Ever since the International Monetary Fund’s first bailout of Greece’s sinking economy in 2010, the phrase “Greek debt” has meant one thing to the country’s creditors. But for millions who claim to prize culture over capital, it means something quite different: the symbolic debt that Western civilization owes to Greece for furnishing its principles of democracy, philosophy, mathematics, and fine art. Where did this other idea of Greek debt come from, Johanna Hanink asks, and why does it remain so compelling today?

The Classical Debt investigates our abiding desire to view Greece through the lens of the ancient past. Though classical Athens was in reality a slave-owning imperial power, the city-state of Socrates and Pericles is still widely seen as a utopia of wisdom, justice, and beauty—an idealization that the ancient Athenians themselves assiduously cultivated. Greece’s allure as a travel destination dates back centuries, and Hanink examines many historical accounts that express disappointment with a Greek people who fail to live up to modern fantasies of the ancient past. More than any other movement, the spread of European philhellenism in the eighteenth and nineteenth centuries carved idealized conceptions of Greece in marble, reinforcing the Western habit of comparing the Greece that is with the Greece that once was.

Today, as the European Union teeters and neighboring nations are convulsed by political unrest and civil war, Greece finds itself burdened by economic hardship and an unprecedented refugee crisis. Our idealized image of ancient Greece dangerously shapes how we view these contemporary European problems.

Here, in a grand narrative spanning 1,800 years of European history, a distinguished political philosopher firmly rejects Western liberalism’s usual account of itself: its emergence in opposition to religion in the early modern era. Larry Siedentop argues instead that liberal thought is, in its underlying assumptions, the offspring of the Church.

“It is a magnificent work of intellectual, psychological, and spiritual history. It is hard to decide which is more remarkable: the breadth of learning displayed on almost every page, the infectious enthusiasm that suffuses the whole book, the riveting originality of the central argument, or the emotional power and force with which it is deployed.”
—David Marquand, New Republic

“Larry Siedentop has written a philosophical history in the spirit of Voltaire, Condorcet, Hegel, and Guizot…At a time when we on the left need to be stirred from our dogmatic slumbers, Inventing the Individual is a reminder of some core values that are pretty widely shared.”
—James Miller, The Nation

“In this learned, subtle, enjoyable and digestible work [Siedentop] has offered back to us a proper version of ourselves. He has explained us to ourselves…[A] magisterial, timeless yet timely work.”
—Douglas Murray, The Spectator

“Like the best books, Inventing the Individual both teaches you something new and makes you want to argue with it.”
—Kenan Malik, The Independent

Left-leaning political parties play an important role as representatives of the poor and disempowered. They once did so by promising protections from the forces of capital and the market’s tendencies to produce inequality. But in the 1990s they gave up on protection, asking voters to adapt to a market-driven world. Meanwhile, new, extreme parties began to promise economic protections of their own—albeit in an angry, anti-immigrant tone.

To better understand today’s strange new political world, Stephanie L. Mudge’s Leftism Reinvented analyzes the history of the Swedish and German Social Democrats, the British Labour Party, and the American Democratic Party. Breaking with an assumption that parties simply respond to forces beyond their control, Mudge argues that left parties’ changing promises expressed the worldviews of different kinds of experts. To understand how left parties speak, we have to understand the people who speak for them.

Leftism Reinvented shows how Keynesian economists came to speak for left parties by the early 1960s. These economists saw their task in terms of discretionary, politically-sensitive economic management. But in the 1980s a new kind of economist, who viewed the advancement of markets as left parties’ main task, came to the fore. Meanwhile, as voters’ loyalties to left parties waned, professional strategists were called upon to “spin” party messages. Ultimately, left parties undermined themselves, leaving a representative vacuum in their wake. Leftism Reinvented raises new questions about the roles and responsibilities of left parties—and their experts—in politics today.

