Deals with the history of humanity, using objects which previous civilisations have left behind them, often accidentally, as prisms through which we can explore past worlds and the lives of the men and women who lived in them

"We live in a culture of casual certitude. This has always been the case, no matter how often that certainty has failed. Though no generation believes there's nothing left to learn, every generation unconsciously assumes that what has already been defined and accepted is (probably) pretty close to how reality will be viewed in perpetuity. And then, of course, time passes. Ideas shift. Opinions invert. What once seemed reasonable eventually becomes absurd, replaced by modern perspectives that feel even more irrefutable and secure--until, of course, they don't. But What If We're Wrong? visualizes the contemporary world as it will appear to those who'll perceive it as the distant past. Chuck Klosterman asks questions that are profound in their simplicity: How certain are we about our understanding of gravity? How certain are we about our understanding of time? What will be the defining memory of rock music, five hundred years from today? How seriously should we view the content of our dreams? How seriously should we view the content of television? Are all sports destined for extinction? Is it possible that the greatest artist of our era is currently unknown (or--weirder still--widely known, but entirely disrespected)? Is it possible that we "overrate" democracy? And perhaps most disturbing, is it possible that we've reached the end of knowledge? Kinetically slingshotting through a broad spectrum of objective and subjective problems, But What If We're Wrong? is built on interviews with a variety of creative thinkers--George Saunders, David Byrne, Jonathan Lethem, Kathryn Schulz, Neil deGrasse Tyson, Brian Greene, Junot Díaz, Amanda Petrusich, Ryan Adams, Nick Bostrom, Dan Carlin, and Richard Linklater, among others--interwoven with the type of high-wire humor and nontraditional analysis only Klosterman would dare to attempt. It's a seemingly impossible achievement: a book about the things we cannot know, explained as if we did. It's about how we live now, once "now"

has become "then.""--

Christianity is the most enduring and influential legacy of the ancient world, and its emergence the single most transformative development in Western history. Even the increasing number in the West today who have abandoned the faith of their forebears, and dismiss all religion as pointless superstition, remain recognisably its heirs. Seen close-up, the division between a sceptic and a believer may seem unbridgeable. Widen the focus, though, and Christianity's enduring impact upon the West can be seen in the emergence of much that has traditionally been cast as its nemesis: in science, in secularism, and yes, even in atheism. That is why DOMINION will place the story of how we came to be what we are, and how we think the way that we do, in the broadest historical context. Ranging in time from the Persian invasion of Greece in 480 BC to the on-going migration crisis in Europe today, and from Nebuchadnezzar to the Beatles, it will explore just what it was that made Christianity so revolutionary and disruptive; how completely it came to saturate the mind-set of Latin Christendom; and why, in a West that has become increasingly doubtful of religion's claims, so many of its instincts remain irredeemably Christian. The aim is twofold: to make the reader appreciate just how novel and uncanny were Christian teachings when they first appeared in the world; and to make ourselves, and all that we take for granted, appear similarly strange in consequence. We stand at the end-point of an extraordinary transformation in the understanding of what it is to be human: one that can only be fully appreciated by tracing the arc of its parabola over millennia.

This kaleidoscopic book covers almost 3,000 years of Arab history and shines a light on the footloose Arab peoples and tribes who conquered lands and disseminated their language and culture over vast distances. Tracing this process to the origins of the Arabic language, rather than the advent of Islam, Tim Mackintosh-Smith begins his narrative more than a thousand years before Muhammad and focuses on how Arabic, both spoken and written, has functioned as a vital source of shared cultural identity over the millennia. Mackintosh-Smith reveals how linguistic developments-from pre-Islamic poetry to the growth of script, Muhammad's use of writing, and the later problems of printing Arabic-have helped and hindered the progress of Arab history, and investigates how, even in today's politically fractured post-Arab Spring environment, Arabic itself is still a source of unity and disunity.