Joseph Delaney used to be an English teacher, before becoming the best-selling author of the Spook's series, which has been published in 30 countries and sold over 4.5 million copies worldwide. The first book, The Spook's Apprentice, was adapted into a major motion picture starring Jeff Bridges and Julianne Moore.

Joseph Delaney

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Frank Close

Henry Becquerel’s accidental discovery, in Paris in 1896, of a faint smudge on a photographic plate sparked a chain of discoveries which would unleash the atomic age. 
 
Destroyer of Worlds is the story of how pursuit of this hidden source of nuclear power, which began innocently and collaboratively, was overwhelmed by the politics of the 1930s, and following devastation of Hiroshima and Nagasaki opened the way to a still more terrible possibility: a thermonuclear bomb, the so-called “backyard weapon”, that could destroy all life on earth – from anywhere. 
 
The story spans decades and continents, moving from Becquerel to Ernest Rutherford, the Cambridge-based, New Zealand scientist who first split the atom, expands to include Enrico Fermi in Rome, Otto Hahn and Lise Meitner in Berlin and the Joliot-Curies in Paris, leading to the appearance of Robert Oppenheimer before climaxing with increasingly horrifying developments in the USA and USSR. The roles of three remarkable women – Lise Meitner, Ida Noddack and Irene Curie – are re-evaluated, and there are new insights into the work of Ettore Majorana, Fermi’s mercurial but brilliant assistant, who mysteriously disappeared in 1938, possibly after foreseeing the explosive power of nuclear energy. Above all, this is a story of how knowledge is often advanced by personal convictions and relationships, an indeed by chance, in a remarkable way.

Destroyer of Worlds

The Deep History of the Nuclear Age: 1895-1965

Thomas W. Laqueur

Long before the phrase ‘man’s best friend’ became common parlance, dogs were already standing beside us in art as in life. In The Dog’s Gaze, the historian Thomas W. Laqueur invites us to explore why they feature more than any other animal in the ways in which we picture ourselves and our stories. 
 
Dogs have been ubiquitous in the worldmaking of visual artists as far back as the Palaeolithic age. Looking across the western tradition, from Giotto to Goya and Rubens to Rego, Laqueur shows what their presence – as hunting partners, beloved friends and even conduits to the afterlife – reveals about our own ways of seeing and how we want to be remembered. Far from being mere motifs, dogs are an integral and intentional element of the images in which they appear: they provide narrative coherence; they look out and bear witness, often on the artist’s behalf; they illuminate our understanding of morality and melancholy and some, like us, become celebrities. Indeed, as the author shows, dogs in art are our social doppelgängers, our companions in looking and being. 
 
Richly illustrated and lovingly written, The Dog’s Gaze is a unique visual history that examines the shared social history of our two species and offers fresh insights into the human condition through the eyes of our canine companions.

The Dog's Gaze

A Visual History

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