Love and Friendship in the Western Tradition comprises a collection of essays written over a 25 year period by the late Rev. Professor James McEvoy on the theme of friendship. The book traces the genesis and development of philosophical treatments of friendship from Greek philosophy, through the Middle Ages, to modern and postmodern philosophy. The collection’s three major concerns are: (1) the history of philosophical discussions of friendship; (2) the role of friendship in the cultivation of the philosophical life; (3) the marginalization of friendship as a theme for philosophical reflection and practice in the modern period. As the author was primarily a medievalist, a great deal of the focus of the essays is on the development of the theme of friendship in the Middle Ages (in the thought of Augustine, Aquinas, Aelred of Rievaulx, Henry of Ghent, Robert Grosseteste, etc.). However, this focus, while a value in itself, also serves to connect philosophical perspectives on friendship from before and after the middle ages. It connects to the time before inasmuch as much of the work done on friendship in the Middle Ages is anchored in interpretations of Aristotle and Plato, and it connects to the time after by providing a counterpoint to the modern paradigm of what constitutes the philosophical life. The collection combines historical with thematic approaches to scholarship on this issue and is one of the only books of its kind to do so. It is, perhaps, unique in its historical sweep and will prove to be a canonical source for further research on this topic.

At the dawn of the twenty-first century, we have become accustomed to medical breakthroughs and conditioned to assume that, regardless of illnesses, doctors almost certainly will be able to help—not just by diagnosing us and alleviating our pain, but by actually treating or even curing diseases, and significantly improving our lives. 

For most of human history, however, that was far from the case, as veteran medical historian Michael Bliss explains in The Making of Modern Medicine. Focusing on a few key moments in the transformation of medical care, Bliss reveals the way that new discoveries and new approaches led doctors and patients alike to discard fatalism and their traditional religious acceptance of suffering in favor of a new faith in health care and in the capacity of doctors to treat disease. He takes readers in his account to three turning points—a devastating smallpox outbreak in Montreal in 1885, the founding of the Johns Hopkins Hospital and Medical School, and the discovery of insulin—and recounts the lives of three crucial figures—researcher Frederick Banting, surgeon Harvey Cushing, and physician William Osler—turning medical history into a fascinating story of dedication and discovery.

Compact and compelling, this searching history vividly depicts and explains the emergence of modern medicine—and, in a provocative epilogue, outlines the paradoxes and confusions underlying our contemporary understanding of disease, death, and life itself. 

In Minor China Hentyle Yapp analyzes contemporary Chinese art as it circulates on the global art market to outline the limitations of Western understandings of non-Western art. Yapp reconsiders the all-too-common narratives about Chinese art that celebrate the heroic artist who embodies political resistance against the authoritarian state. These narratives, as Yapp establishes, prevent Chinese art, aesthetics, and politics from being discussed in the West outside the terms of Western liberalism and notions of the “universal.” Yapp engages with art ranging from photography and performance to curation and installations to foreground what he calls the minor as method—tracking aesthetic and intellectual practices that challenge the predetermined ideas and political concerns that uphold dominant conceptions of history, the state, and the subject. By examining the minor in the work of artists such as Ai Weiwei, Zhang Huan, Cao Fei, Cai Guo-Qiang, Carol Yinghua Lu, and others, Yapp demonstrates that the minor allows for discussing non-Western art more broadly and for reconfiguring dominant political and aesthetic institutions and structures.

Nationalism matters in China, and what matters in China matters to everyone. China’s new nationalism, Robert Bickers shows, is rooted not in its present power but in shameful memories of its former weaknesses. Invaded, humiliated, and looted in the nineteenth and twentieth centuries by foreign powers, China looks out at the twenty-first century through the lens of the past. History matters deeply to Beijing’s current rulers, and Out of China explains why.

Bickers tracks the long, often agonizing process by which the Chinese regained control of their own country. He describes the corrupt, lurid modernity of prewar Shanghai, the often tiny patches of extraterritorial land controlled by foreign powers, the entrepôts of Hong Kong and Macao, and the myriad means—through armed threats, technology, and legal chicanery—by which China was kept subservient until, gradually, it emerged from Western control. This plural and partial subjugation of China is a story that involves not only European powers and Japan but also the United States.

This complex history must be grasped not to atone for the sins of the past but to recognize China’s internationalized landscapes with all their contradictions, violence, cosmopolitanism, and ambitions. The story of the foreign presence in China in the nineteenth and twentieth centuries is too important to be left in the hands of the Chinese party-state and its approved script. Out of China is essential reading for anyone wishing to understand what shapes China’s view of the world in the twenty-first century.

In this bold, provocative collection, Wang Hui confronts some of the major issues concerning modern China and the status quo of contemporary Chinese thought.

