The United States was founded on a set of “self-evident” truths: political equality, natural rights, and the sovereignty of the people. But how well has the nation—from its revolutionary birth to our fractious present—lived up to these founding ideals? In an absorbing, character-driven narrative, acclaimed historian Jill Lepore engages this urgent question. Now expanded into a two-volume textbook, the Inquiry Edition is a new kind of history text—one that highlights the importance of analyzing evidence and practicing historical inquiry to help students develop civic skills relevant to their lives far beyond the course.

The American experiment rests on three ideas-"these truths", Jefferson called them-political equality, natural rights and the sovereignty of the people. And it rests, too, "on a dedication to inquiry, fearless and unflinching", writes Jill Lepore in a ground-breaking investigation into the American past that places truth at the centre of the nation's history. Telling the story of America, beginning in 1492, These Truths asks whether the course of events has proven the nation's founding truths or belied them. Finding meaning in contradiction, Lepore weaves American history into a tapestry of faith and hope, of peril and prosperity, of technological progress and moral anguish. This spellbinding chronicle offers an authoritative new history of a great, and greatly troubled, nation.

Photographs and Reflections by Paul McCartney 'Millions of eyes were suddenly upon us, creating a picture I will never forget for the rest of my life.' In 2020, an extraordinary trove of nearly a thousand photographs taken by Paul McCartney on a 35mm camera was re-discovered in his archive. They intimately record the months towards the end of 1963 and beginning of 1964 when Beatlemania erupted in the UK and, after the band's first visit to the USA, they became the most famous people on the planet. The photographs are McCartney's personal record of this explosive time, when he was, as he puts it, in the 'Eyes of the Storm'. 1964: Eyes of the Storm presents 275 of McCartney's photographs from the six cities of these intense, legendary months - Liverpool, London, Paris, New York, Washington, D.C. and Miami - and many never-before-seen portraits of John, George and Ringo. In his Foreword and Introductions to these city portfolios, McCartney remembers 'what else can you call it - pandemonium' and conveys his impressions of Britain and America in 1964 - the moment when the culture changed and the Sixties really began. 1964: Eyes of the Storm includes: - Six city portfolios - Liverpool, London, Paris, New York, Washington, D.C. and Miami - and a Coda on the later months of 1964 - featuring 275 of Paul McCartney's photographs and his candid reflections on them - A Foreword by Paul McCartney - Beatleland, an Introduction by Harvard historian and New Yorker essayist Jill Lepore - A Preface by Nicholas Cullinan, Director of the National Portrait Gallery, London, and Another Lens, an essay by Senior Curator Rosie Broadley

Taken with a 35mm camera by Paul McCartney, these largely unseen photographs capture the explosive period, from the end of 1963 through early 1964, in which The Beatles became an international sensation and changed the course of music history. Featuring 275 images from the six cities—Liverpool, London, Paris, New York, Washington, D.C., and Miami—of these legendary months, 1964: Eyes of the Storm also includes: • A personal foreword in which McCartney recalls the pandemonium of British concert halls, followed by the hysteria that greeted the band on its first American visit • Candid recollections preceding each city portfolio that form an autobiographical account of the period McCartney remembers as the “Eyes of the Storm,” plus a coda with subsequent events in 1964 • “Beatleland,” an essay by Harvard historian and New Yorker essayist Jill Lepore, describing how The Beatles became the first truly global mass culture phenomenon Handsomely designed, 1964: Eyes of the Storm creates an intensely dramatic record of The Beatles’ first transatlantic trip, documenting the radical shift in youth culture that crystallized in 1964. “You could hold your camera up to the world, in 1964. But what madness would you capture, what beauty, what joy, what fury?” —Jill Lepore

Few, if any, historians have brought such insight, wisdom, and empathy to public discourse as Jill Lepore. Arriving at The New Yorker in 2005, Lepore, with her panoptical range and razor-sharp style, brought a transporting freshness and a literary vivacity to everything from profiles of long-dead writers to urgent constitutional analysis to an unsparing scrutiny of the woeful affairs of the nation itself. The astonishing essays collected in The Deadline offer a prismatic portrait of Americans’ techno-utopianism, frantic fractiousness, and unprecedented—but armed—aimlessness. From lockdowns and race commissions to Bratz dolls and bicycles, to the losses that haunt Lepore’s life, these essays again and again cross what she calls the deadline, the “river of time that divides the quick from the dead.” Echoing Gore Vidal’s United States in its massive intellectual erudition, The Deadline, with its remarkable juxtaposition of the political and the personal, challenges the very nature of the essay—and of history—itself.

