A major biography of Michael Faraday (1791-1867), one of the giants of 19th century science and discoverer of electricity who was at the centre of an extraordinary scientific renaissance in London. Faraday's life was truly inspirational. Son of a Yorkshire blacksmith who moved to London in 1789, he was a self-made, self-educated man whose public life was underpinned by his devotion to a minor Christian sect (the Sandemanians) and to his wife. He was also a fine writer and brilliant lecturer. This book is a passionate exploration of his life, work and times (he was a pioneering scientific all-rounder who also experimented with electromagnetism, techniques for preserving meat and fish, optical glass, the safety lamp, and the identification of iodine as a new element). It will also tell the story of the dawn of the modern scientific age and interweave Faraday's life with the groundbreaking work of the Royal Institution and other early scientists like Humphrey Davey, Charles Babbage, John Herschel and Mary Somerville.

ONE OF THE TIMES AND SUNDAY TIMES' BEST BOOKS FOR 2022 'Eye-opening and full of surprises . . . A treasure' Sunday Times 'A biography as rich with colourful characters as any novel' Telegraph John Constable, the revolutionary nineteenth-century painter of the landscapes and skies of southern England, is Britain's best-loved but perhaps least understood artist. His paintings reflect visions of landscape that shocked and perplexed his contemporaries: attentive to detail, spontaneous in gesture, brave in their use of colour. What we learn from his landscapes is that Constable had sharp local knowledge of Suffolk, a clarity of expression of the skyscapes above Hampstead, an understanding of the human tides in London and Brighton, and a rare ability in his late paintings of Salisbury Cathedral to transform silent suppressed passion into paint. Yet Constable was also an active and energetic correspondent. His letters and diaries - there are over one thousand letters from and to him - reveal a man of passion, opinion and discord, while his character and personality is concealed behind the high shimmering colour of his paintings. They reveal too the lives and circumstances of his brothers and his sisters, his cousins and his aunts, who serve to define the social and economic landscape against which he can be most clearly seen. These multifaceted reflections draw a sharp picture of the person, as well as the painter. James Hamilton's biography reveals a complex, troubled man, and explodes previous mythologies about this timeless artist, and establishes him in his proper context as a giant of European art.

A ferociously intelligent, funny, misanthropic book about the 'innocent' habits of consumers and how they contribute vastly to climate change. People hunting monkeys in the jungle once devised a simple trap that proved remarkably effective. It was nothing more than a stout glass jar with a comparatively narrow neck, into which they put a large juicy banana. Plunging its paw into the jar to grab the banana, the creature found its fist was now too bulky to fit through the jar's neck; unless it let go of the banana, it was stuck. The Monkey is of course us, and the way we are paralysed by our inability to relinquish or even change our modern way of life and its consumer goodies, despite the undeniable damage to the environment. In Stuck Monkey, James Hamilton-Paterson uncovers the truth about our everyday habits and their contribution to climate change. The subjects treated to his acerbic analysis include gardening, sports, the growth of eco-tourism, the wellness industry, our obsession with online shopping, mobile phones, military carbon, biofuels and electric vehicles, as well as our pets and their hidden carbon pawprints. This is a powerful, accessible book about how extremely difficult it will be to change the way we live if we are to prevent environmental and human catastrophe.

'Exquisitely written and ripe with detail' Sunday Times.

'An engaging book ... He knows his British stuff' The Times.

'One of England's most skilled and alluring prose writers in or out of fiction, has done something even more original' London Review of Books.

WHAT WE HAVE LOST IS A MISSILE AIMED AT THE BRITISH ESTABLISHMENT, A BLISTERING INDICTMENT OF POLITICIANS AND CIVIL SERVANTS, PLANNING AUTHORITIES AND FINANCIAL INSTITUTIONS, WHO HAVE PRESIDED, SINCE 1945, OVER THE DECLINE OF BRITAIN'S INDUSTRIES AND REPLACED THE 'GREAT' IN BRITAIN WITH A FOR SALE SIGN HUNG AROUND THE NECK OF THE NATION.

