In SPQR, world-renowned classicist Mary Beard narrates the unprecedented rise of a civilization that even 2,000 years later still shapes many of our most fundamental assumptions about power, citizenship, responsibility, political violence, empire, luxury, and beauty.

Nearly six hundred years ago, a short, genial, cannily alert man in his late 30s took a very old manuscript off a library shelf, saw with excitement what he had discovered, and ordered that it be copied. That book was the last surviving manuscript of an ancient Roman philosophical epic by Lucretius—a beautiful poem containing the most dangerous ideas: that the universe functioned without the aid of gods, that religious fear was damaging to human life, and that matter was made up of very small particles.

William Shakespeare, the most celebrated poet in the English language, left behind nearly a million words of text, but his biography has long been a thicket of wild supposition arranged around scant facts. With a steady hand and his trademark wit, Bill Bryson sorts through this colorful muddle to reveal the man himself.

Sontag's most important critical writings from 1972 to 1980 are collected in Under the Sign of Saturn. One of America's leading essayists, Sontag's writings are commentaries on the relation between moral and aesthetic ideas, discussing the works of Antonin Artaud, Leni Riefenstahl, Elias Canetti, Walter Benjamin, and others. The collection includes a variety of her well-known essays. Sontag's writings are famously full of intellectual range and depth, and are at turns exhilarating, ominous, disturbing, and beautiful.

Lost Enlightenment recounts how, between the years 800 and 1200, Central Asia led the world in trade and economic development, the size and sophistication of its cities, the refinement of its arts, and, above all, in the advancement of knowledge in many fields. Central Asians achieved signal breakthroughs in astronomy, mathematics, geology, medicine, chemistry, music, social science, philosophy, and theology, among other subjects.

Jesus taught his followers that it is easier for a camel to go through the eye of a needle than for a rich man to enter heaven. Yet by the fall of Rome, the church was becoming rich beyond measure. Through the Eye of a Needle is a sweeping intellectual and social history of the vexing problem of wealth in Christianity in the waning days of the Roman Empire, written by the world's foremost scholar of late antiquity.

Bram Stoker, despite having a name nearly as famous as his legendary undead count, has remained a puzzling enigma. Now, in this psychological and cultural portrait, David J. Skal exhumes the inner world and strange genius of the writer who conjured an undying cultural icon.

Only Peter Ackroyd can combine narrative and unique observation with a sharp eye for the fascinating fact. His method is to position Shakespeare in the close context of his world. In this way, he not only richly conjures up the texture of Shakespeare’s life, but also imparts an amazing amount of vivid, interesting material about place, period and background.

The world hates the Church that Jesus founded, just as He said it would (John 15:18). It reviles her doctrines, mocks her moral teachings and invents lies about her history. In every age, but especially in our modern day, historians and political powers have distorted the facts about her past (or just made up novel falsehoods from scratch) to make the Church, and the civilization it fostered, seem corrupt, backward, or simply evil.

For all of India's myths, its sea of stories and moral epics, Indian history remains a curiously unpeopled place. In Incarnations, Sunil Khilnani fills that space, recapturing the human dimension of how the world's largest democracy came to be. His trenchant portraits of emperors, warriors, philosophers, film stars, and corporate titans - some famous, some unjustly forgotten - bring feeling, wry humor, and uncommon insight to dilemmas that extend from ancient times to our own.

Five hundred years ago, Michelangelo began work on a painting that became one of the most famous pieces of art in the world - the Sistine Chapel ceiling. Every year millions of people come to see Michelangelo's Sistine ceiling, which is the largest fresco painting on earth in the holiest of Christianity's chapels; yet there is not one single Christian image in this vast, magnificent artwork.

