The Florios Of Sicily

The epic saga behind the Disney-produced Hulu Original Series The Lions of Sicily Based on the true history of the uncrowned kings of Sicily: the story of a family, restless and ambitious, shrewd and determined to be richer and more powerful than anybody else. In this grand, sweeping epic inspired by the real lives of history-making titans, international best-selling author Stefania Auci brings to life the dark secrets, the loves and betrayals, and the cruel acts of revenge that marked the Florio family’s century of influence. The Florios arrive in Sicily, with nothing but the clothes on their back after an earthquake destroys their hometown. Against all odds, the family begins anew despite the looming Napoleonic wars and devastating plagues. But when Vincenzo is spurned by his aristocratic lover, he vows to avenge his honor by becoming the wealthiest man in Italy. Sacrificing love and family, he strives to buy what cannot be his by birth. Not to be outdone by the men, the Florio women unapologetically demand their place outside the restraints of caring mothers, alluring lovers, or wounded wives. Giulia, though only a mistress, is fiercely intelligent and runs the empire from the shadows. Angelina, born a bastard, charts her own future against the wishes of her father. In this epic yet intimate tale of power, passion, and revenge, the rise and fall of a family taps into the universal desire to become more than who we are born as. Translated from the Italian by Katherine Gregor

This magnificent book presents 82 masterpieces of Greek vase painting and sculpture in terrocotta, stone, and bronze from the eight great museum collections of the South of Italy and Sicily. 170 colour illustrations

From the beloved author of Comeback Love and Wherever There Is Light, comes “a sweeping tale full of humor and heartbreak” (Karin Tanabe, author of The Diplomat’s Daughter) about the life-changing journey of a young man who travels from New Jersey to Khrushchev’s Russia and the beaches of Southern France to discover long-hidden secrets about his heritage. In 1950s New Jersey, teacher Michael Daniels—or Misha Danielov to his doting Russian-Jewish grandmother—is at loose ends, until he becomes the host of a nightly underground radio show. Not only does the show become a local hit because of his running satires of USSR leader Nikita Khrushchev, but half a world away, it picks up listeners in a small Soviet city. There, with rock and roll leaking in through bootlegged airwaves, Yulianna Kosoy—a war orphan in her mid-twenties—is sneaking American goods into the country with her boss, Der Schmuggler. But just as Michael’s radio show is taking off, his grandmother is murdered. Why would anyone commit such an atrocity against such a warm, affable woman? She had always been secretive about her past and, as Michael discovers, guarded a shadowy ancestral history. In order to solve the mystery of who killed her, Michael sets out for Europe to learn where he—and his grandmother—really came from. “Both heartbreaking and mesmerizing, Nothing Is Forgotten is the sort of book you won’t soon forget…Cold War Europe, lingering Nazi secrets, and the tragic history faced by millions of families not only bring this tale to life but will keep you turning the pages” (Lisa Wingate, New York Times bestselling author) and will appeal to fans of novels by Anita Diamant and Kristin Hannah.

Near Mount Etna in Sicily lies Casa Cuseni, a beautiful house built in golden stone - and the home which Daphne Phelps was astonished to find she had inherited in 1947. At the age of 34, war-weary from working as a psychiatric social worker, with barely any Italian, and precious little money, she plunged into a fascinating Sicilian world. Every imaginable problem had to be overcome, not only financial difficulties but local authorities and a house staff who initially felt no loyalty to the new Signorina but who gradually accepted her as a respected member of their small community. To help make ends meet, for many years she ran Casa Cuseni as a pensione and to her doors came Roald Dahl, Tennessee Williams, Bertrand Russell and Henry Faulkner. But just as important to her life and her story are the Sicilians with whom she shared the love and care of Casa Cuseni: Don Ciccio the local mafia leader, Vincenzio, general manservant who recited while he served the meals, Beppe, a Don Juan who scented his eyebrows and his moustache to attract the local girls; and above all the steadfast cook and housekeeper who lives with Daphne still and to whom this book is dedicated.

A friend of Galileo and author of the renowned utopia The City of the Sun, Tommaso Campanella (Stilo, Calabria,1568- Paris, 1639) is one of the most significant and original thinkers of the early modern period. His philosophical project centred upon the idea of reconciling Renaissance philosophy with a radical reform of science and society. He produced a complex and articulate synthesis of all fields of knowledge – including magic and astrology. During his early formative years as a Dominican friar, he manifested a restless impatience towards Aristotelian philosophy and its followers. As a reaction, he enthusiastically embraced Bernardino Telesio’s view that knowledge could only be acquired through the observation of things themselves, investigated through the senses and based on a correct understanding of the link between words and objects. Campanella’s new natural philosophy rested on the principle that the books written by men needed to be compared with God’s infinite book of nature, allowing them to correct the mistakes scattered throughout the human ‘copies’ which were always imperfect, partial and liable to revisions. It is in the light of these principles that he defended Galileo’s right to read the book of nature while denouncing the mistake of those – be they Aristotelian philosophers or theologians – who wanted to stop him from carrying on his natural investigations. However, Campanella maintained that the book of nature, far from being written in mathematical characters, was a living organism in which each natural being was endowed with life and a degree of sensibility that was appropriate for its preservation and propagation. Nature as a whole was an organism in which each single part was directed towards the common good. This is the reason why Campanella thought that nature had to be regarded as an ideal model for any political organisation. Political structures were often ruled by injustice and violence precisely because they had departed from that natural model. This book charts Campanella’s intellectual life by showing the origin, development and persistence of some of the fundamental tenets of his thought.

