Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Nearly two decades after the declaration of a ‘War on Terror,’ the precise relationship between warfare and terrorism remains unclear. The United States and its allies have long sought to inflict a decisive defeat upon groups such as Al Qaeda and ISIS, while regarding their individual members as malevolent criminals undeserving of combatant status. A clearer understanding of how terrorists define victory, and how their method of fighting relates to conventional military forces, is necessary in order to devise more realistic and effective strategies of counterterrorism. On Absolute War constructs a theoretical framework for the study of terrorism based on Carl von Clausewitz’s On War, widely regarded as the greatest analysis of war ever written. Through a review of Clausewitz’s work and a set of historical case studies ranging from the Fenian Dynamite Campaign of the 1880s to the wars in Iraq and Afghanistan, Prof. Fleury reveals just how closely terrorism mimics the logic of war. Terrorism attempts to restore war to its theoretical baseline, a condition that Clausewitz called ‘absolute war’ featuring relentless escalation toward a climactic result. While never achieving this ideal in practice, terrorists succeed to the extent that they compel their enemies and their prospective followers to engage mutual escalation, which will ultimately favor whichever side is better able to jettison logistical and normative limits. Consequently, states must engage terrorists on the basis of Clausewitz’s two most important injunctions, namely that war is temporary and subordinate to political controls. Given the very real prospect of a war without any temporal and spatial limits, On Absolute War provides the theoretical basis for a strategy of limiting the effects of terrorism, rather than repeatedly trying and failing to destroy it.

The greatest threat to modern democracy comes from within and it has a name: resentment. Stemming from feelings of inferiority in relation to others, resentment is a diffuse and obsessive loathing, coupled with delusions of victimhood, which clouds one's judgment and perspective, so that an individual's capacity to act and heal is paralyzed. Without the ability to heal, resentment can give rise to violent impulses, to the rejection of the rule of law, the proliferation of conspiracy theories, and the urge to use violent means to try to regain control of one's life. As individuals and as societies, we face the same challenge: how to diagnose resentment and its dark forces, and how to resist the temptation to allow it to become the motor of our individual and collective histories. This bestselling and highly original account of the psychic forces shaping modern societies will be of great interest to anyone concerned about the crisis of democracy today and what we can do to address it.