Here are 100 books that The Swerve fans have personally recommended if you like
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I've been fascinated by medieval history ever since I played hide and seek around Welsh castles as a boy. At university – a medieval invention, of course – I was able to sit at the feet of some of the finest historians of the Middle Ages, experts like Maurice Keen and Patrick Wormald. As a writer, I have tackled medieval subjects like Alfred the Great and Richard III, as well as the history of English rebellion. I have come to realise that the Middle Ages could be cruel and violent, just like our own time, but that they were also a time of extraordinary achievements that form the foundations of the world we live in.
One of the great thrills of researching medieval history is getting the chance to handle original documents up close, as I have had the good fortune to do a few times. Christophe de Hamel is a palaeographer, a manuscripts expert who has travelled the world to examine some of the most precious handwritten works that still survive. As his title hints, De Hamel treats these artefacts as personalities, and his no-nonsense decipherment of priceless treasures is like listening in on a wise and witty conversation.
An extraordinary and beautifully illustrated exploration of the medieval world through twelve manuscripts, from one of the world's leading experts.
Winner of The Wolfson History Prize and The Duff Cooper Prize.
A San Francisco Chronicle Holiday Book Gift Guide Pick!
Meetings with Remarkable Manuscripts is a captivating examination of twelve illuminated manuscripts from the medieval period. Noted authority Christopher de Hamel invites the reader into intimate conversations with these texts to explore what they tell us about nearly a thousand years of medieval history - and about the modern world, too.
We all read (or write) fiction for a bit of escapism, don’t we? To come face-to-face with the good, the bad, and the ugly of bygone days… The ancient Mediterranean is the place I would most love to visit in a time machine (albeit fully armed and in a hazmat suit), and these writers are – for me – the best at transporting readers there from the comfort of a sofa. I’ve tried plenty of historical fiction set in other times and places - much of it very good, but the smell of olive groves, the chirruping of cicadas, and the Aegean sun always call me back!
Some authors have an innate faculty for bringing the dim and distant past into such razor-sharp clarity that it’s hard not to believe that they were once present at the time. That’s how it is with Mary Renault (real name Eileen Mary Challans): any number of her books could have made this list.
What I particularly love about this duology (the sequel The Bull From the Sea isn’t quite as strong) is that Renault retold the ancient tale of Theseus and the Minotaur as historical fiction. Though she followed the main beats of the well-known story, she boldly stripped it of gods, monsters, and magic, and the narrative doesn’t suffer at all from it. If anything, it makes it even more compelling because it feels like she has stumbled upon a possible origin to the myth.
Theseus is the grandson of the King of Troizen, but his paternity is shrouded in mystery - can he really be the son of the god Poseidon? When he discovers his father's sword beneath a rock, his mother must reveal his true identity: Theseus is the son of Aegeus, King of Athens, and is his only heir. So begins Theseus's perilous journey to his father's palace to claim his birth right, escaping bandits and ritual king sacrifice in Eleusis, to slaying the Minotaur in Crete. Renault reimagines the Theseus myth, creating an original, exciting story.
I grew up in Bordeaux, a city that became prominent during the eighteenth century. My hometown inspired my love of eighteenth-century French studies, which led me to the Sorbonne, then to Yale University where I earned a PhD. Today, I am an Associate Professor at The Ohio State University. I am the author of eight novels and monographs published in France and the US, including American Pandemonium, Posthumous America, and Sentinel Island. My work explores numerous genres to question a number of recurring themes: exile and the representation of otherness; nostalgia and the experience of bereavement; the social impact of new technologies; America’s history and its troubled present.
In this lively, elegant biography, Andrew Curran retraces the intellectual itinerary of a major eighteenth-century philosopher, Denis Diderot. Very few people ever lived and wrote with as much confidence in the power of posterity to recognize their greatness and the importance of their intellectual contribution after their death. Diderot, indeed, had to hide a significant proportion of his writings because they were just too controversial and ahead of their time. He believed that nothing was more inspirational than to work for the admiration of those who have yet to be born. Diderot and the Art of Thinking Freely is a marvelous introduction to the Enlightenment through the portrait of one of its major thinkers, and a great way to understand why people write books for those they will never meet.
A spirited biography of the prophetic and sympathetic philosopher who helped build the foundations of the modern world.
Denis Diderot is often associated with the decades-long battle to bring the world’s first comprehensive Encyclopédie into existence. But his most daring writing took place in the shadows. Thrown into prison for his atheism in 1749, Diderot decided to reserve his best books for posterity–for us, in fact. In the astonishing cache of unpublished writings left behind after his death, Diderot challenged virtually all of his century's accepted truths, from the sanctity of monarchy,…
On the morning of September 11, 2001, I woke up expecting to spend that day – and the rest of my academic career – leisurely studying the interplay of culture and individual temperament in second language acquisition. As the rest of that terrible day unfolded, however, my research up to that point suddenly seemed very small and almost decadently privileged. Recruiting the rudimentary cultural anthropology toolbox I had already amassed, I took a deep breath and plunged into the rabbit hole of studying the role of culture in human conflict. Twenty-two years later, using my Japan base and relevant language skills, my research has focused on the Japanese experience in World War II.
