In the 1980s, a young adventurer and collector for a government library, Abdel Kader Haidara, journeyed across the Sahara Desert and along the Niger River, tracking down and salvaging tens of thousands of ancient Islamic and secular manuscripts that had fallen into obscurity. The Bad-Ass Librarians of Timbuktu tells the story of how Haidara, a mild-mannered archivist and historian from the legendary city of Timbuktu, later became one of the world's greatest and most brazen smugglers. In 2012, thousands of Al-Qaeda militants from northwest Africa seized control of most of Mali, including Timbuktu. They imposed Sharia law, chopped off the hands of accused thieves, stoned to death unmarried couples, and threatened to destroy the great manuscripts. As the militants tightened their control over Timbuktu, Haidara organized a dangerous operation to sneak all 350,000 volumes out of the city to the safety of southern Mali.

The Parthenon Marbles (formerly known as the Elgin Marbles), designed and executed by Pheidias to adorn the Parthenon, are perhaps the greatest of all classical sculptures. In 1801, Lord Elgin, then ambassador to the Turkish government, had chunks of the frieze sawn off and shipped to England, where they were subsequently seized by Parliament and sold to the British Museum to help pay off Elgin's debts. This scandal, exacerbated by the inept handling of the sculptures by their self-appointed guardians, remains unresolved to this day. In his fierce, eloquent account of a shameful piece of British imperial history, Christopher Hitchens makes the moral, artistic, legal and political case for re-unifying the Parthenon frieze in Athens. The opening of the New Acropolis Museum emphatically trumps the British Museum's long-standing (if always questionable) objection that there is nowhere in Athens to house the Parthenon Marbles. With contributions by Nadine Gordimer and Professor Charalambos Bouras, The Parthenon Marbles will surely end all arguments about where these great treasures belong, and help bring a two-centuries-old disgrace to a just conclusion.

This scholarly, incisive, and thought provoking book provides an in depth account of Israel's rebuilding of the Jewish Quarter of Jerusalem after the 1967 Six Day War, in the context of approaches to post-war restoration and heritage preservation and development, both local and worldwide. Inward-directed heritage development and its importance to collective identity, and outward directed heritage development (primarily tourist but also strategic and political) were decisive concerns. The rebuilding of the Jewish Quarter is compared to contemporary preservation old cities of Jaffa, Acre and Safed, activity in the historic to heritage conservation in Old Cairo, and to postwar conservation of Beirut, Warsaw and York.

In a world of relentless and often violent change, what does it take for a culture to survive? Steven Weitzman addresses this question by exploring the "arts of cultural persistence"--the tactics that cultures employ to sustain themselves in the face of intractable realities. Surviving Sacrilege focuses on a famously resilient culture caught between two disruptive acts of sacrilege: ancient Judaism between the destruction of the First Temple (by the Babylonians) in 586 B.C. and the destruction of the Second Temple (by the Romans) in 70 C.E. Throughout this period Jews faced the challenge of preserving their religious traditions in a world largely out of their control--a world ruled first by the Persians, then by the Hellenistic Seleucid Kingdom, and finally by the Roman Empire. Their struggle to answer this challenge yields insight into the ingenuity, resourcefulness, and creativity of a distinctive period in Jewish history, but one with broad implications for the study of religious and cultural survival. Detecting something tenaciously self-preserving at the core of the imagination, Weitzman argues that its expression in storytelling, fantasy, imitation, metaphor, and magic allows a culture's survival instinct to maneuver within, beyond, and even against the limits of reality.