In a masterly work, Garry Wills shows how Lincoln reached back to the Declaration of Independence to write the greatest speech in the nation’s history. The power of words has rarely been given a more compelling demonstration than in the Gettysburg Address. Lincoln was asked to memorialize the gruesome battle. Instead he gave the whole nation “a new birth of freedom” in the space of a mere 272 words. His entire life and previous training and his deep political experience went into this, his revolutionary masterpiece. By examining both the address and Lincoln in their historical moment and cultural frame, Wills breathes new life into words we thought we knew, and reveals much about a president so mythologized but often misunderstood. Wills shows how Lincoln came to change the world and to effect an intellectual revolution, how his words had to and did complete the work of the guns, and how Lincoln wove a spell that has not yet been broken.

Soon to be featured in the Ken Burns documentary The U.S. and the Holocaust , premiering on PBS September 18 th A New York Times Notable Book • Winner of the National Jewish Book Award • Winner of the National Book Critics Circle Award • A Los Angeles Times Book Prize Finalist “A gripping detective story, a stirring epic, a tale of ghosts and dark marvels, a thrilling display of scholarship, a meditation on the unfathomable mystery of good and evil, a testimony to the enduring power of the ancient archetypes that haunt one Jewish family and the greater human family, The Lost is as complex and rich with meaning and story as the past it seeks to illuminate. A beautiful book, beautifully written.”—Michael Chabon In this rich and riveting narrative, a writer's search for the truth behind his family's tragic past in World War II becomes a remarkably original epic—part memoir, part reportage, part mystery, and part scholarly detective work—that brilliantly explores the nature of time and memory, family and history. The Lost begins as the story of a boy who grew up in a family haunted by the disappearance of six relatives during the Holocaust—an unmentionable subject that gripped his imagination from earliest childhood. Decades later, spurred by the discovery of a cache of desperate letters written to his grandfather in 1939 and tantalized by fragmentary tales of a terrible betrayal, Daniel Mendelsohn sets out to find the remaining eyewitnesses to his relatives' fates. That quest eventually takes him to a dozen countries on four continents and forces him to confront the wrenching discrepancies between the histories we live and the stories we tell. And it leads him, finally, back to the small Ukrainian town where his family's story began, and where the solution to a decades-old mystery awaits him. Deftly moving between past and present, interweaving a world-wandering odyssey with childhood memories of a now-lost generation of immigrant Jews and provocative ruminations on biblical texts and Jewish history, The Lost transforms the story of one family into a profound, morally searching meditation on our fragile hold on the past. Deeply personal, grippingly suspenseful, and beautifully written, this literary tour de force illuminates all that is lost, and found, in the passage of time.

From the bestselling, Booker Prize-winning author of The Sense of an Ending comes an extraordinary fictional portrait of the relentlessly fascinating Russian musician and composer Dmitri Shostakovich and a stunning meditation on the meaning of art and its place in society. • “Brilliant…. As elegantly constructed as a concerto.” —NPR 1936: Dmitri Shostakovich, just thirty years old, reckons with the first of three conversations with power that will irrevocably shape his life. Stalin, hitherto a distant figure, has suddenly denounced the young composer’s latest opera. Certain he will be exiled to Siberia (or, more likely, shot dead on the spot), Shostakovich reflects on his predicament, his personal history, his parents, his daughter—all of those hanging in the balance of his fate. And though a stroke of luck prevents him from becoming yet another casualty of the Great Terror, he will twice more be swept up by the forces of despotism: coerced into praising the Soviet state at a cultural conference in New York in 1948, and finally bullied into joining the Party in 1960. All the while, he is compelled to constantly weigh the specter of power against the integrity of his music.