The Riviera has inspired countless novelists and artists, attracted as much by its visitors as by its location (Somerset Maugham called it 'a sunny place for shady people'). But for the majority of the English, the Riviera was made famous by rumour and report: it was the scene of the romance of Edward VIII and Wallis Simpson; and, post-war, became the vacation spot of Hollywood starlets.

But the Cote d'Azur has a long history of attracting foreign celebrities and royalty, since the seventeenth century, when it was a stopping point on the route south for aristocratic Grand Tourists. Later, English and Scottish invalids, among them Robert Louis Stevenson, followed doctors' orders and holidayed on the Riviera for their health. Jim Ring explores these origins and the developments that took place on the coast - the impact of rail travel, of war, of celebrity and of the English.

'An entertaining survey . . . It is the ideal book to hide your smirk behind on the Promenade des Anglais as yet another roller-blading granny glides past in a leopard-sking thong.' "Sunday Telegraph"

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""Jim Ring's "Riviera "corrals an array of vignettes of the Cote d'Azur's most famous habitues from the Romans to the Rolling Stones . . . a stylish and pleasingly gossipy overview of the region's fluctuating fortunes.' "Time Out"

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""'A highly readable history.' "Guardian"

"Old maps lead you to strange and unexpected places, and none does so more ineluctably than the subject of this book: the giant, beguiling Waldseemuller world map of 1507." So begins this remarkable story of the map that gave America its name.
For millennia Europeans believed that the world consisted of three parts: Europe, Africa, and Asia. They drew the three continents in countless shapes and sizes on their maps, but occasionally they hinted at the existence of a "fourth part of the world," a mysterious, inaccessible place, separated from the rest by a vast expanse of ocean. It was a land of myth--until 1507, that is, when Martin Waldseemuller and Matthias Ringmann, two obscure scholars working in the mountains of eastern France, made it real. Columbus had died the year before convinced that he had sailed to Asia, but Waldseemuller and Ringmann, after reading about the Atlantic discoveries of Columbus's contemporary Amerigo Vespucci, came to a startling conclusion: Vespucci had reached the fourth part of the world. To celebrate his achievement, Waldseemuller and Ringmann printed a huge map, for the first time showing the New World surrounded by water and distinct from Asia, and in Vespucci's honor they gave this New World a name: America.
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The Fourth Part of the World "is the story behind that map, a thrilling saga of geographical and intellectual exploration, full of outsize thinkers and voyages. Taking a kaleidoscopic approach, Toby Lester traces the origins of our modern worldview. His narrative sweeps across continents and centuries, zeroing in on different portions of the map to reveal strands of ancient legend, Biblical prophecy, classical learning, medieval exploration, imperial ambitions, and more. In Lester's telling the map comes alive: Marco Polo and the early Christian missionaries trek across Central Asia and China; Europe's early humanists travel to monastic libraries to recover ancient texts; Portuguese merchants round up the first West African slaves; Christopher Columbus and Amerigo Vespucci make their epic voyages of discovery; and finally, vitally, Nicholas Copernicus makes an appearance, deducing from the new geography shown on the Waldseemuller map that the earth could not lie at the center of the cosmos. The map literally altered humanity's worldview.
One thousand copies of the map were printed, yet only one remains. Discovered accidentally in 1901 in the library of a German castle it was bought in 2003 for the unprecedented sum of $10 million by the Library of Congress, where it is now on permanent public display. Lavishly illustrated with rare maps and diagrams, "The Fourth Part of the World "is the story of that map: the dazzling story of the geographical and intellectual journeys that have helped us decipher our world.

Von Moltke and 'quick victory': Jellicoe and the Battle of Jutland: Petain and the wave of mutinies: Ludendorff and the 1918 offensives. Four key men, four key moments in the Great War. Corelli Barnett, in his famous study, writes with brilliant insight about these flawed men grappling with events that were outside their comprehension. In his preface he writes thus: 'The Theme of this book is the decisive effect of individual human character on history. The background, in sharpest contrast, is a sudden and violent transition to mass collectivised life - to twentieth century industrial civilization. The principal actors are four national commanders-in-chief: two German, one Frenchman, one Englishman. Theirs was the novel task of directing these new and terrifying forces of mass powering battle. Each had been born and bred in the last century; each belonged to a highly conservative profession. Their abilities and defects reflected and illustrated those of their countries. For the historian, with the priceless gift of hindsight, it is moving and fascinating, therefore, to study these men locked in struggle with events greater than themselves; to see their moments of clarity and prophesy, of optimistic self-delusion, of uncertainty, of despair. Each in turn, as commander-in-chief, bore his nation's sword at a period when the course of the war pivoted on his judgement and will: four actors in a continental tragedy of death and re-birth.'

'Of all branches of human endeavour, diplomacy is the most protean.' That is how Harold Nicolson begins this book. It is an apt opening. The Paris Conference of 1919, attended by thirty-two nations, had the supremely challenging task of attempting to bring about a lasting peace after the global catastrophe of the Great War.

Harold Nicolson was a member of the British delegation. His book is in two parts. In the first he provides an account of the conference, in the second his diary covering his six month stint. There is a piquant counterpoise between the two. Of his diary he writes, 'I should wish it to be read as people read the reminiscences of a subaltern in the trenches. There is the same distrust of headquarters; the same irritation against the staff-officer who interrupts; the same belief that one's own sector is the centre of the battle-front; the same conviction that one is, with great nobility of soul, winning the war quite single-handed.' The diary ends with prophetic disillusionment, 'To bed, sick of life.'

As a first-hand account of one of the most important events shaping the modern world this book remains a classic.

The Tree of Gernika: a Field Study of Modern War was published in 1938. It is G. L. Steer's masterpiece. Martha Gellhorn famously wrote to Eleanor Roosevelt:

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""'You must read a book by a man names Steer: it is called The Tree of Gernika. It is about the fight of the Basques - he's the London Times man - and no better book has come out of the war and he says well all the things I have tried to say to you the times I saw you, after Spain. It is beautifully written and true, and few books are like that, and fewer still deal with war. Pleas get it.'

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""As Paul Preston says in his "We Saw Spain Die," 'Martha Gellhorn's judgement has more than stood the test of time.'

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""In his introduction, Nick Rankin writes.' "The Tree of Gernika" tells how Euzkadi, the democratic republic that the Basques created in their green homeland by the Bay of Biscay, fought for freedom and decency in an atrocious civil war. After a year of struggle, blockaded by sea, bombed from the air, fighting against overwhelming odds in their own hill, the Basques in the end lost to Franco's forces - but they lost honourably, without resorting to murder, torture and treachery.'

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""It was Steer who alerted the world to the destruction of Gernika (Basque spelling), Guernica (Spanish spelling). It was the most important dispatch of his life, run by both "The Times "and "The New York Times."

Nick Rankin rightly describes "The Tree of Gernika" as 'a masterpiece of narrative history and eyewitness reporting by someone close to the key events . . .'