The American experiment rests on three ideas-"these truths", Jefferson called them-political equality, natural rights and the sovereignty of the people. And it rests, too, "on a dedication to inquiry, fearless and unflinching", writes Jill Lepore in a ground-breaking investigation into the American past that places truth at the centre of the nation's history. Telling the story of America, beginning in 1492, These Truths asks whether the course of events has proven the nation's founding truths or belied them. Finding meaning in contradiction, Lepore weaves American history into a tapestry of faith and hope, of peril and prosperity, of technological progress and moral anguish. This spellbinding chronicle offers an authoritative new history of a great, and greatly troubled, nation.

"Eleanor Roosevelt never wanted her husband to run for president. When he won, she . . . went on a national tour to crusade on behalf of women. She wrote a regular newspaper column. She became a champion of women's rights and of civil rights. And she decided to write a book."--Jill Lepore, from the Introduction "Women, whether subtly or vociferously, have always been a tremendous power in the destiny of the world," Eleanor Roosevelt wrote in It's Up to the Women, her book of advice to women of all ages on every aspect of life. Written at the height of the Great Depression, she called on women particularly to do their part--cutting costs where needed, spending reasonably, and taking personal responsibility for keeping the economy going. Whether it's the recommendation that working women take time for themselves in order to fully enjoy time spent with their families, recipes for cheap but wholesome home-cooked meals, or America's obligation to women as they take a leading role in the new social order, many of the opinions expressed here are as fresh as if they were written today.

A panoptical vision of modern America, from the brilliant mind of Jill Lepore. The past decade has marked a shift in America's trajectory. Jill Lepore, the acclaimed writer and New Yorker columnist, has been tracing its contested storylines in real time, beginning with the run-up to Donald Trump's election, through to the chaos and confusion left in its wake. Here we encounter Americans' rising techno-utopianism, frantic fractiousness, and unprecedented - but armed - aimlessness. With the wit and verve that has made her the acclaimed national historian of a generation, these essays reflect on the consuming public fissures of this era: culture wars and the corrosion of the media; disruptive innovation and the future of technology; constitutional crises surrounding gun rights and the racial history behind the very language of insurrection. Balancing a penetrating personal lens with indispensable history, she makes sense of life in a moment of aberration and extremity that has left our political landscape forever changed. The American Beast offers an arresting portrait of America, capturing the tumultuous relationship between the country's violent past and fractured present.

At a time of much despair over the future of liberal democracy, Jill Lepore makes a stirring case for the nation in This America, a follow-up to her much-celebrated history of the United States, These Truths. With dangerous forms of nationalism on the rise, Lepore, a Harvard historian and New Yorker staff writer, repudiates nationalism here by explaining its long history-and the history of the idea of the nation itself-while calling for a "new Americanism": a generous patriotism that requires an honest reckoning with America's past. Lepore begins her argument with a primer on the origins of nations, explaining how liberalism, the nation-state, and liberal nationalism, developed together. Illiberal nationalism, however, emerged in the United States after the Civil War-resulting in the failure of Reconstruction, the rise of Jim Crow, and the restriction of immigration. Much of American history, Lepore argues, has been a battle between these two forms of nationalism, liberal and illiberal, all the way down to the nation's latest, bitter struggles over immigration. Defending liberalism, as This America demonstrates, requires making the case for the nation. But American historians largely abandoned that defense in the 1960s when they stopped writing national history. By the 1980s they'd stopped studying the nation-state altogether and embraced globalism instead. "When serious historians abandon the study of the nation," Lepore tellingly writes, "nationalism doesn't die. Instead, it eats liberalism." But liberalism is still in there, Lepore affirms, and This America is an attempt to pull it out. "In a world made up of nations, there is no more powerful way to fight the forces of prejudice, intolerance, and injustice than by a dedication to equality, citizenship, and equal rights, as guaranteed by a nation of laws." A manifesto for a better nation, and a call for a "new Americanism," This America reclaims the nation's future by reclaiming its past.

