New Book Tuesday! The First Political Order, Woe From Wit and more!

Our weekly list of new books is now available!

The First Political Order

How Sex Shapes Governance and National Security Worldwide

Valerie M. Hudson, Donna Lee Bowen, and Perpetua Lynne Nielsen

The First Political Order is a groundbreaking demonstration that the persistent and systematic subordination of women underlies all other institutions, with wide-ranging implications for global security and development. It offers a new paradigm for understanding insecurity, instability, autocracy, and violence.

From the Russian Library series

Woe from Wit

A Verse Comedy in Four Acts

Alexander Griboedov. Translated by Betsy Hulick

Alexander Griboedov’s Woe from Wit is one of the masterpieces of Russian drama. A verse comedy set in Moscow high society after the Napoleonic wars, it offers sharply drawn characters and clever repartee, mixing meticulously crafted banter and biting social critique.

Vernacular Industrialism in China

Local Innovation and Translated Technologies in the Making of a Cosmetics Empire, 1900–1940

Eugenia Lean

By examining the manufacturing, commercial, and cultural activities of the maverick industrialist Chen Diexian (1879–1940), Eugenia Lean illustrates how lettered men of early-twentieth-century China engaged in “vernacular industrialism,” the pursuit of industry and science outside of conventional venues.

The Closed Circle

Joining and Leaving the Muslim Brotherhood in the West

Lorenzo Vidino

The Closed Circle offers an unprecedented inside view into how one of the world’s most influential Islamist groups operates. Lorenzo Vidino marshals unique interviews with prominent former members and associates of the Muslim Brotherhood in the West, shedding light on why and how people join and leave the organization.

New from Wallflower Press

From the Nonfictions series

Perpetrator Cinema

Confronting Genocide in Cambodian Documentary

Raya Morag

Perpetrator Cinema explores a new trend in the cinematic depiction of genocide that has emerged in Cambodian documentary in the late twentieth- and early twenty-first centuries. Raya Morag analyzes how Post–Khmer Rouge Cambodian documentarians propose a direct confrontation between the first-generation survivor and the perpetrator of genocide.

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