations with Bertolt Brecht, and provides travelogues of various cities, including Moscow under Stalin.

Nothing Ever Dies, Viet Thanh Nguyen writes. All wars are fought twice, the first time on the battlefield, the second time in memory. From the author of the best-selling novel The Sympathizer comes a searching exploration of a conflict that lives on in the collective memory of both the Americans and the Vietnamese.

On the Natural History of Destruction is W.G. Sebald's harrowing and precise investigation of one of the least examined "silences" of our time. In it, the acclaimed novelist examines the devastation of German cities by Allied bombardment, and the reasons for the astonishing absence of this unprecedented trauma from German history and culture. This void in history is in part a repression of things - such as the death by fire of the city of Hamburg at the hands of the RAF - too terrible to bear.

In the early 20th century, World War I was the most devastating event humanity had yet experienced. New machines of war left tens of millions killed or wounded in the most grotesque of ways. The Great War remade the world's map, created new global powers, and brought forth some of the biggest problems still facing us today. But it also birthed a new art form: the horror film, made from the fears of a generation ruined by war. From Nosferatu to Frankenstein's monster and the Wolf Man, the touchstones of horror can all trace their roots to the bloodshed of the First World War.

In Looking for the Good War, Elizabeth D. Samet reexamines the literature, art, and culture that emerged after World War II, bringing her expertise as a professor of English at West Point to bear on the complexity of the postwar period in national life. She exposes the confusion about American identity that was expressed during and immediately after the war, and the deep national ambivalence toward war, violence, and veterans - all of which were suppressed in subsequent decades by a dangerously sentimental attitude toward the United States' "exceptional" history and destiny.

With this collection of more than 50 pieces on politics, photography, travel, history, and literature, Teju Cole solidifies his place as one of today's most powerful and original voices. Minute after minute, deploying prose dense with beauty and ideas, he finds fresh and potent ways to interpret art, people, and historical moments, taking in subjects from Virginia Woolf, Shakespeare, and W. G. Sebald to Instagram, Barack Obama, and Boko Haram.

Dazzling in its originality, Rites of Spring probes the origins, impact, and aftermath of World War I from the premiere of Stravinsky's ballet "The Rite of Spring" in 1913 to the death of Hitler in 1945. "The Great War", as Modris Eksteins writes, "was the psychological turning point...for modernism as a whole. The urge to create and the urge to destroy had changed places."

From the Western collectors whose demand for shrunken heads spurred massacres to Second World War soldiers who sent the remains of the Japanese home to their girlfriends, from Madame Tussaud modeling the guillotined head of Robespierre to Damien Hirst photographing decapitated heads in city morgues, from grave-robbing phrenologists to skull-obsessed scientists, anthopologist Frances Larson here explores our macabre fixation with severed heads.

How does a nation recover from fascism and turn toward a free society once more? This internationally acclaimed revelatory history of the transformational decade that followed World War II illustrates how Germany raised itself out of the ashes of defeat and reckoned with the corruption of its soul and the horrors of the Holocaust - and features over 40 eye-opening black-and-white photographs and posters from the period.

When people think of the Holocaust, they think of Auschwitz, of Dachau; and when they think of justice for this terrible chapter in history, they think of Nuremberg. Not of Russia or the Ukraine, and certainly not a town called Kharkov. But in reality, the first war-crimes trial against the Nazis was in this idyllic, peaceful Ukrainian city, which is fitting, because it is also where the Holocaust actually began.

When the Great War ended in 1918, the West was broken. Religious faith, patriotism, and the belief in human progress had all been called into question by the mass carnage experienced by both sides. Shell-shocked and traumatized, the West faced a world it no longer recognized: The old order had collapsed, replaced by an age of machines. The world hurtled forward on gears and crankshafts, and terrifying new ideologies arose from the wreckage of past belief.

War Without Mercy has been hailed by the New York Times as "one of the most original and important books to be written about the war between Japan and the United States." In this monumental history, professor John Dower reveals a hidden, explosive dimension of the Pacific War - race - while writing what John Toland has called "a landmark book...a powerful, moving, and evenhanded history that is sorely needed in both America and Japan."

The news is everywhere. We can’t stop constantly checking it on our computer screens, but what is this doing to our minds? We are never really taught how to make sense of the torrent of news we face every day, writes Alain de Botton (author of the best-selling The Architecture of Happiness), but this has a huge impact on our sense of what matters and of how we should lead our lives.