In "The Story of America," Harvard historian and "New Yorker" staff writer Jill Lepore investigates American origin stories--from John Smith's account of the founding of Jamestown in 1607 to Barack Obama's 2009 inaugural address--to show how American democracy is bound up with the history of print. Over the centuries, Americans have read and written their way into a political culture of ink and type.

Part civics primer, part cultural history, "The Story of America" excavates the origins of everything from the paper ballot and the Constitution to the I.O.U. and the dictionary. Along the way it presents fresh readings of Benjamin Franklin's "Way to Wealth," Thomas Paine's "Common Sense," "The Raven" by Edgar Allan Poe, and "Paul Revere's Ride" by Henry Wadsworth Longfellow, as well as histories of lesser-known genres, including biographies of presidents, novels of immigrants, and accounts of the Depression.

From past to present, Lepore argues, Americans have wrestled with the idea of democracy by telling stories. In this thoughtful and provocative book, Lepore offers at once a history of origin stories and a meditation on storytelling itself.

Radio 4's Book of the Week A Financial Times Book of the Year Shortlisted for the 2020 Financial Times / McKinsey Business Book of the Year Longlisted for the National Book Award 'The story of the original data science hucksters of the 1960s is hilarious, scathing and sobering - what you might get if you crossed Mad Men with Theranos' David Runciman The Simulmatics Corporation, founded in 1959, mined data, targeted voters, accelerated news, manipulated consumers, destabilized politics, and disordered knowledge--decades before Facebook, Google, Amazon, and Cambridge Analytica. Silicon Valley likes to imagine it has no past but the scientists of Simulmatics are the long-dead grandfathers of Mark Zuckerberg and Elon Musk. Borrowing from psychological warfare, they used computers to predict and direct human behavior, deploying their "People Machine" from New York, Cambridge, and Saigon for clients that included John Kennedy's presidential campaign, the New York Times, Young & Rubicam, and, during the Vietnam War, the Department of Defence. In If Then, distinguished Harvard historian and New Yorker staff writer, Jill Lepore, unearths from the archives the almost unbelievable story of this long-vanished corporation, and of the women hidden behind it. In the 1950s and 1960s, Lepore argues, Simulmatics invented the future by building the machine in which the world now finds itself trapped and tormented, algorithm by algorithm. 'A person can't help but feel inspired by the riveting intelligence and joyful curiosity of Jill Lepore. Knowing that there is a mind like hers in the world is a hope-inducing thing' George Saunders, Man Booker Prize-winning author of Lincoln in the Bardo 'An authoritative account of the origins of data science, a compelling political narrative of America in the Sixties, a poignant collective biography of a generation of flawed men' David Kynaston 'If Then is simultaneously gripping and absolutely terrifying' Amanda Foreman

Radio 4's Book of the Week A Financial Times Book of the Year Shortlisted for the 2020 Financial Times / McKinsey Business Book of the Year Longlisted for the National Book Award 'The story of the original data science hucksters of the 1960s is hilarious, scathing and sobering - what you might get if you crossed Mad Men with Theranos' David Runciman The Simulmatics Corporation, founded in 1959, mined data, targeted voters, accelerated news, manipulated consumers, destabilized politics, and disordered knowledge--decades before Facebook, Google, Amazon, and Cambridge Analytica. Silicon Valley likes to imagine it has no past but the scientists of Simulmatics are the long-dead grandfathers of Mark Zuckerberg and Elon Musk. Borrowing from psychological warfare, they used computers to predict and direct human behavior, deploying their "People Machine" from New York, Cambridge, and Saigon for clients that included John Kennedy's presidential campaign, the New York Times, Young & Rubicam, and, during the Vietnam War, the Department of Defence. In If Then, distinguished Harvard historian and New Yorker staff writer, Jill Lepore, unearths from the archives the almost unbelievable story of this long-vanished corporation, and of the women hidden behind it. In the 1950s and 1960s, Lepore argues, Simulmatics invented the future by building the machine in which the world now finds itself trapped and tormented, algorithm by algorithm. 'A person can't help but feel inspired by the riveting intelligence and joyful curiosity of Jill Lepore. Knowing that there is a mind like hers in the world is a hope-inducing thing' George Saunders, Man Booker Prize-winning author of Lincoln in the Bardo 'An authoritative account of the origins of data science, a compelling political narrative of America in the Sixties, a poignant collective biography of a generation of flawed men' David Kynaston 'If Then is simultaneously gripping and absolutely terrifying' Amanda Foreman