Red is a brilliantly told, captivating history of red hair throughout the ages. An audiobook that breaks new ground, dispels myths, and reinforces the special nature of being a redhead, with a look at multiple disciplines, including science, religion, politics, feminism and sexuality, literature, and art. With an obsessive fascination that is as contagious as it is compelling, author Jacky Colliss Harvey (herself a redhead) begins her exploration of red hair in prehistory and traces the redhead gene as it made its way out of Africa with the early human diaspora.

In the course of their investigation into Leonardo da Vinci, Lynn Pickett and Clive Prince found clues about his strangely passionate belief in the importance of John the Baptist. Here, along with a reassessment of the significance of Mary Magdalene and the sacred feminine, the authors reveal that Da Vinci’s apparently peculiar religion was shared by the Knights Templar. And their profoundly heretical belief that the Baptist was superior to Jesus himself still has the power to pose a threat to the very foundations of the Christian Church….

As we all know, and as many of our well-established textbooks have argued for decades, the Inquisition was one of the most frightening and bloody chapters in Western history, Pope Pius XII was anti-Semitic and rightfully called "Hitler's Pope", the Dark Ages were a stunting of the progress of knowledge to be redeemed only by the secular spirit of the Enlightenment, and the religious Crusades were an early example of the rapacious Western thirst for riches and power. But what if these long-held beliefs were all wrong?

What is art? Why do we value images of saints, kings, goddesses, battles, landscapes or cities from eras of history utterly remote from ourselves? This history of art shows how painters, sculptors and architects have expressed the belief systems of their age: religious, political and aesthetic. From the ancient civilisations of Egypt, Mesopotamia and Greece, to the revolutionary years of the nineteenth and twentieth centuries, the artist has acted as a mirror to the ideals and conflicts of the human mind.

One of the world's leading historians provides a revolutionary tour of the Ancient World, dusting off the classics for the twenty-first century. Mary Beard, drawing on thirty years of teaching and writing about Greek and Roman history, provides a panoramic portrait of the classical world, a book in which we encounter not only Cleopatra and Alexander the Great, Julius Caesar and Hannibal, but also the common people - the millions of inhabitants of the Roman Empire, the slaves, soldiers, and women.

From prehistoric Mexico to modern Istanbul, Mary Beard looks beyond the familiar canon of Western imagery to explore the history of art, religion, and humanity. Conceived as an accompaniment to How Do We Look and The Eye of Faith, the famed Civilizations shows on PBS, renowned classicist Mary Beard has created this elegant volume on how we have looked at art.

On a brutal winter's day in 1650 in Stockholm, Frenchman Rene Descartes, the most influential and controversial thinker of his time, was buried after a cold and lonely deathfar from home. Sixteen years later, the pious French Ambassador Hugues de Terlon secretly unearthed Descartes' bones and transported them to France. Why would this devoutly Catholic official care so much about the remains of a philosopher who washounded from country after country on charges of atheism?

Renowned as a period of cultural rebirth and artistic innovation, the Renaissance is cloaked in a unique aura of beauty and brilliance. Its very name conjures up awe-inspiring images of an age of lofty ideals in which life imitated the fantastic artworks for which it has become famous. But behind the vast explosion of new art and culture lurked a seamy, vicious world of power politics, perversity, and corruption that has more in common with the present day than anyone dares to admit.

In the early 20th century, World War I was the most devastating event humanity had yet experienced. New machines of war left tens of millions killed or wounded in the most grotesque of ways. The Great War remade the world's map, created new global powers, and brought forth some of the biggest problems still facing us today. But it also birthed a new art form: the horror film, made from the fears of a generation ruined by war. From Nosferatu to Frankenstein's monster and the Wolf Man, the touchstones of horror can all trace their roots to the bloodshed of the First World War.

In 1519, the Spanish conquistador Hernando Cortés first met Montezuma, the Aztec emperor, at the entrance to the capital city of Tenochtitlan. This introduction - the prelude to the Spanish seizure of Mexico City and to European colonization of the mainland of the Americas - has long been the symbol of Cortés' bold and brilliant military genius. Montezuma, on the other hand, is remembered as a coward who gave away a vast empire and touched off a wave of colonial invasions across the hemisphere. But is this really what happened?