Solomon et al experienced eureka moments similar to my own when they read Ernest Becker as young social psychologists in the 1980s.
Combining their research efforts, they set out to provide “hard” empirical evidence that would support Becker’s cultural thesis. In the process, they developed what eventually became known as “Terror Management Theory” (TMT).
This went on to become one of the biggest influences on social psychology since Leon Festinger’s 1950s work on cognitive dissonance, enjoying perhaps its greatest notoriety in the first few years after 9/11.
The Worm at the Core is an excellent “one-stop shopping” choice as a primer for basic TMT. Once you add Solomon et al’s ideas to your mental toolbox, you will never look at the world the same way again.
Proof of a ground-breaking psychological theory: that the fear of death is the hidden motive behind almost everything we do.
'A joy ... The Worm at the Core asks how humans can learn to live happily while being intelligently aware of our impending doom, how knowledge of death affects the decisions we make every day, and how we can stop fear and anxiety overwhelming us' Charlotte Runcie, Daily Telegraph
'Provocative, lucid and fascinating' Financial Times
'An important, superbly readable and potentially life-changing book . . . suggests one should confront mortality in order to live an authentic life' Tim Lott,…
I am an art historian from Rome and a professor at the University of Virginia, where I also served as associate dean for the arts and humanities and chair of the art department. Ever since as an undergraduate I heard a lecture from a professor on how important science was for Renaissance artists, I have been fascinated with this topic. I look at scientific images, such as maps and diagrams, as works of art, and interpret famous paintings, such as Leonardo da Vinci’s Mona Lisa, as scientific experiments. Among my books are The Marvel of Maps: Art, Cartography and Politics in the Renaissance, The Shadow Drawing. How Science Taught Leonardo How to Paint, and the digital publication Leonardo da Vinci and His Treatise on Painting.
After you read about the chase of lost ancient manuscripts, you’ll want to know the story of this Florentine man of humble origins but great intellect who played a crucial role in disseminating these newly discovered texts in Europe and beyond. Along the way you’ll learn how books were made before the invention of the printing press, including a myriad of fascinating details about the production of parchment and paper, the manufacturing of inks and bindings, the creation of figures and illuminations, and the use of movable types.
You’ll step into the life of a famous Florentine bookshop, where humanists, political figures, and church people gathered and where, above all, magnificent books were made for royals and popes, books that were works of art in their own rights.
The Renaissance in Florence conjures images of beautiful frescoes and elegant buildings—the dazzling handiwork of the city’s skilled artists and architects. But equally important for the centuries to follow were geniuses of a different sort: Florence’s manuscript hunters, scribes, scholars, and booksellers, who blew the dust off a thousand years of history and, through the discovery and diffusion of ancient knowledge, imagined a new and enlightened world.
At the heart of this activity, which bestselling author Ross King relates in his exhilarating new book, was a remarkable man: Vespasiano da Bisticci. Born in 1422, he became what a friend called…
Ross King is the author of numerous books about Italian and French art and architecture, including Brunelleschi’s Dome, Michelangelo and the Pope’s Ceiling, and Mad Enchantment: Claude Monet and the Painting of the Water Lilies. As a full-time writer, he spends much of his time in libraries, archives, and the among piles of books on his overcrowded shelves.
More than forty years after its first publication, this biographical study is still one the best things ever written on Manutius—arguably the most important printer in history after Gutenberg. Lowry shows how this obscure teacher of Greek moved to Venice in 1490 and became not only a printer and designer of genius but also a shrewd businessman whose publications put the wisdom of the Greeks and Romans into the hands of everyday readers. As Lowry explains, the concerns of Manutius ring an all-too-modern tone: how to disseminate information without “the debasement and dilution of learning” and “the spread only of confusion, obscenity, and heresy.”
Hardcover, green cloth, 1st U.S. Edition, a clean bright copy in dust jacket that has minor dust soil, light wear and is now protected in a clear Brodart cover. Contents clean and unmarked, 350pp, includes bibliography, index, b/w illustrations, notes at the end of each chapter. Publisher's statements: "The relationship between Renaissance scholarship and printing is the subject of this fascinating biographical study. The book centers on the life and work of Aldus Manutius (1450-1515), printer and man of letters--his background, his business practices, and his impact on the intellectual life of the times. Martin Lowry discusses the structure of…
I am a historian at the University of St Andrews, and an expert in the history of books, media, and communication. My working life has revolved around libraries: I stacked shelves at my local university library while I was an undergraduate, and have since worked as a researcher in some hundred reading rooms in twenty countries (and I am therefore the proud owner of many library cards, expired and current). I am also an avid book collector, and have a growing collection of seventeenth and eighteenth-century books, mostly printed in my native Netherlands. Writing a history of libraries was an enjoyable tribute to those fine institutions, historic and present.
Why do our libraries, those at home, at university, or in the public library network, look the way they do? Many people would agree that books are best stored upright on shelves, spine out, but how did we come to that conclusion? This delightful book offers all the answers, and incidentally reveals more than you could ever think of to ask about the manner in which we take care of, store, and display books. It might even give you some inspiration on how to arrange your own collection.