'Jill Lepore is that rare combination in modern life of intellect, originality and style' Amanda Foreman 'A thoughtful and passionate defence of her vision of American patriotism' New York Times From the acclaimed New York Times bestselling historian, Jill Lepore, comes a bold new history of nationalism, and a plan for hope in the twenty-first century. With dangerous forms of nationalism on the rise, at a time of much despair over the future of liberal democracy, Harvard historian and New Yorker writer Jill Lepore makes a stirring case for the nation - and repudiates nationalism by explaining its long history. In part a primer on the origins of nations, The Case for the Nation explains how much of American history has been a battle between nationalism, liberal and illiberal, all the way down to the nation's latest, bitter struggles over immigration. Defending liberalism, as The Case for the Nation demonstrates, requires making the case for the nation. But American historians largely abandoned that defense in the 1960s when they stopped writing national history. By the 1980s they'd stopped studying the nation-state altogether and embraced globalism instead. When serious historians abandon the study of the nation, nationalism doesn't die. Instead, it eats liberalism. But liberalism is still in there, and The Case for the Nation is an attempt to pull it out. A manifesto for a better world, and a call for a new engagement with national narratives, The Case for the Nation reclaims the future by acknowledging the past.

The Simulmatics Corporation, founded in 1959, mined data, targeted voters, accelerated news, manipulated consumers, destabilized politics, and disordered knowledge-decades before Facebook, Amazon, and Cambridge Analytica. Although Silicon Valley likes to imagine that it has no past, the scientists of Simulmatics are almost undoubtedly the long-dead ancestors of Mark Zuckerberg and Elon Musk-or so argues Jill Lepore, distinguished Harvard historian and New Yorker staff writer, in this "hilarious, scathing, and sobering" (David Runciman) account of the origins of predictive analytics and behavioral data science.

Radio 4's Book of the Week A Financial Times Book of the Year Shortlisted for the 2020 Financial Times / McKinsey Business Book of the Year Longlisted for the National Book Award 'The story of the original data science hucksters of the 1960s is hilarious, scathing and sobering - what you might get if you crossed Mad Men with Theranos' David Runciman The Simulmatics Corporation, founded in 1959, mined data, targeted voters, accelerated news, manipulated consumers, destabilized politics, and disordered knowledge--decades before Facebook, Google, Amazon, and Cambridge Analytica. Silicon Valley likes to imagine it has no past but the scientists of Simulmatics are the long-dead grandfathers of Mark Zuckerberg and Elon Musk. Borrowing from psychological warfare, they used computers to predict and direct human behavior, deploying their "People Machine" from New York, Cambridge, and Saigon for clients that included John Kennedy's presidential campaign, the New York Times, Young & Rubicam, and, during the Vietnam War, the Department of Defence. In If Then, distinguished Harvard historian and New Yorker staff writer, Jill Lepore, unearths from the archives the almost unbelievable story of this long-vanished corporation, and of the women hidden behind it. In the 1950s and 1960s, Lepore argues, Simulmatics invented the future by building the machine in which the world now finds itself trapped and tormented, algorithm by algorithm. 'A person can't help but feel inspired by the riveting intelligence and joyful curiosity of Jill Lepore. Knowing that there is a mind like hers in the world is a hope-inducing thing' George Saunders, Man Booker Prize-winning author of Lincoln in the Bardo 'An authoritative account of the origins of data science, a compelling political narrative of America in the Sixties, a poignant collective biography of a generation of flawed men' David Kynaston 'If Then is simultaneously gripping and absolutely terrifying' Amanda Foreman

In "The Story of America," Harvard historian and "New Yorker" staff writer Jill Lepore investigates American origin stories--from John Smith's account of the founding of Jamestown in 1607 to Barack Obama's 2009 inaugural address--to show how American democracy is bound up with the history of print. Over the centuries, Americans have read and written their way into a political culture of ink and type.