Between 1939 and 1945, Britain produced around 125,000 aircraft, and enormous numbers of ships, motor vehicles, armaments and textiles. We developed radar, antibiotics, the jet engine and the computer. Less than seventy years later, the major industries that had made Britain a global industrial power, and employed millions of people, were dead. Had they really been doomed, and if so, by what? Can our politicians have been so inept? Was it down to the superior competition of wily foreigners? Or were our rulers culturally too hostile to science and industry?

James Hamilton-Paterson, in this evocation of the industrial world we have lost, analyzes the factors that turned us so quickly from a nation of active producers to one of passive consumers and financial middlemen.

Enrolling over 30 million acres, the U.S. Conservation Reserve Program (CRP) is the largest conservation program in the United States. Under the guidelines of the CRP, the federal government pays farmers to stop farming their land in the hopes of achieving a variety of conservation goals, including the reduction of soil erosion, improvement of water quality, and creation of wildlife habitat. In Conserving Data, James T. Hamilton explores the role of information in the policy cycle as it relates to the CRP. The author asks how the creation and distribution of information about what is going on across these millions of enrolled acres has influenced the development of the program itself. Of the many CRP stakeholders, each accesses a different set of information about the CRP s operations. Regulators have developed the Environmental Benefits Index as a rough indicator of a field s conservation benefits and adopted that measure as a way to determine which lands should be granted conservation contracts. NGOs have used publicly available data from these contracts to show how CRP monies are allocated. Members of Congress have used oversight hearings and GAO reports to monitor the Farm Service Agency s conservation policy decisions. Reporters have localized the impact of the CRP by writing stories about increases in wildlife and hunting on CRP fields in their areas. Conserving Data brings together and analyzes these various streams of information, drawing upon original interviews with regulators, new data from Freedom of Information Act requests, and regulatory filings. Using the CRP as a launch point, Hamilton explores the role of information, including 'hidden information, ' in the design and implementation of regulatory policy

The definitive and sumptuous biography of the one of the world's most collectible illustrators contains a richly detailed account of his life along with beautifully enchanting pictures Examining the work of the illustrator Arthur Rackham, this monograph traces his achievements throughout his illustrious career. Rackham's illustrations for such works as "Alice in Wonderland," "A Midsummer Night's Dream," "Peter Pan in Kensington Gardens," and "Rip Van Winkle" have attained the classic status of the writings themselves--and indeed, in some cases, they have become synonymous with them. His works were also included in numerous exhibitions in his lifetime, including one at the Louvre in Paris in 1914. Rackham himself, however, has previously remained a shadowy figure. As well as featuring exquisite illustrations and sketches, extracts from Rackham's correspondence and insightful commentary shed new light on this much-collected illustrator.

A compelling and fascinating account of aerial combat in World War I, revealing the terrible risks run by the men who fought and died in the world's first air war. Little more than 10 years after the first powered flight, aircraft were pressed into service in World War I. Nearly forgotten in the war's massive overall death toll, some 50,000 aircrew would die in the combatant nations' fledgling air forces. The romance of aviation had a remarkable grip on the public imagination, propaganda focusing on gallant air 'aces' who become national heroes. The reality was horribly different. Marked for Death debunks popular myth to explore the brutal truths of wartime aviation: of flimsy planes and unprotected pilots; of burning 19-year-olds falling screaming to their deaths; of pilots blinded by the entrails of their observers. James Hamilton-Paterson also reveals how four years of war produced profound changes both in the aircraft themselves and in military attitudes and strategy. By 1918 it was widely accepted that domination of the air above the battlefield was crucial to military success, a realization that would change the nature of warfare for ever.

