A sweeping historical epic and a radical new interpretation of Vasco da Gama's groundbreaking voyages, seen as a turning point in the struggle between Christianity and Islam In 1498 a young captain sailed from Portugal, circumnavigated Africa, crossed the Indian Ocean, and discovered the sea route to the Indies and, with it, access to the fabled wealth of the East. It was the longest voyage known to history. The little ships were pushed beyond their limits, and their crews were racked by storms and devastated by disease. However, their greatest enemy was neither nature nor even the sheer dread of venturing into unknown worlds that existed on maps populated by coiled, toothy sea monsters. With bloodred Crusader crosses emblazoned on their sails, the explorers arrived in the heart of the Muslim East at a time when the old hostilities between Christianity and Islam had risen to a new level of intensity. In two voyages that spanned six years, Vasco da Gama would fight a running sea battle that would ultimately change the fate of three continents. An epic tale of spies, intrigue, and treachery; of bravado, brinkmanship, and confused and often comical collisions between cultures encountering one another for the first time; Holy War also offers a surprising new interpretation of the broad sweep of history. Identifying Vasco da Gama's arrival in the East as a turning point in the centuries-old struggle between Islam and Christianity-one that continues to shape our world-Holy War reveals the unexpected truth that both Vasco da Gama and his archrival, Christopher Columbus, set sail with the clear purpose of launching a Crusade whose objective was to reach the Indies; seize control of its markets in spices, silks, and precious gems from Muslim traders; and claim for Portugal or Spain, respectively, all the territories they discovered. Vasco da Gama triumphed in his mission and drew a dividing line between the Muslim and Christian eras of history-what we in the West call the medieval and the modern ages. Now that the world is once again tipping back East, Holy War offers a key to understanding age-old religious and cultural rivalries resurgent today.
Gripping narrative nonfiction that tells the dramatic story of a remarkable young Texan pianist, Van Cliburn, who played his way through the wall of fear built by the Cold War, won the hearts of the American and Russian people, and eased tensions between two superpowers on the brink of nuclear war.In 1958, an unheralded twenty-three-year-old piano prodigy from Texas named Van Cliburn traveled to Moscow to compete in the First International Tchaikovsky Competition. The Soviets had no intention of bestowing their coveted prize on an unknown American; a Russian pianist had already been chosen to win. Yet when the gangly Texan with the shy grin took the stage and began to play, he instantly captivated an entire nation. The Soviet people were charmed by Van Cliburn's extraordinary talent, passion, and fresh-faced innocence, but it was his palpable love for the music that earned their devotion; for many, he played more like a Russian than their own musicians. As enraptured crowds mobbed Cliburn's performances, pressure mounted to award him the competition prize. "Is he the best?" Soviet Premier Nikita Khrushchev demanded of the judges. "In that case . . . give him the prize!"Adored by millions in the USSR, Cliburn returned to a thunderous hero's welcome in the USA and became, for a time, an ambassador of hope for two dangerously hostile superpowers. In this thrilling, impeccably researched account, Nigel Cliff recreates the drama and tension of the Cold War era, and brings into focus the gifted musician and deeply compelling figure whose music would temporarily bridge the divide between two dangerously hostile powers.
One of the bloodiest incidents in New York's history, the so-called Astor Place Riot of May 10, 1849, was ignited by a long-simmering grudge match between the two leading Shakespearean actors of the age. Despite its unlikely origins, though, there was nothing remotely quaint about this pivotal moment in history-the unprecedented shooting by American soldiers of dozens of their fellow citizens, leading directly to the arming of American police forces. The Shakespeare Riotsrecounts the story of this momentous night, its two larger-than-life protagonists, and the myriad political and cultural currents that fueled the violence. In an engrossing narrative that moves at a breakneck pace from the American frontier to the Mississippi River, to the posh theaters of London, to the hangouts of the most notorious street gangs of the day, Nigel Cliff weaves a spellbinding saga of soaring passions, huge egos, and venal corruption. Cliff charts the course of this tragedy from its beginnings as a somewhat comical contretemps between Englishman William Charles Macready, the haughty lion of the London stage, and Edwin Forrest, the first great American star and a popular hero to millions. Equally celebrated, and equally self-centered, the two were once friends, then adversaries. Exploiting this rivalry, "nativist" agitators organized mobs of bullyboys to flex their muscle by striking a blow against the foppish Macready and the Old World's cultural hegemony that he represented. The moment Macready took the stage in New York, his adversaries sprang into action, first by throwing insults, then rotten eggs, then chairs. When he dared show his face again, an estimated twenty thousand packed the streets around the theater. As cobblestones from outside rained down on the audience, National Guard troops were called in to quell the riot. Finding themselves outmatched, the Guardsmen discharged their weapons at the crowd, with horrific results. When the smoke cleared, as many as thirty people lay dead, with scores more wounded. The Shakespeare Riotsis social and cultural history of the highest order. In this wondrous saga Nigel Cliff immerses readers in the bustle of mid-nineteenth-century New York, re-creating the celebrity demimonde of the day and capturing all the high drama of a violent night that robbed a nation of its innocence.
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