Part civics primer, part cultural history, "The Story of America" excavates the origins of everything from the paper ballot and the Constitution to the I.O.U. and the dictionary. Along the way it presents fresh readings of Benjamin Franklin's "Way to Wealth," Thomas Paine's "Common Sense," "The Raven" by Edgar Allan Poe, and "Paul Revere's Ride" by Henry Wadsworth Longfellow, as well as histories of lesser-known genres, including biographies of presidents, novels of immigrants, and accounts of the Depression.

From past to present, Lepore argues, Americans have wrestled with the idea of democracy by telling stories. In this thoughtful and provocative book, Lepore offers at once a history of origin stories and a meditation on storytelling itself.

Winner of the the 1998 Ralph Waldo Emerson Award of the Phi Beta Kappa Society

King Philip's War, the excruciating racial war--colonists against Indians--that erupted in New England in 1675, was, in proportion to population, the bloodiest in American history. Some even argued that the massacres and outrages on both sides were too horrific to "deserve the name of a war."

It all began when Philip (called Metacom by his own people), the leader of the Wampanoag Indians, led attacks against English towns in the colony of Plymouth. The war spread quickly, pitting a loose confederation of southeastern Algonquians against a coalition of English colonists. While it raged, colonial armies pursued enemy Indians through the swamps and woods of New England, and Indians attacked English farms and towns from Narragansett Bay to the Connecticut River Valley. Both sides, in fact, had pursued the war seemingly without restraint, killing women and children, torturing captives, and mutilating the dead. The fighting ended after Philip was shot, quartered, and beheaded in August 1676.

The war's brutality compelled the colonists to defend themselves against accusations that they had become savages. But Jill Lepore makes clear that it was after the war--and because of it--that the boundaries between cultures, hitherto blurred, turned into rigid ones. King Philip's War became one of the most written-about wars in our history, and Lepore argues that the words strengthened and hardened feelings that, in turn, strengthened and hardened the enmity between Indians and Anglos. She shows how, as late as the nineteenth century, memories of the war were instrumental in justifying Indian removals--and how in our own century that same war has inspired Indian attempts to preserve "Indianness" as fiercely as the early settlers once struggled to preserve their Englishness.

Telling the story of what may have been the bitterest of American conflicts, and its reverberations over the centuries, Lepore has enabled us to see how the ways in which we remember past events are as important in their effect on our history as were the events themselves.


From the Hardcover edition.

Americans have always put the past to political ends. The Union laid claim to the Revolution--so did the Confederacy. Civil rights leaders said they were the true sons of liberty--so did Southern segregationists. This book tells the story of the centuries-long struggle over the meaning of the nation's founding, including the battle waged by the Tea Party, Glenn Beck, Sarah Palin, and evangelical Christians to "take back America."

Jill Lepore, Harvard historian and "New Yorker" staff writer, offers a careful and concerned look at American history according to the far right, from the "rant heard round the world," which launched the Tea Party, to the Texas School Board's adoption of a social-studies curriculum that teaches that the United States was established as a Christian nation. Along the way, she provides rare insight into the eighteenth-century struggle for independence--a history of the Revolution, from the archives. Lepore traces the roots of the far right's reactionary history to the bicentennial in the 1970s, when no one could agree on what story a divided nation should tell about its unruly beginnings. Behind the Tea Party's Revolution, she argues, lies a nostalgic and even heartbreaking yearning for an imagined past--a time less troubled by ambiguity, strife, and uncertainty--a yearning for an America that never was.

"The Whites of Their Eyes" reveals that the far right has embraced a narrative about America's founding that is not only a fable but is also, finally, a variety of fundamentalism--anti-intellectual, antihistorical, and dangerously antipluralist.

In a new afterword, Lepore addresses both the recent shift in Tea Party rhetoric from the Revolution to the Constitution and the diminished role of scholars as political commentators over the last half century of public debate.