For more than half a century, James Hamilton has been an active participant and an inside observer of some of the most consequential moments in modern US history. He has been involved in investigations concerning Watergate, the Kennedy assassination, "Debategate," the Keating Five, the Clinton impeachment, Vince Foster's suicide, the Valerie Plame affair, Benghazi, and the Major League Baseball steroids scandal. He argued against Brett Kavanaugh in front of the Supreme Court and won. He has tales to tell of power brokers, players, and politicians who helped steer the course of the country.Written in clear, incisive prose with self-deprecating humor, Advocate discusses the travails of prominent politicians and other well-known individuals, focusing particularly on high-profile congressional and other investigations. Credited with developing the modern system for vetting Democratic vice-presidential candidates, Hamilton recounts his extensive vetting of vice-presidential, cabinet, and Supreme Court candidates-including Joe Biden, John Edwards, and Ruth Bader Ginsburg. This book concludes with practical, sage advice for young lawyers entering the profession. Much more than a memoir from a seasoned lawyer, Advocate is a richly detailed history of some of the most sensational and controversial events in Washington politics over the past fifty years. By sharing information and insights known only to him, Hamilton fills in the gaps of historical events while advising the public on lessons that can be learned from the past. Anyone interested in the uniquely American intermingling of law and politics will find this an engaging read.

ONE OF THE TIMES AND SUNDAY TIMES' BEST BOOKS FOR 2022 'Eye-opening and full of surprises . . . A treasure' Sunday Times 'A biography as rich with colourful characters as any novel' Telegraph John Constable, the revolutionary nineteenth-century painter of the landscapes and skies of southern England, is Britain's best-loved but perhaps least understood artist. His paintings reflect visions of landscape that shocked and perplexed his contemporaries: attentive to detail, spontaneous in gesture, brave in their use of colour. What we learn from his landscapes is that Constable had sharp local knowledge of Suffolk, a clarity of expression of the skyscapes above Hampstead, an understanding of the human tides in London and Brighton, and a rare ability in his late paintings of Salisbury Cathedral to transform silent suppressed passion into paint. Yet Constable was also an active and energetic correspondent. His letters and diaries - there are over one thousand letters from and to him - reveal a man of passion, opinion and discord, while his character and personality is concealed behind the high shimmering colour of his paintings. They reveal too the lives and circumstances of his brothers and his sisters, his cousins and his aunts, who serve to define the social and economic landscape against which he can be most clearly seen. These multifaceted reflections draw a sharp picture of the person, as well as the painter. James Hamilton's biography reveals a complex, troubled man, and explodes previous mythologies about this timeless artist, and establishes him in his proper context as a giant of European art.

A groundbreaking work on how the topic of scale provides an entirely new understanding of Inca material culture Although questions of form and style are fundamental to art history, the issue of scale has been surprisingly neglected. Yet, scale and scaled relationships are essential to the visual cultures of many societies from around the world, especially in the Andes. In Scale and the Incas, Andrew Hamilton presents a groundbreaking theoretical framework for analyzing scale, and then applies this approach to Inca art, architecture, and belief systems. The Incas were one of humanity's great civilizations, but their lack of a written language has prevented widespread appreciation of their sophisticated intellectual tradition. Expansive in scope, this book examines many famous works of Inca art including Machu Picchu and the Dumbarton Oaks tunic, more enigmatic artifacts like the Sayhuite Stone and Capacocha offerings, and a range of relatively unknown objects in diverse media including fiber, wood, feathers, stone, and metalwork. Ultimately, Hamilton demonstrates how the Incas used scale as an effective mode of expression in their vast multilingual and multiethnic empire. Lavishly illustrated with stunning color plates created by the author, the book's pages depict artifacts alongside scale markers and silhouettes of hands and bodies, allowing readers to gauge scale in multiple ways. The pioneering visual and theoretical arguments of Scale and the Incas not only rewrite understandings of Inca art, but also provide a benchmark for future studies of scale in art from other cultures.

The Aharonov-Bohm effect is associated with cyclic motion. It is one of a number of anholonomic effects, and this means that the dynamical description depends on the current position of the system and on the path by which it reached that position.
An example of an anholonomic effect is Foucault's famous pendulum, which simply demonstrates the Earth's rotation. The Sagnac effect - a light beam passing around a rotated system of mirrors - is another example. Modern dynamical developments such as Hannay's angle and Berry's phase are further useful examples.