What is art? Why do we value images of saints, kings, goddesses, battles, landscapes or cities from eras of history utterly remote from ourselves? This history of art shows how painters, sculptors and architects have expressed the belief systems of their age: religious, political and aesthetic. From the ancient civilisations of Egypt, Mesopotamia and Greece, to the revolutionary years of the nineteenth and twentieth centuries, the artist has acted as a mirror to the ideals and conflicts of the human mind.

Best selling history writer Thomas Cahill continues his series on the roots of Western civilization with this volume about the contributions of ancient Greece to the development of contemporary culture. Tracing the origin of Greek culture in the migrations of armed Indo-European horsemen into Attica and the Peloponnesian peninsula, he follows their progress into the creation of the Greek city-states, the refinement of their machinery of war, and the flowering of intellectual and artistic culture.

Beginning in the 18th century with the building of St. Petersburg - a 'window on the West' - and culminating with the challenges posed to Russian identity by the Soviet regime, Figes examines how writers, artists, and musicians grappled with the idea of Russia itself - its character, spiritual essence and destiny. He skillfully interweaves the great works - by Dostoevsky, Stravinsky, and Chagall - with folk embroidery, peasant songs, religious icons and all the customs of daily life, from food and drink to bathing habits to beliefs about the spirit world.

From the Western collectors whose demand for shrunken heads spurred massacres to Second World War soldiers who sent the remains of the Japanese home to their girlfriends, from Madame Tussaud modeling the guillotined head of Robespierre to Damien Hirst photographing decapitated heads in city morgues, from grave-robbing phrenologists to skull-obsessed scientists, anthopologist Frances Larson here explores our macabre fixation with severed heads.

The Knights Templar existed officially for less than 200 years. Founded to protect pilgrims who were travelling through the Holy Lands, their rise to power was sudden. They became some of the most feared warriors in the region, they had a mandate from God, they controlled perhaps the world's first real banking system, and they waged war against anyone who tried to wrestle Christianity and seize holy grounds from the control of the Catholic Church.

The 1590s were bleak years for England. The queen was old, the succession unclear, and the treasury empty after decades of war. Amid the rising tension, William Shakespeare published a pair of poems dedicated to the young Earl of Southampton: Venus and Adonis in 1593 and The Rape of Lucrece a year later. Although wildly popular during Shakespeare's lifetime, to modern readers both works are almost impenetrable. But in her enthralling new book, the Shakespearean scholar Clare Asquith reveals their hidden contents.

Sweeping across the known world with unchecked devastation, the Black Death claimed between 75 million and 200 million lives in four short years. In this engaging and well-researched audiobook, the trajectory of the plague’s march west across Eurasia and the cause of the great pandemic is thoroughly explored. Fascinating insights into the medieval mind’s perception of the disease and examinations of contemporary accounts give a complete picture of what the world’s most effective killer meant to medieval society.

In the tradition of John Richardson's Picasso, a commanding new biography of the Italian master's tumultuous life and mysterious death. For four hundred years Caravaggio's (1571-1610) staggering artistic achievements have thrilled viewers, yet his volatile personal trajectory - the murder of Ranuccio Tomasini, the doubt surrounding Caravaggio's sexuality, the chain of events that began with his imprisonment on Malta and ended with his premature death - has long confounded historians.

From the end of the Middle Ages to the First World War, Europe was dominated by one family: the Habsburgs. Their unprecedented rule is the focus of Simon Winder's vivid third book, Danubia. This is a narrative that, while erudite and well researched, prefers to be discursive and anecdotal. In his survey of the centuries of often incompetent Habsburg rule which have continued to shape the fate of Central Europe, Winder does not shy away from the horrors, railing against the effects of nationalism, recounting the violence that was often part of life.