From the acclaimed New York Times bestselling historian, Jill Lepore, comes a bold new history of nationalism, and a plan for hope in the twenty-first century. With dangerous forms of nationalism on the rise, at a time of much despair over the future of liberal democracy, Harvard historian and New Yorker writer Jill Lepore makes a stirring case for the nation - and repudiates nationalism by explaining its long history. In part a primer on the origins of nations, The Case for the Nation explains how much of American history has been a battle between nationalism, liberal and illiberal, all the way down to the nation's latest, bitter struggles over immigration. Defending liberalism, as The Case for the Nation demonstrates, requires making the case for the nation. But American historians largely abandoned that defense in the 1960s when they stopped writing national history. By the 1980s they'd stopped studying the nation-state altogether and embraced globalism instead. When serious historians abandon the study of the nation, nationalism doesn't die. Instead, it eats liberalism. But liberalism is still in there, and The Case for the Nation is an attempt to pull it out. A manifesto for a better world, and a call for a new engagement with national narratives, The Case for the Nation reclaims the future by acknowledging the past.

Like every other superhero, Wonder Woman has a secret identity. Unlike every other superhero, she also has a secret history. Drawing from an astonishing trove of documents, including never-before-seen private papers, Harvard historian and New Yorker staff writer Jill Lepore reveals the fascinating family story that sparked the invention of the most popular female superhero of all time. Delving into the life of Wonder Woman's eccentric creator, psychologist William Moulton Marston, Lepore uncovers her feminist origins: from the warrior princesses of the Amazon, to suffragists including Emmeline Pankhurst, and the women Marston shared his life with - his wife and his mistress. The Secret History of Wonder Woman is at once a riveting work of pop-culture history, and a crucial insight into the struggle for women's rights in the twentieth century and the troubled place of feminism today.

A panoptical vision of modern America, from the brilliant mind of Jill Lepore. The past decade has marked a shift in America's trajectory. Jill Lepore, the acclaimed writer and New Yorker columnist, has been tracing its contested storylines in real time, beginning with the run-up to Donald Trump's election, through to the chaos and confusion left in its wake. Here we encounter Americans' rising techno-utopianism, frantic fractiousness, and unprecedented - but armed - aimlessness. With the wit and verve that has made her the acclaimed national historian of a generation, these essays reflect on the consuming public fissures of this era: culture wars and the corrosion of the media; disruptive innovation and the future of technology; constitutional crises surrounding gun rights and the racial history behind the very language of insurrection. Balancing a penetrating personal lens with indispensable history, she makes sense of life in a moment of aberration and extremity that has left our political landscape forever changed. The American Beast offers an arresting portrait of America, capturing the tumultuous relationship between the country's violent past and fractured present.

"Tis a small canvas, this Boston," muses Stewart Jameson, a Scottish portrait painter who, having fled his debtors in Edinburgh, has washed up on America's far shores. Eager to begin anew in this new world, he advertises for an apprentice, but the lad who comes knocking is no lad at all. Fanny Easton is a lady in disguise, a young, fallen woman from Boston's most prominent family. "I must make this Jameson see my artist's touch, but not my woman's form," Fanny writes, in a letter to her best friend. "I would turn my talent into capital, and that capital into liberty."
Liberty is what everyone's seeking in boisterous, rebellious Boston on the eve of the American Revolution. But everyone suffers from a kind of blind spot, too. Jameson, distracted by his haunted past, can't see that Fanny is a woman; Fanny, consumed with her own masquerade, can't tell that Jameson is falling in love with her. The city's Sons of Liberty can't quite see their way clear, either. "Ably do they see the shackles Parliament fastens about them," Jameson writes, "but to the fetters they clasp upon their own slaves, they are strangely blind."
Written with wit and exuberance by longtime friends and accomplished historians Jane Kamensky and Jill Lepore, "Blindspot" weaves together invention with actual historical documents in an affectionate send-up of the best of eighteenth-century fiction, from epistolary novels like Richardson's "Clarissa" to Sterne's picaresque "Tristram Shandy," Prodigiously learned, beautifully crafted, and lush with the bawdy, romping sensibility of the age," Blindspot" celebrates the art of the Enlightenment and the passion of the American Revolution by telling stories we know andthose we don't, stories of the everyday lives of ordinary people caught up in an extraordinary time.