History & Geography

In this spellbinding portrait of obsession and flawed genius, the best-selling author of The Stranger in the Woods brings us into Breitwieser’s strange world—unlike most thieves, he never stole for money, keeping all his treasures in a single room where he could admire them.

For centuries, works of art have been stolen in countless ways from all over the world, but no one has been quite as successful at it as the master thief Stéphane Breitwieser. Carrying out more than two hundred heists over nearly eight years—in museums and cathedrals all over Europe—Breitwieser, along with his girlfriend who worked as his lookout, stole more than three hundred objects, until it all fell apart in spectacular fashion.

In The Art Thief, Michael Finkel brings us into Breitwieser’s strange and fascinating world. Unlike most thieves, Breitwieser never stole for money. Instead, he displayed all his treasures in a pair of secret rooms where he could admire them to his heart’s content. Possessed of a remarkable athleticism and an innate ability to circumvent practically any security system, Breitwieser managed to pull off a breathtaking number of audacious thefts. Yet these strange talents bred a growing disregard for risk and an addict’s need to score, leading Breitwieser to ignore his girlfriend’s pleas to stop—until one final act of hubris brought everything crashing down.

This is a riveting story of art, crime, love, and an insatiable hunger to possess beauty at any cost.

The Battle for the Falklands is a thoughtful and informed analysis of an astonishing chapter in modern British history from journalist and military historian Sir Max Hastings and political editor Simon Jenkins.

Ten weeks. 28,000 soldiers. 8,000 miles from home.

The Falklands War in 1982 was one of the strangest in British history. At the time, many Britons saw it as a tragic absurdity – thousands of men sent overseas for a tiny relic of empire – but the British victory over the Argentinians not only confirmed the quality of British arms but also boosted the political fortunes of Thatcher’s Conservative government. However, it left a chequered aftermath and was later overshadowed by the two Gulf wars.

Max Hastings’ and Simon Jenkins’ account of the conflict is a modern classic of war reportage and the definitive book on the conflict.

On December 26, 1973, The Exorcist was released. Within days it had become legend. Moviegoers braved hours-long lines in winter weather to see it. Some audience members famously fainted or vomited. Half a century later, the movie that both inspired and transcends the modern horror genre has lost none of its power to terrify and unsettle.

The Exorcist Legacy reveals the complete story of this cultural phenomenon, from the real-life exorcism in 1949 Maryland that inspired William Peter Blatty’s bestselling novel on which the movie is based, to its many sequels, prequels, TV series, and homages. Nat Segaloff, biographer of the film’s director, William Friedkin, draws on original interviews with cast, crew, and participants as well as revelations from personal papers to present an intriguing and surprising new view of the making of the movie, and its aftermath.

Segaloff also examines as never before the keys to the movie’s enduring appeal. Friedkin and Blatty’s goal was far more ambitious than making a scary movie; they aimed to make people “think about the concept of good and evil.” The Exorcist succeeds, and then some, not just by creating on-screen scares, but by challenging viewers’ deepest personal beliefs—and fears.

The chilling story of one woman’s rise to prominence in the Italian Mafia, and the as-yet untold stories of the women who followed in her footsteps.

For as long as it has gripped our imaginations, the Mafia has been tied to an ingrained image of masculinity. We read about “made men,” “wiseguys,” and “goodfellas” leading criminal organizations whose culture prizes machismo, with women as ancillary and often-powerless characters: trivialized mistresses and long-suffering mob wives. The reality is far more complex.

In The Godmother, investigative journalist Barbie Latza Nadeau tells the stories of the women who have risen to prominence, and fallen out of favor, in the Italian mob, beginning with the most infamous of these women: Pupetta Maresca. A Mafia woman born and raised, Pupetta avenged her husband’s murder, firing 29 shots at the man who killed him.

Woven throughout Pupetta’s story is Nadeau’s diligent research, and her personal interviews with the Mafia women themselves. Nadeau takes readers inside the Mafia families to paint a complete and complex portrait of the real culture that has shaped the Mafia, and the women who are part of it.

Leaving behind the stereotypes we know from Mafia movies, The Godmother shows the Mafia in an entirely new light: full-fledged, ruthless, twenty-first-century criminal enterprises led by whoever is strong enough and smart enough to take control.