In August 1897, the young Belgian commandant Adrien de Gerlache set sail for a three-year expedition aboard the good ship Belgica with dreams of glory. His destination was the uncharted end of the earth: the icy continent of Antarctica.

But de Gerlache’s plans to be first to the magnetic South Pole would swiftly go awry. After a series of costly setbacks, the commandant faced two bad options: turn back in defeat and spare his men the devastating Antarctic winter, or recklessly chase fame by sailing deeper into the freezing waters. De Gerlache sailed on, and soon the Belgica was stuck fast in the icy hold of the Bellingshausen Sea. When the sun set on the magnificent polar landscape one last time, the ship’s occupants were condemned to months of endless night. In the darkness, plagued by a mysterious illness and besieged by monotony, they descended into madness.

In Madhouse at the End of the Earth, Julian Sancton unfolds an epic story of adventure and horror for the ages. As the Belgica’s men teetered on the brink, de Gerlache relied increasingly on two young officers whose friendship had blossomed in captivity: the expedition’s lone American, Dr. Frederick Cook—half genius, half con man—whose later infamy would overshadow his brilliance on the Belgica; and the ship’s first mate, soon-to-be legendary Roald Amundsen, even in his youth the storybook picture of a sailor. Together, they would plan a last-ditch, nearly certain-to-fail escape from the ice—one that would either etch their names in history or doom them to a terrible fate at the ocean’s bottom.

Drawing on the diaries and journals of the Belgica’s crew and with exclusive access to the ship’s logbook, Sancton brings novelistic flair to a story of human extremes, one so remarkable that even today NASA studies it for research on isolation for future missions to Mars. Equal parts maritime thriller and gothic horror, Madhouse at the End of the Earth is an unforgettable journey into the deep.

It was long ago, but not as long as it seems: The Berlin Wall fell and the Twin Towers collapsed. In between, one presidential election was allegedly decided by Ross Perot while another was plausibly decided by Ralph Nader. In the beginning, almost every name and address was listed in a phone book, and everyone answered their landlines because you didn’t know who it was. By the end, exposing someone’s address was an act of emotional violence, and nobody picked up their new cell phone if they didn’t know who it was. The 90s brought about a revolution in the human condition we’re still groping to understand. Happily, Chuck Klosterman is more than up to the job.

Beyond epiphenomena like “Cop Killer” and Titanic and Zima, there were wholesale shifts in how society was perceived: the rise of the internet, pre-9/11 politics, and the paradoxical belief that nothing was more humiliating than trying too hard. Pop culture accelerated without the aid of a machine that remembered everything, generating an odd comfort in never being certain about anything. On a 90’s Thursday night, more people watched any random episode of Seinfeld than the finale of Game of Thrones. But nobody thought that was important; if you missed it, you simply missed it. It was the last era that held to the idea of a true, hegemonic mainstream before it all began to fracture, whether you found a home in it or defined yourself against it.

In The Nineties, Chuck Klosterman makes a home in all of it: the film, the music, the sports, the TV, the politics, the changes regarding race and class and sexuality, the yin/yang of Oprah and Alan Greenspan. In perhaps no other book ever written would a sentence like, “The video for ‘Smells Like Teen Spirit’ was not more consequential than the reunification of Germany” make complete sense. Chuck Klosterman has written a multi-dimensional masterpiece, a work of synthesis so smart and delightful that future historians might well refer to this entire period as Klosterm

In Their Finest Hour, Winston Churchill describes the invasion of France and a growing sense of dismay in Britain. Should Britain meet France’s desperate pleas for reinforcements or conserve their resources in preparation for the inevitable German assault? In the book’s second half, entitled simply “Alone,” Churchill discusses Great Britain’s position as the last stronghold against German conquest: the battle for control of the skies over Britain, diplomatic efforts to draw the United States into the war, and the spreading global conflict.

Their Finest Hour is part of the epic six-volume account of World War II told from the viewpoint of a man who led in the fight against tyranny, and enriched with extensive primary sources including memos, letters, orders, speeches, and telegrams, day-by-day accounts of reactions as the drama intensifies. Throughout these volumes, we listen as strategies and counterstrategies unfold in response to Hitler’s conquest of Europe, planned invasion of England, and assault on Russia, in a mesmerizing account of the crucial decisions made as the fate of the world hangs in the balance.

The Human Calling is a vigorously researched and profoundly spiritual narrative history of the world’s religious movements as they relate to society’s collective understanding of the duties they have to fellow people and looks ahead to what lessons from history can be applied as people navigate a technological age.

Focusing on the rise and fall of spiritual movements in both the East and West, The Human Calling examines what the world’s major religions have historically offered, asks what people are here for outside of pure survival, and makes the persuasive argument for Christianity as the best leader to guide individuals on the path toward better caring for one another—our human calling. The Human Calling takes readers through humanity’s three great thought movements:

The first is the Axial Age, the source of the first great human reflection on public spirit and public order
The second is the 12th-17th centuries, wrestles with the question of whether people can attain individual rationality in God’s order
The third delves into the independent reasoning societies of the 20thand 21st centuries and looks forward to what people want their third great reflection on God’s plan to be during their own period of societal flux

PULITZER PRIZE WINNER • The definitive edition of the graphic novel acclaimed as “the most affecting and successful narrative ever done about the Holocaust” (Wall Street Journal) and “the first masterpiece in comic book history” (The New Yorker).

A brutally moving work of art—widely hailed as the greatest graphic novel ever written—Maus recounts the chilling experiences of the author’s father during the Holocaust, with Jews drawn as wide-eyed mice and Nazis as menacing cats.

Maus is a haunting tale within a tale, weaving the author’s account of his tortured relationship with his aging father into an astonishing retelling of one of history’s most unspeakable tragedies. It is an unforgettable story of survival and a disarming look at the legacy of trauma.