Didier Daeninckx's chilling novel created uproar when it was first published in France in 1984. It is set against the backdrop of a demonstration in Paris in 1961, which resulted in the deaths of hundreds of Algerians at the hands of the police. In Daeninckx's story, Roger Thiraud, a young history teacher, is also mysteriously killed during this demonstration. Twenty years later, Bernard, his son, is murdered in Toulouse while on holiday with his girlfriend. To find the connection between the murders, Daeninckx's hero Inspector Cadin must delve into the secret history and devastating compromises of wartime politics. Murder in Memoriam is a tense and unsettling indictment of France's hidden past.

This selection of women's writings on photography proposes a new and different history, demonstrating the ways in which women's perspectives have advanced photographic criticism over 150 years, focusing it more deeply and, with the advent of feminist approaches, increasingly challenging its orthodoxies. Included in the book are Rosalind Krauss, Ingrid Sischy, Vicki Goldberg and Carol Squiers.

It is frequently said that we are living through the end of politics, the end of social upheavals, the end of utopian folly. Consensual realism is the order of the day. But political realists, remarks Jacques Ranciere, are always several steps behind reality, and the only thing which may come to an end with their dominance is democracy. In these subtle and perceptive essays, Ranciere argues that since Plato and Aristotle politics has always constructed itself as the art of ending politics, that realism is itself utopian, and that what has succeeded the polemical forms of class struggle is not the wisdom of a new millennium but the return of old fears, criminality and chaos. Whether he is discussing the confrontation between Mitterrand and Chirac, French working-class discourse after the 1830 revolution, or the ideology of recent student mobilizations, his aim is to restore philosophy to politics and give politics back its original and necessary meaning: the organization of dissent.

This selection of women's writings on photography proposes a new and different history, demonstrating the ways in which women's perspectives have advanced photographic criticism over 150 years, focusing it more deeply and, with the advent of feminist approaches, increasingly challenging its orthodoxies. Included in the book are Rosalind Krauss, Ingrid Sischy, Vicki Goldberg and Carol Squiers.

Including a number of short essays by Bataille and Leiris on aspects of the other's work as well as excerpts on Bataille from Leiris' diaries, this collection of correspondence throws new light on two of Surrealism's most radical dissidents.   In the autumn of 1924, just before André Breton published the Manifeste du surréalisme, two young men met in Paris for the first time.  Georges Bataille, 27, starting work at the Bibliothèque Nationale; Michel Leiris, 23, beginning his studies in ethnology.  Within a few months, they were both members of the Surrealist group, although their adherence to Surrealism (unlike their affinities with it) would not last long: in 1930 they were among the signatories of "Un cadavre," the famous tract against Breton, the "Machiavelli of Montmartre," as Leiris put it.  But their friendship would endure for more than 30 years, and their correspondence, assembled here for the first time in English, would continue until the death of Bataille in 1962.

This fierce memoir is both an elegy and an indictment. Marcel Liebman's account of his childhood in Brussels under the Nazi occupation explores the emergence of his class consciousness against a background of resistance and collaboration. He documents the internal class war that has long been hidden from history: how the Nazi persecution exploited class distinctions within the Jewish community, and how certain Jewish notables collaborated in a systematic programme of denunciation and deportation against immigrant Jews who lacked the privileges of wealth and citizenship.

How and why did experience and knowledge become separated? Is it possible to talk of an infancy of experience, a "dumb" experience? For Walter Benjamin, the "poverty of experience" was a characteristic of modernity, originating in the catastrophe of the First World War. For Giorgio Agamben, the Italian editor of Benjamin's complete works, the destruction of experience no longer needs catastrophes: daily life in any modern city will suffice. Agamben's profound and radical exploration of language, infancy, and everyday life traces concepts of experience through Kant, Hegel, Husserl and Benveniste. In doing so he elaborates a theory of infancy that throws new light on a number of major themes in contemporary thought: the anthropological opposition between nature and culture; the linguistic opposition between speech and language; the birth of the subject and the appearance of the unconscious. Agamben goes on to consider time and history; the Marxist notion of base and superstructure (via a careful reading of the famous Adorno-Benjamin correspondence on Baudelaire's Paris); and the difference between rituals and games. Beautifully written, erudite and provocative, these essays will be of great interest to students of philosophy, linguistics, anthropology and politics.

Edward Said's Orientalism (1978) has justly attracted great respect and attention for its account of Western perceptions and representations of the Orient, but the English-speaking world has for too long been unaware of another classic in the same field which appeared in France only a year later. Alain Grosrichard's The Sultan's Court is a fascinating and careful deconstruction of Western accounts of "Oriental despotism" in the seventeenth and eighteenth centuries, focusing particularly on portrayals of the Ottoman Empire and the supposedly enigmatic and opaque structure of the despot's power and his court of viziers, janissaries, mutes, dwarfs, eunuchs and countless wives. Drawing on the writings of travelers and philosophers such as Montesquieu, Rousseau and Voltaire, Grosrichard goes further than merely cataloguing their intense fascination with the vortex of capriciousness, violence, cruelty, lust, sexual perversion and slavery which they perceived in the seraglio. Deftly and subtly using a Lacanian psychoanalytic framework, he describes the process as one in which these leading Enlightenment figures were constructing a fantasmatic Other to counterpose to their project of a rationally based society. The Sultan's Court seeks not to refute the misconceptions but rather to expose the nature of the fantasy and what it can reveal about modern political thought and power relations more generally.

