The purpose of this study is to assess the importance of Switzerland in the life and writings of Edward Gibbon. Whereas the choice of Lausanne as a place of exile for Gibbon to undo his youthful conversion to Roman Catholicism was largely accidental, the society and intellectual resources of that city, perched on its hills overlooking the shores of Lake Geneva, proved to be of lasting influence for the rest of his life. During his period of exile, he began to write in French his first work to be published, the Essai sur l'etude de la litterature, and the subject of Switzerland was his preferred choice of research until his Grand Tour, in which he renewed his residence in Lausanne for a further eleven months, stimulated the idea of writing a history of Rome. Eventually he decided to retire to Lausanne at the end of his parliamentary career to finish the last three volumes of The Decline and fall of the Roman Empire. Brian Norman shows that the liberalism of Gibbon's political philosophy in his criticism of Lausanne's subjection to the aristocratic rule of Berne surprised the patriots of the new canton of Vaud when his Letter on the Government of Berne, which is here established as a youthful work of the late 1750s, was posthumously published at the end of the eighteenth century. The author then proceeds to examine Gibbon's other early writings relating to Switzerland, his letters and journals, The Decline and fall of the Roman Empire and his Memoirs in order to show the abiding effect of the society, language, history, constitution and military organisation of Switzerland on his beliefs and assumptions.

Earth, 2212: The novel, third in the Against The Machine trilogy, yet free standing on its own, tells of a dystopian society in the midst of catastrophic climate change. Billions have died. The minority of people remaining inhabit the MEGs, former cities transformed by technology into huge protective domes; outside is the MASS living by subsistence. All seems well for those in the CORPORATE. It is not. With worsening climate, the MASS increasingly restive and their AI Silicons becoming sentient, those at the top have concocted a final solution: to leave Earth for Alpha Centauri, destroying the planet in their wake. Four protagonists, each from separate segments of this world, come together to attempt to prevent the plan. By the end they have managed to alter the human/machine interface, so changing human evolution.

Brian Norman uncovers a curious phenomenon in American literature: dead women who nonetheless talk. These characters appear in works by such classic American writers as Poe, Dickinson, and Faulkner as well as in more recent works by Alice Walker, Toni Morrison, Tony Kushner, and others. These figures are also emerging in contemporary culture, from the film and best-selling novel "The Lovely Bones "to the hit television drama "Desperate Housewives."

"Dead Women Talking" demonstrates that the dead, especially women, have been speaking out in American literature since well before it was fashionable. Norman argues that they voice concerns that a community may wish to consign to the past, raising questions about gender, violence, sexuality, class, racial injustice, and national identity. When these women insert themselves into the story, they do not enter precisely as ghosts but rather as something potentially more disrupting: posthumous citizens. The community must ask itself whether it can or should recognize such a character as one of its own. The prospect of posthumous citizenship bears important implications for debates over the legal rights of the dead, social histories of burial customs and famous cadavers, and the political theory of citizenship and social death.

Gibbon's Decline and Fall of the Roman Empire, published between 1776 and 1788, is the undisputed masterpiece of English historical writing which can only perish with the language itself. Its length alone is a measure of its monumental quality: seventy-one chapters, of which twenty-eight appear in full in this edition. With style, learning and wit, Gibbon takes the reader through the history of Europe from the second century AD to the fall of Constantinople in 1453 - an enthralling account by 'the greatest of the historians of the Enlightenment'. This edition includes Gibbon's footnotes and quotations, here translated for the first time, together with brief explanatory comments, a precis of the chapters not included, 16 maps, a glossary, and a list of emperors.

Brian Norman uncovers a curious phenomenon in American literature: dead women who nonetheless talk. These characters appear in works by such classic American writers as Poe, Dickinson, and Faulkner as well as in more recent works by Alice Walker, Toni Morrison, Tony Kushner, and others. These figures are also emerging in contemporary culture, from the film and best-selling novel "The Lovely Bones "to the hit television drama "Desperate Housewives."

"Dead Women Talking" demonstrates that the dead, especially women, have been speaking out in American literature since well before it was fashionable. Norman argues that they voice concerns that a community may wish to consign to the past, raising questions about gender, violence, sexuality, class, racial injustice, and national identity. When these women insert themselves into the story, they do not enter precisely as ghosts but rather as something potentially more disrupting: posthumous citizens. The community must ask itself whether it can or should recognize such a character as one of its own. The prospect of posthumous citizenship bears important implications for debates over the legal rights of the dead, social histories of burial customs and famous cadavers, and the political theory of citizenship and social death.

This study of what Brian Norman terms a neo-segregation narrative tradition examines literary depictions of life under Jim Crow that were written well after the civil rights movement. From Toni Morrison's first novel, The Bluest Eye, to bestselling black fiction of the 1980s to a string of recent work by black and nonblack authors and artists, Jim Crow haunts the post-civil rights imagination. Norman traces a neo-segregation narrative tradition one that developed in tandem with neo-slave narratives by which writers return to a moment of stark de jure segregation to address contemporary concerns about national identity and the persistence of racial divides. These writers upset dominant national narratives of achieved equality, portraying what are often more elusive racial divisions in what some would call a postracial present. Norman examines works by black writers such as Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, films by Spike Lee, and other cultural works that engage in debates about gender, Black Power, blackface minstrelsy, literary history, and whiteness and ethnicity. Norman also shows that multiethnic writers such as Sherman Alexie and Tom Spanbauer use Jim Crow as a reference point, extending the tradition of William Faulkner's representations of the segregated South and John Howard Griffin's notorious account of crossing the color line from white to black in his 1961 work Black Like Me.

This study of what Brian Norman terms a neo-segregation narrative tradition examines literary depictions of life under Jim Crow that were written well after the civil rights movement. From Toni Morrison's first novel, "The Bluest Eye," to bestselling black fiction of the 1980s to a string of recent work by black and nonblack authors and artists, Jim Crow haunts the post-civil rights imagination. Norman traces a neo-segregation narrative tradition--one that developed in tandem with neo-slave narratives--by which writers return to a moment of stark de jure segregation to address contemporary concerns about national identity and the persistence of racial divides. These writers upset dominant national narratives of achieved equality, portraying what are often more elusive racial divisions in what some would call a postracial present. Norman examines works by black writers such as Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, films by Spike Lee, and other cultural works that engage in debates about gender, Black Power, blackface minstrelsy, literary history, and whiteness and ethnicity. Norman also shows that multiethnic writers such as Sherman Alexie and Tom Spanbauer use Jim Crow as a reference point, extending the tradition of William Faulkner's representations of the segregated South and John Howard Griffin's notorious account of crossing the color line from white to black in his 1961 work "Black Like Me."