He has been called "the poet laureate of technology" and a writer who is "erudite, witty, thoughtful, and accessible." Now Henry Petroski turns to the subject of books and bookshelves, and wonders whether it was inevitable that books would come to be arranged vertically as they are today on horizontal shelves. As we learn how the ancient scroll became the codex became the volume we are used to, we explore the ways in which the housing of books evolved. Petroski takes us into the pre-Gutenberg world, where books were so scarce they were chained to lecterns for security. He explains…
I started academic life as a historian of the Protestant Reformation, and gradually shifted to the history of communication, in the process creating a major online resource documenting publications from all over the world in the first two centuries of printing, the Universal Short Title Catalogue. After several works on books, news, and information culture I teamed up with another St Andrews colleague, Arthur der Weduwen, to enjoy the pleasures of co-authorship: this book, a history of libraries and book collecting, is our fourth collaboration.
What do you do if your father has just discovered whole new continents? In the case of Hernando, son of Christopher Columbus, the answer was to conquer a new world of his own: the new universe of printed books. In this beautifully written and accessible study, Edward Wilson-Lee explores Hernando’s quixotic yet determined attempt to emulate the library of ancient Alexandria by creating a universal library of print. It does not end well.
This impeccably researched and “adventure-packed” (The Washington Post) account of the obsessive quest by Christopher Columbus’s son to create the greatest library in the world is “the stuff of Hollywood blockbusters” (NPR) and offers a vivid picture of Europe on the verge of becoming modern.
At the peak of the Age of Exploration, Hernando Colón sailed with his father Christopher Columbus on his final voyage to the New World, a journey that ended in disaster, bloody mutiny, and shipwreck. After Columbus’s death in 1506, eighteen-year-old Hernando sought to continue—and surpass—his father’s campaign to explore the boundaries of the known world…
I’m a historian and writer who strives to combine the history of science and medicine, the study of visual culture, and cultural history in my work. Although I hated being dragged round art galleries and museums as a child, something must have stuck, laying the foundations for my interest in using images and artefacts to understand both the past and the present. Since the early 1990s I’ve been writing about portraits, how they work, and why they are important—I remain gripped by the compelling ways they speak to identity. It was a privilege to serve as a trustee of the National Portrait Gallery in London between 2001 and 2009.
This book is simply brilliant. I first read it in the 1980s and return to it often for inspiration and to remind myself of its piercing lucidity. Beautifully written, clear, thoughtful, and direct, it expresses a way of looking at art and visual culture that can be applied to other times and places. Baxandall explores the social relationships and practices out of which works of art emerge, connecting the way paintings look with the society in which they were made. He robustly criticises simplistic approaches to the art of the past and shows how we can think differently and understand more. I have deep admiration for Michael Baxandall, whose writings encourage readers to reflect on their own visual skills and habits, how and where they have acquired them.
This book is both an introduction to fifteenth-century Italian painting, and a primer in how to read social history out of the style of pictures. It examines the commercial practice of the early Renaissance picture, trade in contracts, letters, and accounts; and it explains how the visual skills and habits evolved in the daily life of any society enter into its painters' style. Renaissance painting is related for instance to experience of such activities as preaching, dancing, and gauging barrels.
This second edition contains an appendix, the original Latin and Italian texts referred to throughout the book, giving the student…
I am an art historian from Rome and a professor at the University of Virginia, where I also served as associate dean for the arts and humanities and chair of the art department. Ever since as an undergraduate I heard a lecture from a professor on how important science was for Renaissance artists, I have been fascinated with this topic. I look at scientific images, such as maps and diagrams, as works of art, and interpret famous paintings, such as Leonardo da Vinci’s Mona Lisa, as scientific experiments. Among my books are The Marvel of Maps: Art, Cartography and Politics in the Renaissance, The Shadow Drawing. How Science Taught Leonardo How to Paint, and the digital publication Leonardo da Vinci and His Treatise on Painting.
Most art in the Renaissance was commissioned by specific patrons and this book superbly illustrates the complex interaction among patron, artist, and society by focusing on the greatest patron of art and architecture in fifteenth-century Florence. Cosimo de’ Medici was the most powerful figure in the city’s political and economic life, a fabulously wealthy banker, a devout Christian, but he had also an impeccable nose for great art. With the help of about 200 images, the book examines the religious, personal, and dynastic motivations behind Cosimo’s artistic patronage, both his direct commissions for the Medici palaces, villas, and chapels as well as his active involvement in the works officially commissioned by the republic. What you’ll get out of this book is a profound understanding of how art was commissioned, created, and viewed in Renaissance Florence.
Cosimo de' Medici (1389-1464), the fabulously wealthy banker who became the leading citizen of Florence in the fifteenth century, spent lavishly as the city's most important patron of art and literature. This remarkable book is the first comprehensive examination of the whole body of works of art and architecture commissioned by Cosimo and his sons. By looking closely at this spectacular group of commissions, we gain an entirely new picture of their patron and of the patron's point of view. Recurrent themes in the commissions-from Fra Angelico's San Marco altarpiece to the Medici Palace-indicate the main interests to which Cosimo's…
