A Chronicle of the Last Pagans is a history of the triumph of Christianity in the Roman Empire as told from the perspective of the defeated: the adherents of the mysteries, cults, and philosophies that dominated Greco–Roman culture.

With a sovereign command of the diverse evidence, Pierre Chuvin portrays the complex spiritual, intellectual, and political lives of professing pagans after Christianity became the state religion. While recreating the unfolding drama of their fate—their gradual loss of power, exclusion from political, military, and civic positions, their assimilation, and finally their persecution—he records a remarkable persistence of pagan religiosity and illustrates the fruitful interaction between Christianity and paganism. The author points to the implications of this late paganism for subsequent developments in the Byzantine Empire and the West. Chuvin's compelling account of an often forgotten world of pagan culture rescues an important aspect of our spiritual heritage and provides new understanding of Late Antiquity.

In life, Elvis Presley went from childhood poverty to stardom, from world fame to dissipation and early death. As Greil Marcus shows in this remarkable book, Presley's journey after death takes him even further, pushing him beyond his own frontiers to merge with the American public consciousness—and the American subconscious.

As he listens in on the public conversation that recreates Elvis after death, Marcus tracks the path of Presley's resurrection. He grafts together scattered fragments of the eclectic dialogue—snatches of movies and music, books and newspapers, photographs, posters, cartoons—and amazes us with not only what America has been saying as it raises its late king, but also what this strange obsession with a dead Elvis can tell us about America itself.

Robert Gardner’s classic Dead Birds is one of the most highly acclaimed and controversial documentary films ever made. This detailed and candid account of the process of making Dead Birds, from the birth of the idea through filming in New Guinea to editing and releasing the finished film, is more than the chronicle of a single work. It is also a thoughtful examination of what it meant to record the moving and violent rituals of warrior-farmers in the New Guinea highlands and to present to the world a graphic story of their behavior as a window onto our own. Letters, journals, telegrams, newspaper clippings, and over 50 images are assembled to recreate a vivid chronology of events. Making Dead Birds not only addresses the art and practice of filmmaking, but also explores issues of representation and the discovery of meaning in human lives.

Gardner led a remarkable cast of participants on the 1961 expedition. All brought back extraordinary bodies of work. Probably most influential of all was Dead Birds, which marked a sea change in nonfiction filmmaking. This book takes the reader inside the creative process of making that landmark film and offers a revealing look into the heart and mind of one of the great filmmakers of our time.

When the first European explorers reached the southern shores of North America in the early seventeenth century, they faced a solid forest that stretched all the way from the Atlantic coast to eastern Texas and Oklahoma. The ways in which they and their descendants used—and abused—the forest over the next nearly four hundred years form the subject of The Southern Forest.

In chapters on the explorers, pioneers, lumbermen, boatbuilders, and foresters, Laurence Walker chronicles the constant demands that people have made on forest resources in the South. He shows how the land's very abundance became its greatest liability, as people overhunted the animals, clearcut the forests, and wore out the soil with unwise farming practices—all in a mistaken belief that the forest's bounty (including new ground to be broken) was inexhaustible.

With the advent of professional forestry in the twentieth century, however, the southern forest has made a comeback. A professional forester himself, Walker speaks from experience of the difficulties that foresters face in balancing competing interests in the forest. How, for example, does one reconcile the country's growing demand for paper products with the insistence of environmental groups that no trees be cut? Should national forests be strictly recreational areas, or can they support some industrial logging? How do foresters avoid using chemical pesticides when the public protests such natural management practices as prescribed burning and tree cutting?

This personal view of the southern forest adds a new dimension to the study of southern history and culture. The primeval southern forest is gone, but, with careful husbandry on the part of all users, the regenerated southern forest may indeed prove to be the inexhaustible resource of which our ancestors dreamed.

Elvis Presley and Bill Haley. Sam Cooke and the Shirelles. The Crows and the Chords. American Bandstand and Motown. From its first rumblings in the outland alphabet soup of R&B and C&W, rock & roll music promised to change the world--and did it. 

Combining social history with a treasure trove of trivia, Richard Aquila unleashes the excitement of rock's first decade and shows how the music reflected American life from the mid-1950s through the dawn of Beatlemania. His year-by-year timelines and a photo essay place the music in historical perspective by linking artists and their hits to the news stories, movies, TV shows, fads, and lifestyles. In addition, he provides a concise biographical dictionary of the performers who made the charts between 1954 and 1963, along with the label and chart position of each of their hit songs.

Early in a sixteen-year sojourn in Mexico as an engineer for an American mining company, John W. F. Dulles became fascinated by the story of Mexico’s emergence as a modern nation, and was imbued with the urge to tell that story as it had not yet been told—by letting events speak for themselves, without any interpretations or appraisal.

The resultant book offers an interesting paradox: it is “chronicle” in the medieval sense—a straightforward record of events in chronological order, recounted with no effort at evaluation or interpretation; yet in one aspect it is a highly personal narrative, since much of its significant new material came to Dulles as a result of personal interviews with principals of the Revolution. From them he obtained firsthand versions of events and other reminiscences, and he has distilled these accounts into a work of history characterized by thorough research and objective narration.

These fascinating interviews were no more important, however, than were the author’s many hours of laborious search in libraries for accounts of the events from Carranza’s last year to Calles’ final retirement from the Mexican scene. The author read scores of impassioned versions of what transpired during these fateful years, accounts written from every point of view, virtually all of them unpublished in English and many of them documents which had never been published in any language.

Combining this material with the personal reminiscences, Dulles has provided a narrative rich in its new detail, dispassionate in its presentation of facts, dramatic in its description of the clash of armies and the turbulence of rough-and-tumble politics, and absorbing in its panoramic view of a people’s struggle.

In it come to life the colorful men of the Revolution —Obregón, De la Huerta, Carranza, Villa, Pani, Carillo Puerto, Morones, Calles, Portes Gil, Vasconcelos, Ortiz Rubio, Garrido Canabal, Rodríguez, Cárdenas. (Dulles’ narrative of their public actions is illumined occasionally by humorous anecdotes and by intimate glimpses.) From it emerges also, as the main character, Mexico herself, struggling for self-discipline, for economic stability, for justice among her citizens, for international recognition, for democracy.

This account will be prized for its encyclopedic collection of facts and for its important clarification of many notable events, among them the assassination of Carranza, the De La Huerta revolt, the assassination of Obregón, the trial of Toral, the resignation of President Ortiz Rubio, and the break between Cárdenas and Calles. More than sixty photographs supplement the text.