The book’s overarching theme is the possibility of an alternative modernity that does not rely on imported conceptions of Chinese history and its legacy. Wang Hui argues that current models, based largely on Western notions of empire and the nation-state, fail to account for the richness and diversity of pre-modern Chinese historical practice. At the same time, he refrains from offering an exclusively Chinese perspective and placing China in an intellectual ghetto. Navigating terrain on regional language and politics, he draws on China’s unique past to expose the inadequacies of European-born standards for assessing modern China’s evolution. He takes issue particularly with the way in which nation-state logic has dominated politically charged concerns like Chinese language standardization and “The Tibetan Question.” His stance is critical—and often controversial—but he locates hope in the kinds of complex, multifaceted arrangements that defined China and much of Asia for centuries.

The Politics of Imagining Asia challenges us not only to re-examine our theories of “Asia” but to reconsider what “Europe” means as well. As Theodore Huters writes in his introduction, “Wang Hui’s concerns extend beyond China and Asia to an ambition to rethink world history as a whole.”

From Plato through the nineteenth century, the West could draw on comprehensive political visions to guide government and society. Now, for the first time in more than two thousand years, Tracy B. Strong contends, we have lost our foundational supports. In the words of Hannah Arendt, the state of political thought in the twentieth and twenty-first centuries has left us effectively “thinking without a banister.”

Supper at Emmaus traces various important intellectual topics from the ancient world to the modern period. Generally, as in its treatment of the question of whether the long-standing contrast between cyclical and linear views of history is helpful, it introduces important thinkers who have considered the question. A preoccupation of the book is the appearance and reappearance across the centuries of patterns used to organize temporal and cultural experience. After an opening essay on transcendental truth and cultural relativism, the second chapter traces a distinction, common in historical writings during the past two centuries, between an alleged ancient classical "cyclic" view of time and history, used to describe the claimed repetitiveness of and similarities between historical events ("nothing is new under the sun"), and a contrasting Jewish-Christian linear view, sometimes described as providential in that it moves through a series of unique events to some end intended by God. In the latter, history is "about something," the education of the human race or the redemption of humankind. As in each of the remaining essays, the book then attempts to draw out the limitations of what the current consensus on this topic has become. It does this for such things as our current understanding of religious toleration, humanism, natural law, and teleology. Some of the essays, such as those on debate about Augustine's understanding of marriage or the concluding illustrated essay on the baroque city of Lecce, are published for the first time. Others are based on previously published contributions to the scholarly literature, though generally each of these chapters concludes with a postscript that engages with current scholarly debate on the subject.

A Foreign Affairs Best Book of the Year
Winner of the AATSEEL Prize for Best Book in Cultural Studies
Winner of the Laura Shannon Prize in Contemporary European Studies
Winner of the Marshall D. Shulman Book Prize
Winner of the Wayne S. Vucinich Book Prize

The Soviet Union was a notoriously closed society until Stalin’s death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West.

At the heart of this history is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J. D. Salinger and Giuseppe De Santis as saviors from Soviet clichés. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss.

Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate belongings.

With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd’s history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.

How a group of intellectuals and policymakers transformed development economics and gave Latin America a new position in the world.

After the Second World War demolished the old order, a group of economists and policymakers from across Latin America imagined a new global economy and launched an intellectual movement that would eventually capture the world. They charged that the systems of trade and finance that bound the world’s nations together were frustrating the economic prospects of Latin America and other regions of the world. Through the UN Economic Commission for Latin America, or CEPAL, the Spanish and Portuguese acronym, cepalinos challenged the orthodoxies of development theory and policy. Simultaneously, they demanded more not less trade, more not less aid, and offered a development agenda to transform both the developed and the developing world. Eventually, cepalinos established their own form of hegemony, outpacing the United States and the International Monetary Fund as the agenda setters for a region traditionally held under the orbit of Washington and its institutions. By doing so, cepalinos reshaped both regional and international governance and set an intellectual agenda that still resonates today.

Drawing on unexplored sources from the Americas and Europe, Margarita Fajardo retells the history of dependency theory, revealing the diversity of an often-oversimplified movement and the fraught relationship between cepalinos, their dependentista critics, and the regional and global Left. By examining the political ventures of dependentistas and cepalinos, The World That Latin America Created is a story of ideas that brought about real change.