In this celebrated, landmark history of the Balkans, Misha Glenny investigates the roots of the bloodshed, invasions and nationalist fervour that have come to define our understanding of the south-eastern edge of Europe. In doing so, he reveals that groups we think of as implacable enemies have, over the centuries, formed unlikely alliances, thereby disputing the idea that conflict in the Balkans is the ineluctable product of ancient grudges. And he exposes the often-catastrophic relationship between the Balkans and the rest of Europe, raising profound questions about recent Western intervention. Updated to cover the last decade's brutal conflicts in Kosovo and Macedonia, the surge of organised crime in the region, the rise of Turkey and the rocky road to EU membership, The Balkans remains the essential and peerless study of Europe's most complex and least understood region.

Suvin's 'X-Ray' of Socialist Yugoslavia offers an indispensable overview of a unique and often overlooked twentieth-century socialism. It shows that the plebeian surge of revolutionary self-determination was halted in SFR Yugoslavia by 1965; that between 1965- 72 there was a confused and hidden but still open-ended clash; and that by 1972 the oligarchy in power was closed and static, leading to failure. The underlying reasons of this failure are analysed in a melding of semiotics and political history, which points beyond Yugoslavia - including its achievements and degeneration - to show how political and economic democracy fail when pursued in isolation. The emphasis on socialist Yugoslavia is at various points embedded into a wider historical and theoretical frame, including Left debates about the party, sociological debates about classes, and Marx's great foray against a religious State doctrine in The Jewish Question.

Traveling in Europe in August 1938, one year before the outbreak of World War II, David Kurtz, the author's grandfather, captured three minutes of ordinary life in a small, predominantly Jewish town in Poland on 16 mm Kodachrome colour film. More than seventy years later, through the brutal twists of history, these few minutes of home-movie footage would become a memorial to an entire community, an entire culture that was annihilated in the Holocaust. Three Minutes in Poland traces Glenn Kurtz's remarkable four year journey to identify the people in his grandfather's haunting images. His search takes him across the United States to Canada, England, Poland, and Israel. To archives, film preservation laboratories, and an abandoned Luftwaffe airfield. Ultimately, Kurtz locates seven living survivors from this lost town, including an eighty six year old man who appears in the film as a thirteen year old boy. Painstakingly assembled from interviews, photographs, documents, and artifacts, Three Minutes in Poland tells the rich, funny, harrowing, and surprisingly intertwined stories of these seven survivors and their Polish hometown. Originally a travel souvenir, David Kurtz's home movie became the sole remaining record of a vibrant town on the brink of catastrophe. From this brief film, Glenn Kurtz creates a riveting exploration of memory, loss, and improbable survival, a monument to a lost world.

In The Ottoman Threat and Crusading on the Eastern Border of Christendom during the Fifteenth Century Liviu Pilat and Ovidiu Cristea focus on less-known aspects of the later crusades in Eastern Europe, examining the ideals of holy war and political pragmatism. They analyze the Ottoman threat and crusading as political themes through a unifying vision based in the political realities of the fifteenth century and the complex relationship between crusading, Ottoman expansion, and the political interests of the Christian states in the region. Approaching the relationship between the borders of Christendom and crusading as a highly complex phenomenon, Pilat and Cristea introduce new elements to the image of Latin Christendom's frontier from the perspective of Catholic-Orthodox relations, frontier ideology, and crusading rhetoric in political propaganda.