History & Geography

The famous Benin Bronzes are among the most prized possessions of the British Museum. Celebrated for their great beauty, they embody the history, myth and artistry of the ancient Kingdom of Benin, once the most powerful in West Africa and now part of Nigeria. But despite their renown, little
has been written about the brutal act of imperial violence through which the Bronzes were plundered.

This incisive new history tells that neglected story: the 1897 British invasion of Benin. Diving into the archives, Blood and Bronze sets the assault on Benin in its late Victorian context. As Britain faced new commercial and strategic pressures on its power elsewhere, it ruthlessly expanded its rule in West Africa. Revealing both the extent of African resistance and previously concealed British outrages, this is a definitive account of the conquest and destruction of Benin. By laying bare the Empire’s true motives and its violent means, Paddy Docherty demolishes any moral claim for Britain retaining the Bronzes, and makes a passionate case for their immediate repatriation to Nigeria.

Writer Ted Fox and artist James Otis Smith bring to life Harlem’s legendary theater in this graphic novel adaptation of Fox’s definitive, critically acclaimed history of the Apollo.

Since its inception as an African-American theater in 1934, the Apollo, and the thousands of entertainers who performed there, have led the way in the presentation of swing, bebop, rhythm and blues, jazz, gospel, soul, funk and hip-hop—along with the latest in dance and comedy. The Apollo has nurtured and featured thousands of artists, many of whom have become legends. The beauty they have given the world—their art—transcends the hatred, ignorance, and intolerance that often made their lives difficult. Today, the Apollo enjoys an almost mythical status. With its breathtaking art, this graphic novel adaptation of Showtime at the Apollo brings to life the theater’s legendary significance in music history, African American history, and to the culture of New York City.

The Strange Death of Europe is the internationally bestselling account of a continent and a culture caught in the act of suicide, now updated with new material taking in developments since it was first published to huge acclaim. These include rapid changes in the dynamics of global politics, world leadership and terror attacks across Europe.

Douglas Murray travels across Europe to examine first-hand how mass immigration, cultivated self-distrust and delusion have contributed to a continent in the grips of its own demise. From the shores of Lampedusa to migrant camps in Greece, from Cologne to London, he looks critically at the factors that have come together to make Europeans unable to argue for themselves and incapable of resisting their alteration as a society. Murray’s “tremendous and shattering” book (The Times) addresses the disappointing failures of multiculturalism, Angela Merkel’s U-turn on migration, the lack of repatriation and the Western fixation on guilt, uncovering the malaise at the very heart of the European culture. His conclusion is bleak, but the predictions not irrevocable. As Murray argues, this may be our last chance to change the outcome, before it’s too late.

Winner of the Guardian First Book award, a first-hand account one of the defining outrages of modern history.

All at once, as it seemed, something we could have only imagined was upon us – and we could still only imagine it. This is what fascinates me most in existence: the peculiar necessity of imagining what is, in fact, real.

In 1994, the Rwandan government orchestrated a campaign of extermination, in which everyone in the Hutu majority was called upon to murder everyone in the Tutsi minority. Close to a million people were slaughtered in a hundred days, and the rest of the world did nothing to stop it. A year later, Philip Gourevitch went to Rwanda to investigate the most unambiguous genocide since Hitler’s war against the Jews.

Hailed by the Guardian as one of the hundred greatest nonfiction books of all time, We Wish To Inform You That Tomorrow We Will Be Killed With Our Families is a first-hand account one of the defining outrages of modern history, an unforgettable anatomy of Rwanda’s decimation. As riveting as it is moving, it is a profound reckoning with humanity’s betrayal and its perseverance.