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.

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.

A fascinating insight into the untold story of how British-French rivalry drew the battle-lines of the modern Middle East. In 1916, in the middle of the First World War, two men secretly agreed to divide the Middle East between them. Sir Mark Sykes was a visionary politician; Francois Georges-Picot a diplomat with a grudge. They drew a line in the sand from the Mediterranean to the Persian frontier, and together remade the map of the Middle East, with Britain's 'mandates' of Palestine, Transjordan and Iraq, and France's in Lebanon and Syria. Over the next thirty years a sordid tale of violence and clandestine political manoeuvring unfolded, told here through a stellar cast of politicians, diplomats, spies and soldiers, including T.E.Lawrence, Winston Churchill and Charles de Gaulle. Using declassified papers from the British and French archives, James Barr vividly depicts the covert, deadly war of intrigue and espionage between Britain and France to rule the Middle East, and reveals the shocking way in which the French finally got their revenge. 'The very grubby coalface of foreign policy ... I found the entire book most horribly addictive' Independent 'One of the unexpected responses to reading this masterful study is amazement at the efforts the British and French each put into undermining the other' Spectator

Professor Barr has brought together aspects of controversy about the Bible at the end of the millennium with an emphasis on the Old Testament and the history of Israel. The central question is how far the Bible gives us a vision into a real world of the past and how far it expresses a world imagined for religious reasons by writes who lived many centuries later.

'Beautifully written and deeply researched' The Observer Upon victory in 1945, Britain still dominated the Middle East. But her motives for wanting to dominate this crossroads between Europe, Asia and Africa were changing. Where 'imperial security' - control of the route to India - had once been paramount, now oil was an increasingly important factor. So, too, was prestige. Ironically, the very end of empire made control of the Middle East precious in itself: on it hung Britain's claim to be a great power. Unable to withstand Arab and Jewish nationalism, within a generation the British were gone. But that is not the full story. What ultimately sped Britain on her way was the uncompromising attitude of the United States, which was determined to displace the British in the Middle East. Using newly declassified records and long-forgotten memoirs, including the diaries of a key British spy, James Barr tears up the conventional interpretation of this era in the Middle East, vividly portraying the tensions between London and Washington, and shedding an uncompromising light on the murkier activities of a generation of American and British diehards in the region, from the battle of El Alamein in 1942 to Britain's abandonment of Aden in 1967. Reminding us that the Middle East has always served as the arena for great power conflict, this is the tale of an internecine struggle in which Britain would discover that her most formidable rival was the ally she had assumed would be her closest friend. 'Bustles impressively with detail and anecdote' Sunday Times 'Consistently fascinating' The Spectator 'Barr draws on a rich and varied trove of sources to knit a sequence of dramatic episodes into an elegant whole. Great events march through these pages' Wall Street Journal