A harrowing and incisive “high-quality battle history” from one of the world’s finest military historians (Booklist). The Allied attack of Normandy beach and its resultant bloodbath have been immortalized in film and literature, but the US campaign on the beaches of Western Italy reigns as perhaps the deadliest battle of World War II’s western theater. In January 1944, about six months before D-Day, an Allied force of thirty-six thousand soldiers launched one of the first attacks on continental Europe at Anzio, a small coastal city thirty miles south of Rome. The assault was conceived as the first step toward an eventual siege of the Italian capital. But the advance stalled and Anzio beach became a death trap. After five months of brutal fighting and monumental casualties on both sides, the Allies finally cracked the German line and marched into Rome on June 5, the day before D-Day. Richly detailed and fueled by extensive archival research of newspapers, letters, and diaries—as well as scores of original interviews with surviving soldiers on both sides of the trenches—Anzio is a “relentlessly fascinating story with plenty of asides about individuals’ experiences” (Publishers Weekly). “Masterly . . . A heartbreaking, beautifully told story of wasted sacrifice.” —The Washington Post

In 1793, Lord George Macartney and an enormous delegation—including diplomats, doctors, scholars, painters, musicians, soldiers, and aristocrats—entered Beijing on a mission to open China to British trade. But Macartney’s famous refusal to perform the traditional kowtow before the Chinese Emperor was just one sign that the two empires would not see eye to eye, and the trade talks failed. The inability to develop a trade relation would have enormous consequences for future relations between China and the West. Peyrefitte’s vivid narrative of this fascinating encounter is based on extraordinary source materials from each side—including the charming and candid diary of Thomas Staunton, the son of one of Macartney’s aides. An example of history at its finest, The Immobile Empire recaptures the extraordinary experience of two great empires in collision, sizing each other up for the first time.

Built as a temporary structure and made of ephemeral materials, "Cairo Street" had a dual nature. On the one hand it was a purely scientific installation, a piece of anthropology. On the other, it became the most popular entertainment venue at the World's Columbian Exposition of Chicago (1893), a place where "people went wild with excitement". Far from being a copy of any actual street, it was an assemblage of authentic architectural elements put together in such a way as to conjure up the atmosphere of the Arab-Islamic metropolis, the city of the Thousand and One Nights. Its impact was greatly enhanced by the presence of local Cairo inhabitants, who plied their trade, some of them with their camels, donkeys, monkeys, and even snakes. The belly dancing on Cairo Street caused an enormous stir: many claimed that it was immoral and called for its immediate suspension; others regarded it as a performance of important scientific and ethnological value. It was never suspended-and people flocked to see it. An immense amount has been written about world's fairs. This monograph represents a novel approach in that it subjects a single project, the Cairo Street, to detailed analysis, placing particular emphasis on interpreting it within the context of the Fair as a whole. What was the great uproar about the belly dancing? What motivated it? In order to answer these questions, this monograph attempts to offer a complex, multi-faceted, interpretation within the context of the society of the time. Cairo Street was the sensation of the World's Columbian Exposition, a fair which many sold their stoves, mortgaged their houses, spent their life savings or their funeral money to see. This monograph is enhanced with a ground plan and 168 illustrations.

Publisher description

Gautam has here laid out the first serious reading of Michel Foucault in relation to key Sanskrit texts, and--what may be a surprise to many--he has written the first book-length work in English on the nature and origin of the Kamasutra. Gautam also takes up the Natyasastra (the Kamasutra's twin), locating in the first the themes of sexual-erotic pleasure, and locating in the second the classical Indian view of theater, music, dance, and aesthetic pleasure. The book shows how closely intertwined the history of erotics in ancient Indian culture is with the history of theater-aesthetics. Foucault provides a framework for opening up the intellectual horizon of Indian thought; it is his distinction between ars erotics (erotic arts) and scientia sexualis (science of sexuality) that fuels Gautam's exploration of the courtesan as symbol of both erotic and aesthetic pleasure, particularly in her role as a wife to her patron, which entails the morphing of erotics into a form of theater. The scope broadens ambitiously, to an inquiry on the nature of knowledge formation, erotics, theater, and gender relations in premodern Indian society and culture--as they converged on the historical figures of the courtesan and her male counterpart, the dandy. Gautam's twining of aims and subjects--Foucault's western philosophy of pleasure and India's classic text on eros (anchored in art and aesthetics)--transforms both the modern and the ancient texts with new understandings, and as new forms of investigating erotics and subjectivity itself.