A concise history of one of the world's greatest and most comprehensive museum collections, from its founding in 1753.

A product and symbol of the 18th-century Enlightenment, the British Museum is as iconic an expression of that cultural tendency as Johnson's Dictionary, the French Encyclopedie and Linnaean plant classification. Its collections embody the raw material of empiricism – the bringing together of things to enable the widest intellectual experiment to take place.

James Hamilton explores the establishment of the Museum in the 1750s (from the bequest to the nation of the collections of Sir Hans Sloane); the chosen site of its location; the cultural context in which it came into being; the subsequent development, expansion and diversification of the Museum, both as a collection and as a building, from the early 19th to the 21st century; the controversy occasioned by some of its acquisitions; and the legacy and influence of the Museum nationally and globally.

The hidden life of the greatest surviving work of Inca art The most celebrated Andean artwork in the world is a five-hundred-year-old Inca tunic made famous through theories about the meanings of its intricate designs, including attempts to read them as a long-lost writing system. But very little is really known about it. The Royal Inca Tunic reconstructs the history of this enigmatic object, presenting significant new findings about its manufacture and symbolism in Inca visual culture. Andrew James Hamilton draws on meticulous physical examinations of the garment conducted over a decade, wide-ranging studies of colonial Peruvian manuscripts, and groundbreaking research into the tunic’s provenance. He methodically builds a case for the textile having been woven by two women who belonged to the very highest echelon of Inca artists for the last emperor of the Inca Empire on the eve of the Spanish invasion in 1532. Hamilton reveals for the first time that this imperial vestment remains unfinished and has suffered massive dye fading that transforms its appearance today, proposing a bold new conception of what this radiant masterpiece originally looked like. Illustrated with stunning photography of the tunic and Hamilton’s own beautiful illustrations, The Royal Inca Tunic demonstrates why this object holds an important place in the canon of art history as a deft creation by Indigenous women artists, a reminder of the horrors of colonialism, and an emblem of contemporary Andean identity.

Nearing the end of his career, an impulsive Sir Edward Elgar decides to travel by ship to Brazil, where he encounters a woman from his past. Based on true events, Gerontius is a modern classic, and takes the great composer out of his depths in this beautiful, episodic, mysterious novel set in 1923.

A lavishly illustrated celebration of the golden age of aircraft, cars, ships and locomotives from 1900 to 1941 by the author of the bestselling Empire of the Clouds. This dazzling book describes the flourishing of transport and travel, and the engineering that made it possible, in the years before the Second World War. It is an homage to the great vehicles and their mechanisms, their cultural impact and the social change they enabled. James Hamilton-Paterson explores the pinnacle of the steam engine, the advent and glory days of the luxury motorcar and the monster vehicles used in land speed records, the marvellous fast ocean liners and the excitement and beauty of increasingly aerodynamic forms of passenger aircraft. These were the days when for most people long-distance travel was a dream, and the dream-like glamour of these machines has never been surpassed. Hamilton-Paterson has an unrivalled ability to write evocatively about engineering and design in their historical context, and in this book he brings a vanished era to life.

'One June day in 1953 aged twelve I sat in a classroom and drew a map.' The map that the young Hamilton-Paterson drew was of a tropical island, and it prefigured with uncanny accuracy the Philippine island on which, thirty years later, he would spend a full third of each year, entirely alone. It had a coral strand, a field of grass, vertical volcanic cliffs and no water. He survived by fishing and by drinking rainwater. This is a book about a remarkable and self-sufficient writer's 'desire to be lost', and the journey of a conventionally educated Englishman to an island on the far side of the world that aroused in him a feeling of discovering a place he always knew. Hamilton-Paterson writes with incomparable skill about the hard beauty of the sea, of coral reefs and the animals that live in them, and about the fishermen who eke a living among the labyrinth of islands that make up the Philippines.

