Written in the final days of his life, as Herschensohn learned of the arrests of brave friends, A Profile of Hong Kong was left unfinished, and it ends on a tragic note, with a run-on sentence that reads like a wail of grief.

The special glow of O. Henry's prose and the magic of his plots show us the world as it should be—and almost bring it within reach.

Hundreds of airmen and sailors—mostly young, many only teenagers, many of them civilians—under terrifying circumstances, “redeemed from the brink of disaster one of the most hazardous naval operations of the Second World War.” In expertly recounting their courage and the horrors they faced, Max Hastings has helped ensure the well-deserved immortality of this band of heroes.

Americans need a book that will help them better understand the values underlying our early constitutional history—and they need an authoritative and compelling intellectual voice to explain and vindicate the nation’s fundamental law. Sad to say, they will not find those here.

“One of the most extraordinary features of Ibsen’s works,” Sprinchorn writes, is the way “each play grows out of its predecessor.” By examining them in order, he draws out their weightier elements, combining an acute understanding of theater and a thorough grasp of the political, social, and artistic controversies that set the background for Ibsen’s career.

Louis Menand is a writer of great gifts, whose 2000 book The Metaphysical Club is a masterpiece of intellectual history. Unfortunately, The Free World: Art and Thought in the Cold War fails to recapture the magic. That’s partly because despite its bulk—880 pages—it’s curiously incomplete.

Oedipus the King has been considered a masterpiece for two and a half millennia. No less a luminary than Aristotle called it the ideal tragedy. But today’s readers are often disturbed by its apparent injustice. How is it fair that the gods consign Oedipus—a genuine hero who strives to avoid committing the sins for which he is damned—to such an awful fate?

Root’s book provides a thoroughly researched and readable introduction to the arguments that formed the basis of what has rightly been called the “refounding” of the United States a century and a half ago—and that remain relevant today.

Far from a history of liberty, de Dijn’s book is a conscious effort to undermine that concept and to substitute in its place what she calls a “democratic conception of freedom,” which, in principle, amounts to collective control over every aspect of individual behavior.

Markovits’s reliance on loaded language is a good sign that his argument cannot stand—pardon the pun—on its own merits.

The Property Species suggests fruitful speculations to demonstrate that property is a truly universal manifestation of human rationality and of man’s needs, not only to survive, but also thrive.

In Cynical Theories, Helen Pluckrose and James Lindsay explore the connections between such phenomena as “shoutdowns,” “canceling,” and identity politics on the one hand and the philosophical doctrines taught in America’s universities on the other.

More than any of his contemporaries, Sargent expressed the glamour that emerging capitalism made possible. Yet that is just what made him incomprehensible or unacceptable to later artists and critics.

Often scorned and rejected in her own day, Zora Neale Hurston was a pioneering writer who looked beyond the controversies of her time and sought to articulate a lasting vision of life—one free of bitterness or pettiness and full of grace and beauty.

Dorothy Fontana, who died this week at the age of eighty, is best known for her work as a writer for the original Star Trek television series. But, in fact, she was one of the most remarkable women in Hollywood history.