Thinking about politics has tended to be historical in nature because of the comparisons and contrasts that can be drawn between past and present. Different periods in politics have used the past differently. At times, political thought can be said to have been drawn directly from the study of history; at others, perhaps including our own time, the relationship is more indirect.

In 1816, when eighteen-year old Mary Godwin began writing Frankenstein, the idea that a woman could dream up such a tale was as far-fetched as raising a being from the dead. But Mary wasn't just any woman. The daughter of two notorious radicals, Mary had become an outcast from English society when she was only sixteen. A lifelong advocate for the rights of women, she refused to be governed by social conventions, running away with a married man, having children out of wedlock, and authoring books, stories, and essays that broke literary conventions.

The French Revolution is a time of history made familiar from Dickens, Baroness Orczy, and Tolstoy, as well as the legends of let them eat cake, and tricolors. Beginning in 1789, this period of extreme political and social unrest saw the end of the French monarchy, the death of an extraordinary number of people beneath the guillotine's blade during the Terror, and the rise of Napoleon, as well as far reaching consequences still with us today, such as the enduring ideology of human rights, and decimalization.

In the late 1950s and early 1960s, the writers of the Beat Generation revolutionized American literature with their iconoclastic approach to language and their angry assault on the conformity and conservatism of postwar society. They and their followers took aim at the hypocrisy and taboos of their time - particularly those involving sex, race, and class - in such provocative works as Jack Kerouac's On the Road (1957), Allen Ginsberg's "Howl" (1956), and William S. Burroughs's Naked Lunch (1959).

This addition to Oxford's Very Short Introductions series traces how Americans have addressed the issues and events of their time and place, whether it is the Civil War, the Great Depression, or the culture wars of today.

What defines a modern short story is much more than a question of length. Despite the efforts of early pioneers like Edgar Allan Poe, the genre was originally synonymous with the anecdote or tale and seen more as entertainment than art. However it has become far more than that, and this Very Short Introduction considers afresh the form's ongoing innovations in plot construction, capacity for psychological insight, and ability to offer intensely concentrated perceptions.

In this Very Short Introduction, Simon Horobin investigates how we have arrived at the English we know today and celebrates the way new speakers and new uses mean that it continues to adapt. Engaging with contemporary concerns about correctness, Horobin considers whether such changes are improvements or evidence of slipping standards.

In this Very Short Introduction audiobook, Bence Nanay introduces the field of aesthetics, considering both Western and non-Western aesthetic traditions and exploring why it is sometimes misunderstood or considered to be too elitist - by artists, musicians, and even philosophers. As Nanay shows, so-called "high art" has no more claims on aesthetics than sitcoms, tattoos, or punk rock.

T. W. Adorno (1903-1969) was a German philosopher and social and cultural theorist. His work has come to be seen as increasingly relevant to understanding the pathologies of contemporary society evident in today's climate emergency, the financial crash, the reappearance of fascism in many countries, and the growing instability of the world order. This Very Short Introduction covers Adorno's work and life, explaining his key philosophical concepts and the philosophical background and historical context of Adorno's thinking.

One of the leading philosophical movements of the 20th century, existentialism has had more impact on literature and the arts than any other school of thought. Focusing on the leading figures of existentialism, including Sartre, Nietzsche, Heidegger, Kierkegaard, de Beauvoir, Merleau-Ponty, and Camus, Thomas Flynn offers a concise account of existentialism, explaining the key themes of individuality, free will, and personal responsibility, which marked the movement as a way of life, not just a way of thinking.

With lively writing and illuminating examples, David Caplan argues that two characteristics mark the vast, contentious literature. On the one hand, several of America's major poets and critics claim that America needs a poetry equal to the country's distinctiveness. They advocate for novelty and for a break with what is perceived to be outmoded and foreign.

This Very Short Introduction recounts the history of American culture and its creation by diverse social and ethnic groups. In doing so, it emphasizes the historic role of culture in relation to broader social, political, and economic developments. Across the lines of race, class, gender, and sexuality, as well as language, region, and religion, diverse Americans have forged a national culture with a global reach, inventing stories that have shaped a national identity and an American way of life.

In this Very Short Introduction, Bernard O'Donoghue provides a fascinating look at the many different forms of writing which have been called "poetry" - from the Greeks to the present day. As well as questioning what poetry is, he asks what poetry is for, and considers contemporary debates on its value. Is there a universality to poetry? And does it have a duty of public utility and responsibility?

To many in the West, Orthodoxy remains shrouded in mystery, an exotic and foreign religion that survived in the East following the Great Schism of 1054 that split the Christian world into two camps - Catholic and Orthodox. However, as the second largest Christian denomination, Orthodox Christianity is anything but foreign to the nearly 300 million worshipers who practice it. For them, Orthodoxy is a living, breathing reality; a way of being Christian ultimately rooted in the person of Jesus and the experience of the early church.

We are all classicists - we come into touch with the classics on a daily basis: in our culture, politics, medicine, architecture, language, and literature. What are the true roots of these influences, however, and how do our interpretations of these aspects of the classics differ from their original reality?