James Hamilton-Paterson's classic exploration of the sea, "Seven Tenths" is a beautifully written blend of literature and science that includes the acclaimed essay "Sea Burial." Hamilton-Paterson writes about fishing, piracy, ecological crises, and is especially brilliant on the melancholy fascination of those border places and moments when the sea and land meet and the human experience seems transient.
Taking humanity's complex relationship with the sea as its starting point, "Seven Tenths" is an enticing meditation on the sea as the physical birthplace of the human race and the emotional source of our dreams. Shifting effortlessly between the sciences and the humanities-between cartography and poetry, between ecology and philosophy-Hamilton-Paterson has created one of the most engrossing works on the sea in recent memory. The prose is never less than stunning, even as it is employed to describe exactly what happens to a human body during a burial at sea, as it sinks slowly through miles of water.
At a time of growing concern about our degradation of the oceans, this extraordinary book is an immensely relevant and powerful reminder of the power, fragility and sublime beauty of the sea.

Book three in the aGerald Sampera series "(Cooking with Fernet Branca, Amazing Disgrace)"
When we last saw our hero he had taken to his bed in England, his beloved home in Tuscany having inexplicably capsized into a ravine. As Rancid Pansies opens, Samper is recuperating in Sussex at the home of the famous conductor Max Christ when he learns that film rights to his book on Millie Cleatathe one-armed yachtswoman whose inadvertent hari-kari, televised on Christmas day, gave his book an enormous boostahave been sold.
This windfall is sufficient to finance a return to Italy and provide the time to indulge a long suppressed aspiration: writing the libretto for an opera (if only he can find a suitable subject). Before departing, the ever-gracious Gerald insists on preparing a farewell dinner for Max, his family and friends. The meal of liver smoothies and field mouse vol-au-vent is a memory-makeraand the assembled companyas gag reflex is one of heroic proportions.
Back in Italy, Gerald discovers that an offhand remark he had made while surveying the wreckage of his house, claiming he and his friends were saved by an apparition of the late Princess of Wales, has found its way into the Italian newspapers. Now, religious pilgrims and curious tourists have erected an ad hoc shrine on what is left of his property. Annoying to be sure, but there is the kernel of a grand idea here. Opera requires romance and tragedy, right? And who more than the Peopleas Princess had such theatrics in super-sized quantities? And, if Princess Diana were to become Saint Diana, think of the promotional possibilities, the merchandising! So fasten your seat belts: itas going to be a hilarious journey with some of the most appealing comic characters and sumptuous writing in recent literature.

1961. A squadron of Vulcan aircraft, Britain's most lethal nuclear bomber, flies towards the east coast of the United States. Highly manoeuvrable, the great delta-winged machines are also equipped with state of the art electronic warfare devices that jam American radar systems. Evading the fighters scrambled to intercept them, the British aircraft target Washington and New York, reducing them to smoking ruins. They would have done, at least, if this were not an exercise. This extraordinary raid (which actually took place) opens James Hamilton-Paterson's remarkable novel about the lives of British pilots at the height of the Cold War, when aircrew had to be on call 24 hours a day to fly their nuclear-armed V-bombers to the Western USSR and devastate the lives of millions. This is the story of Squadron-Leader Amos McKenna, a Vulcan pilot who is suffering from desires and frustrations that are tearing his marriage apart and making him question his ultimate loyalties. Relations with the American cousins are tense; the future of the RAF bomber fleet is in doubt. And there is a spy at RAF Wearsby, who is selling secrets to his Russian handlers in seedy East Anglian cafes. A macabre Christmas banquet at which aircrew under intolerable pressures go crazy, with tragic consequences, and a dramatic and disastrous encounter with the Americans in the Libyan desert, are among the high points of a novel that surely conveys the beauty and danger of flying better than any other in recent English literature.