In The Long Hangover, Shaun Walker provides new insight into contemporary Russia and its search for a new identity, telling the story through the country's troubled relationship with its Soviet past. Walker not only explains Vladimir Putin's goals and the government's official manipulations of history, but also focuses on ordinary Russians and their motivations. He charts how Putin raised victory in World War II to the status of a national founding myth in the search for a unifying force to heal a divided country, and shows how dangerous the ramifications of this have been.

Year Zero is a landmark reckoning with the greatdrama that ensued after war came to an end in 1945. One world had ended and anew, uncertain one was beginning. Regime change had come across Asia and all of continental Europe. It was the greatest global powervacuum in history, and out of the often vicious power struggles thatensued emerged the modern world as we know it.

From Anna Akhmatova to Stefan Zweig, via Charles de Gaulle, Hitler, Thomas Mann and Charlie Chaplin, this varied and unfailingly absorbing book is both story and history, both public memoir and personal record - and provides an essential field-guide to the vast movements of taste, intellect, politics and delusion that helped to prepare the times we live in now.

First published in 1973, this is a study of the force of photographic images, which are continually inserted between experience and reality. When anything can be photographed, and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely, with no expectations of discovering what it means. This collection of six lucid and invigorating essays, with the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.

Originally published in 1966, Susan Sontag's first collection of essays is a modern classic and includes the famous essays "Notes on Camp" and "Against Interpretation", as well as, her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Levi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.

In 1978 Susan Sontag wrote Illness as Metaphor, a classic work described by Newsweek as “one of the most liberating books of its time”. A cancer patient herself when she was writing the book, Sontag shows how the metaphors and myths surrounding certain illnesses, especially cancer, add greatly to the suffering of patients and often inhibit them from seeking proper treatment.

This, the second of three volumes of Susan Sontag’s journals and notebooks, begins where the first volume left off, in the middle of the 1960s. It traces and documents Sontag’s evolution from fledgling participant in the artistic and intellectual world of New York City to world-renowned critic and dominant force in the world of ideas with the publication of the groundbreaking Against Interpretation in 1966.

Susan Sontag was one of the most formidable, original, and influential thinkers of the last century. On Women presents seven essays and exchanges, spanning a range of subjects: the challenges and humiliations women face as they age; the relationship between women’s liberation and class struggle; beauty, which Sontag calls “that over-rich brew of so many familiar opposites”; feminism; fascism; and film. Taken together, these pieces—relentlessly curious, historically precise, politically robust, and allergic to easy categorization Sontag’s inimitable mind at work.

Styles of Radical Will, Susan Sontag's second collection of essays, extends the investigations she undertook in Against Interpretation with essays on film, literature, politics, and a groundbreaking study of pornography.

Sontag's most important critical writings from 1972 to 1980 are collected in Under the Sign of Saturn. One of America's leading essayists, Sontag's writings are commentaries on the relation between moral and aesthetic ideas, discussing the works of Antonin Artaud, Leni Riefenstahl, Elias Canetti, Walter Benjamin, and others. The collection includes a variety of her well-known essays. Sontag's writings are famously full of intellectual range and depth, and are at turns exhilarating, ominous, disturbing, and beautiful.

In this work Cioran writes about Western civilizations, the writer, the novel, about mystics, apostles, philosophers. For those to whom the very word philosophy brings visions of arduous reading, be assured: Cioran is crystal-clear, his style quotable and aphoristic.

Veinticinco años después de Sobre la fotografía, Susan Sontag regresó al estudio de la representación visual de la guerra y la violencia. ¿Cómo nos afecta el espectáculo del sufrimiento ajeno? ¿Nos hemos acostumbrado a la crueldad? Para ello, la autora examina la serie de Goya Los desastres de la guerra, las fotografías de la guerra civil estadounidense y de los campos de concentración nazis, y las horribles imágenes contemporáneas de Bosnia, Sierra Leona, Ruanda, Israel y Palestina, así como de la ciudad de Nueva York el 11 de septiembre de 2001.

"I intend to do everything...I shall anticipate pleasure everywhere and find it too, for it is everywhere! I shall involve myself wholly...everything matters!" This first selection from Susan Sontag's diaries (from 1947-1963) takes us from early adolescence through to when Sontag was in her early 30s. It is an astonishingly affecting and honest self-portrait which is also a fascinating, revealing account of an artist and critic being born. We see Sontag honing her skills and fashioning herself, by a supreme act of will, into an intellectual force.

What exactly are the weird and the eerie? In this new essay, Mark Fisher argues that some of the most haunting and anomalous fiction of the 20th century belongs to these two modes. The weird and the eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The weird and the eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling.