The Strange Adventures of Eric Blackburn - Scholar's Choice Edition


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The Strange Adventures of Eric Blackburn


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It happened on our seventh night out from Cape Town, when we had accomplished about a third of the distance between that city and Melbourne.The ship was the Saturn, of the well-known Planet Line of combined freight and passenger steamers trading between London, Cape Town, and Melbourne; and I—Eric Blackburn, aged a trifle over twenty-three years—was her fourth officer.The Saturn was a brand-new ship, this being her maiden voyage. She was a twin-screw, of 9800 tons register, 100 A1 at Lloyd's, steaming 14 knots; and she had accommodation for 432 passengers, of whom 84 were first class, 128 second class, and 220 steerage; and every berth was occupied, the steerage crowd consisting mostly of miners attracted to Australia by the rumour of a newly discovered goldfield of fabulous richness. The crew of the ship numbered, all told, 103; therefore, when the catastrophe occurred, the Saturn was responsible for the lives of 535 people, of whom about 120 were women and children.I was officer of the watch, and was therefore on the bridge when it happened, the time being shortly after six bells in the middle watch, or say about a quarter past three o'clock in the morning. The weather was fine, with so moderate a westerly wind blowing that the speed of the ship just balanced it, the smoke and sparks from the funnel rising straight up into the air when the firemen shovelled coal into the furnaces; and apart from the long westerly swell there was very little sea running. The motion of the ship was therefore very easy, just a slow roll of four or five degrees to port and starboard, and an equally slow, gentle rise and fall of the ship over the swell that followed us. The moon was only four days old, consequently she had set hours earlier, but the sky was cloudless, the air was clear, and the stars, shining brilliantly, afforded light enough to reveal a ship at a distance of quite three miles; it would be difficult, therefore, to imagine conditions of more apparently perfect safety than those at the moment prevailing aboard the Saturn. Yet destruction came upon us in a manner, and with a suddenness, that was absolutely appalling.




British Books


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The Making of New World Slavery


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At the time when European powers colonized the Americas, the institution of slavery had almost disappeared from Europe itself. Having overcome an institution widely regarded as oppressive, why did they sponsor the construction of racial slavery in their new colonies? Robin Blackburn traces European doctrines of race and slavery from medieval times to the early modern epoch, and finds that the stigmatization of the ethno-religious Other was given a callous twist by a new culture of consumption, freed from an earlier moral economy. The Making of New World Slavery argues that independent commerce, geared to burgeoning consumer markets, was the driving force behind the rise of plantation slavery. The baroque state sought—successfully—to batten on this commerce, and—unsuccessfully—to regulate slavery and race. Successive chapters of the book consider the deployment of slaves in the colonial possessions of the Portuguese, the Spanish, the Dutch, the English and the French. Each are shown to have contributed something to the eventual consolidation of racial slavery and to the plantation revolution of the seventeenth and eighteenth centuries. It is shown that plantation slavery emerged from the impulses of civil society rather than from the strategies of the individual states. Robin Blackburn argues that the organization of slave plantations placed the West on a destructive path to modernity and that greatly preferable alternatives were both proposed and rejected. Finally he shows that the surge of Atlantic trade, premised on the killing toil of the plantations, made a decisive contribution to both the Industrial Revolution and the rise of the West.




Publishers' Circular


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Consilience


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NATIONAL BESTSELLER • "A dazzling journey across the sciences and humanities in search of deep laws to unite them." —The Wall Street Journal One of our greatest scientists—and the winner of two Pulitzer Prizes for On Human Nature and The Ants—gives us a work of visionary importance that may be the crowning achievement of his career. In Consilience (a word that originally meant "jumping together"), Edward O. Wilson renews the Enlightenment's search for a unified theory of knowledge in disciplines that range from physics to biology, the social sciences and the humanities. Using the natural sciences as his model, Wilson forges dramatic links between fields. He explores the chemistry of the mind and the genetic bases of culture. He postulates the biological principles underlying works of art from cave-drawings to Lolita. Presenting the latest findings in prose of wonderful clarity and oratorical eloquence, and synthesizing it into a dazzling whole, Consilience is science in the path-clearing traditions of Newton, Einstein, and Richard Feynman.




The End of Books--or Books Without End?


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An exploration of the possibilities of hypertext fiction as art form and entertainment




Luxury Arts of the Renaissance


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Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.