Little more than ten years after the first powered flight, aircraft were pressed into service in World War I. Nearly forgotten in the war's massive overall death toll, some 50,000 aircrew would die in the combatant nations' fledgling air forces. The romance of aviation had a remarkable grip on the public imagination, propaganda focusing on gallant air 'aces' who become national heroes. The reality was horribly different. Marked for Death debunks popular myth to explore the brutal truths of wartime aviation: of flimsy planes and unprotected pilots; of burning nineteen-year-olds falling screaming to their deaths; of pilots blinded by the entrails of their observers. James Hamilton-Paterson also reveals how four years of war produced profound changes both in the aircraft themselves and in military attitudes and strategy. By 1918 it was widely accepted that domination of the air above the battlefield was crucial to military success, a realization that would change the nature of warfare forever.

Throughout the heady years of New York's 1960s and 70s music scenes, James Hamilton was on hand to observe and photograph some of the most significant bands, musicians and performances of the twentieth century. Serving as staff photographer for the "Village Voice" and "Crawdaddy ," Hamilton photographed such musicians as James Brown, Captain Beefheart, Ornette Coleman, Creedence Clearwater Revival, Crosby, Stills, Nash and Young, the Grateful Dead, John Fahey, Mick Jagger, Jethro Tull, Elvin Jones, the Kinks, Madonna, Charlie Mingus, Joni Mitchell, the Ramones, Gil Scott-Heron, Patti Smith, Sun Ra, Tom Verlaine and Stevie Wonder. In "You Should Have Heard Just What I Seen," Hamilton opens up his archives for the first time, revealing across 300 pages a trove of previously unpublished black-and-white photographs--portraits, snapshots, sketches, contact sheets--of some of the most recognizable faces in music. Influential for several generations of budding photographers raised on his photographs, the work of James Hamilton is at last collected in this revelatory volume.
As a young man in the late 1960s, James Hamilton met the legendary photographers Diane Arbus and Eugene Smith, and was inspired by them to document the changing skyline of New York City. As staff photographer for "Harper's Bazaar" and the "Village Voice," Hamilton recorded the fashion shows, events, protests and riots, happenings, concerts, poetry readings and art openings of that era, and throughout the 1970s, his photographs of musicians and celebrities began to appear in the pages of "Crawdaddy "magazine. Later Hamilton joined "The New York Observer" and began working with filmmakers George Romero, Francis Ford Coppola, Wes Anderson, Bill Paxton and Noah Baumbach as on-set photographer.

The Millionaire Master Plan is a unique and fresh approach as to how individuals can not only get a sense of where they stand on the spectrum of personal wealth, but more importantly, how they can learn to ascend from their present state to a higher level.
Roger James Hamilton, himself a highly successful entrepreneur and successful investor, has designed nine steps - from barely surviving - all the way to the highest level of ultimate wealth for life - and he lays out his nine steps in an easy-to-understand color-coded manner that ranges from red (barely living paycheck-to-paycheck) all the way to ultra-violet (where generating income is simply no longer a worry).
Along the way, the reader first takes a quick test to determine where one is on the financial spectrum, and then Hamilton provides key insights and practical tips as to how one can progress to the next level. You track your progress by ascending from one color to the next.

In 1945 Britain was the world's leading designer and builder of aircraft - a world-class achievement that was not mere rhetoric. And what aircraft they were. The sleek Comet, the first jet airliner. The awesome delta-winged Vulcan, an intercontinental bomber that could be thrown about the sky like a fighter. The Hawker Hunter, the most beautiful fighter-jet ever built and the Lightning, which could zoom ten miles above the clouds in a couple of minutes and whose pilots rated flying it as better than sex.How did Britain so lose the plot that today there is not a single aircraft manufacturer of any significance in the country? What became of the great industry of de Havilland or Handley Page? And what was it like to be alive in that marvellous post-war moment when innovative new British aircraft made their debut, and pilots were the rock stars of the age?James Hamilton-Paterson captures that season of glory in a compelling book that fuses his own memories of being a schoolboy plane spotter with a ruefully realistic history of British decline - its loss of self confidence and power. It is the story of great and charismatic machines and the men who flew them: heroes such as Bill Waterton, Neville Duke, John Derry and Bill Beaumont who took inconceivable risks, so that we could fly without a second thought.