Secrets of Life and Death is the first book to focus on women whose lives are entangled in the workings of the mafia. Drawing on courtroom testimonies, interviews, contemporary journalism and recent research, Siebert cuts through the mafia's myth of honouring women to expose the harsh realities for women living with, and fighting against, the mafia. With careful attention to the socio-economic realities of southern Italy, she looks at what it actually means to live in the mafia's shadow. She explores the gains and costs of being a mafia wife in New York or Palermo, probing the emotions underlying women's mafia loyalties and the sexual lure of the mafioso. In vivid and often harrowing detail, Siebert examines women's growing resistance to a culture of death and dangerously intensified masculinity. Alongside the public stories of the wives of murdered judges, policemen and politicians, she places the extraordinary accounts of women who have taken a stand against their own mafia upbringing or have spoken out as witnesses, at enormous personal cost. It is women's courageous initiatives, Siebert shows, which have led to the development of local anti-mafia organizations and recent mass protests in the face of violent intimidation. Poignant and incisive, Secrets of Life and Death breaks the code of silence to tell a story that is both haunting and inspiring.

An international best-seller, Alexandra Lapierre's Artemisia sweeps us through the streets once frequented by Caravaggio, Velasquez, and Van Dyck and into the studios of artists who used their daggers as efficiently as their brushes.

Born in the early 1600s when artists were the celebrities of the day, Artemisia was apprenticed to her father, the artist Orazio Gentileschi, at an early age. Raped by his partner Agostino Tassi at seventeen, the Gentileschi name was dragged through scandal for Artemisia refused, even when tortured, to deny that she had been raped. Indeed, she went farther: she dared to plead her case in court. Artemisia is the story of a powerful love/hate relationship between master and pupil, father and daughter, and a talent that overturned the prejudices of the day, winning commissions from wealthy patrons, nobles, and kings. Lapierre brings Artemisia Gentileschi to vivid life as she tells of the emotional struggles of the most fascinating and controversial artist of her time.

For a brief explosive period in the mid-1970s, the young and the unemployed of Italy's cities joined the workers in an unexpectedly militant movement known simply as Autonomy ("Autonomia"). Its "politics of refusal" united its opponents behind draconian measures more severe than any seen since the war.
Nanni Balestrini, the poet of youth rebellion, himself a victim of that repression, has invented a remarkable fictional form to express the hopes and conflicts of the movement. In spare but vivid prose, The Unseen follows Autonomy's trajectory through the eyes of a single working-class protagonist--from high-school rebellion, squatting and attempts to set up a free radio station to arrest and the brutalities of imprisonment. This is a powerful and gripping novel: a rare evocation of the intensity of commitment, the passion of politics.

The first anthology of its kind, Illuminations presents a comprehensive selection of women's writings on photography. It proposes a new and different history by demonstrating the ways in which women's perspectives have advanced photographic criticism over the last 150 years.
Extraordinarily wide-ranging in its scope, this collection chronicles the role of women in photography as critics, historians, and practitioners. Readers will find Julia Margaret Cameron's bold description of her photographic method, Rosalind Krauss's exploration of what the camera means for Surrealism, Margaret Bourke-White and Carol Squiers with differing perspectives on Life magazine, as well as essays by Eudora Welty, Susan Sontag, Lucy Lippard, Berenice Abbott, Dorthea Lange, and many others. Illuminations begins with a short piece on the daguerreotype by Elizabeth Barrett Browning then moves through the avant-garde influence of Dada, Bauhaus, and surrealism, to fashion and portrait photography, continuing with documentary and reportage, the emergence of feminist analysis, and postmodern and postcolonial criticism. Encompassing many varied points of view, this volume offers pieces on individual photographers such as Diane Arbus, Ansel Adams, Barbara Kruger, Edward Weston, and Cindy Sherman along with theoretical work by contemporary writers including Jane Gallop, Coco Fusco, and Laura Mulvey.
An historic anthology, Illuminations shows that women have been writing about photography from its beginnings and have intervened in the key debates of the past century and a half. It will welcomed by those interested in photography, gender studies, and women and the arts.Contributors. Berenice Abbott, Dawn Ades, Susan H. Aiken, Jan Avgikos, Elizabeth Barrett Browning, Margaret Bourke-White, Deborah Bright, Susan Butler, Julia Margaret Cameron, Cynthia Chris, Louise Dahl-Wolfe, Gen Doy, Olive Edis, Ute Eskildsen, Andrea Fisher, Gisele Freund, Coco Fusco, Jane Gallop, Nan Goldin, Jewelle Gomez, Jan Zita Grover, Judith Mara Gutman, Maria Morris Hambourg, Liz Heron, Alice Hughes, Karen Knorr, Rosalind Krauss, Annette Kuhn, Dorothea Lange, Therese Lichtenstein, Lucy Lippard, Catherine Lord, Mary Warner Marien, Elizabeth McCausland, Roberta McGrath, Lee Miller, Tina Modotti, Lucia Moholy, Laura Mulvey, Carole Naggar, Nancy Newhall, Amy Rule, Lauren Sedofsky, Ingrid Sischy, Abigail Solomon-Godeau, Susan Sontag, Jo Spence, Carol Squiers, Varvara Stepanova, Anne Tucker, Eudora Welty, Dorothy Wilding, Val Wiliams, Anne-Marie Willis, Madame Yevonde