Every age and every culture produce their own particular set of 'False Gods' and their associated narratives. Each of these 'False Gods' is supported by a whole range of sub-mythologies and ideological delusions that seek to justify, rationalise and normalise the worship of the particular 'False God'. Setting out to identify Seven of the 'False Gods' of modernity, Civilization 21 opens a Pandora's Box of alternative narratives that challenge the evolving norms of twenty-first century mythologies and delusions. From science to individualism, and progressiveness to human exceptionalism, these modernised mythologies and their associated delusions are fundamental to the structures of our perceived realities. All historical civilizations seem to follow a similar pattern; structured to have a beginning, middle and end. While this may not be an iron law of history, there is no guarantee that our First Global Techno-Scientific Civilization will not follow a similar pattern. In this analysis the end could be near, or we could be on the precipice of unprecedented cultural and ethical progress. Only time will tell.

Break of Noon (Partage de midi) is a collaborative attempt, edited by Anthony Rudolf, at preparing an English-language edition of Paul Claudel's remarkable and complex play, an unstable text which gave Claudel many problems throughout his life. These are explored in essays by David Furlong of Exchange Theatre in London, which put on a production of the play in 2018 and John Naughton, a leading authority on Claudel. The critical apparatus is completed by the late Susannah York's essay on her own involvement with the play and recounts her interaction with her fellow translator, Jonathan Griffin. The instability of this strange and compelling work in its various original versions is mirrored by the three critical essays in the present work, which do not always see eye to eye. It is thirty years since Jonathan Griffin died and nearly fifty years since Pierre Rouve's Ipswich production of Jonathan's translation, starring Ben Kingsley and Annie Firbank.

The only book that tells the whole story of the internet from its origins in the 1940s to the advent of the worldwide web at the dawn of the 21st century The Internet is the most remarkable thing human beings have built since the Pyramids. John Naughton's book intersperses wonderful personal stories with an authoritative account of where the Net actually came from, who invented it and why, and where it might be taking us. Most of us have no idea of how the Internet works or who created it. Even fewer have any idea of what it means for society and the future. In a cynical age, John Naughton has not lost his capacity for wonder. He examines the nature of his own enthusiasm for technology and traces its roots in his lonely childhood and in his relationship with his father. A Brief History of the Future is an intensely personal celebration of vision and altruism, ingenuity and determination and above all, of the power of ideas, passionately felt, to change the world.

This bilingual edition of the contemporary master's fifth work, Ce qui fut sans lumi, re, will delight, engage, and stir all lovers of poetry. Included here is an extensive new interview with the poet in English translation. Included here is a very helpful and touchingly personal interview with the poet. . . . For readers with no prior knowledge of Bonnefoy's work, this volume would be an excellent place to start.--Stephen Romer, Times Literary Supplement

Our society has gone through a weird, unremarked transition: once a novelty, the Net is now something that we take for granted, like mains electricity or running water. In the process we've been surprisingly incurious about its significance or cultural implications. How has our society become dependent on a utility that it doesn't really understand? John Naughton has distilled the noisy chatter surrounding the internet's relentless evolution into nine clear-sighted areas of understanding. In doing so he affords everyone the requisite knowledge to make better use of the technologies and networks around us, as well as highlighting some of their more disturbing implications.

Yves Bonnefoy (1923-2016), a major poet, was equally a seminal essayist and thinker. This companion volume to Yves Bonnefoy: Poems contains what he regarded as his foundational essays, as well as a generous selection from all periods. In his art criticism, as in his literary essays, Bonnefoy manages that rare thing: to impart metaphysical urgency to each discreet encounter with a painting or a poem, born of his constant quest for intensity, for 'presence'. Whether he is examining an early Byzantine fresco, a Shakespeare play, a Bernini angel, a drawing by Blake, a poem by Rimbaud, the exigency, the high seriousness and the challenge is the same: to affirm presence, and finitude, against all forms of life-sapping conceptual thought. If they cannot always deliver ecstasy or hope, the great poets, argues Bonnefoy, are pledged to 'intensity as such', sustained by 'une mélancolie ardente'.