Most Popular Books by David Howarth

June 6, 1944, is one of the most famous dates in world history, and, as David Howarth shows, a defining date in countless personal histories. In this intimate chronicle, the 7,000 vessels, 12,000 aircraft, and 750,000 men committed on D-Day are taken for granted. Instead, we see D-Day through the eyes of the men on the ground as Howarth weaves together the larger story of the beginning of the battle of Normandy with the stories of the beachhead itself. The scope of Howarth's vision—focusing on England and France, on sky, beach, and hedgerow, on divisions and squads—makes Dawn of D-Day a franker portrayal than any other of the turning-point of the war on the Western Front and the greatest amphibious operation in history. Skyhorse Publishing, as well as our Arcade imprint, are proud to publish a broad range of books for readers interested in history--books about World War II, the Third Reich, Hitler and his henchmen, the JFK assassination, conspiracies, the American Civil War, the American Revolution, gladiators, Vikings, ancient Rome, medieval times, the old West, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

We Die Alone recounts one of the most exciting escape stories to emerge from the challenges and miseries of World War II. In March 1943, a team of expatriate Norwegian commandos sailed from northern England for Nazi-occupied arctic Norway to organize and supply the Norwegian resistance. But they were betrayed and the Nazis ambushed them. Only one man survived--Jan Baalsrud. This is the incredible and gripping story of his escape. Frostbitten and snowblind, pursued by the Nazis, he dragged himself on until he reached a small arctic village. He was near death, delirious, and a virtual cripple. But the villagers, at mortal risk to themselves, were determined to save him, and--through impossible feats--they did. We Die Alone is an astonishing true story of heroism and endurance. Like Slavomir Rawicz's The Long Walk, it is also an unforgettable portrait of the determination of the human spirit.

The European Union's small, balanced budget is commonly considered to be one of the most important constraints on the Union's powers. However, the EU has always borrowed, and it is now borrowing on the scale of a large state to aid member states' economic recovery from the COVID-19 pandemic and to support Ukraine. This book tells the story of how the EU became a sovereign-style borrower from Jean-Monnet's 'American Loan' in 1954 to the operation of the Recovery and Resilience Facility seven decades later. Drawing on archival analysis and elite interviews, the book charts the origins and evolution of the European Commission, the European Investment Bank, the European Bank for Reconstruction and Development, and the European Stability Mechanism as European-level borrowers and asks how these bodies' accountability to parliaments, auditors, citizens, and civil society groups can be improved. The EU's evolution as a sovereign-style borrower has been driven by a combination of gradual institutional change and hard bargaining between member states with high and low borrowing costs, we find. Since the 1990s, European-level borrowing has also been increasingly shaped by concerns over the EU's legitimacy crisis. Borrowing is not simply a technocratic issue, but one that raises fundamental questions about what sort of polity the EU is and how it could develop in the future. This is an open access title available under the terms of a [CC BY-NC-ND 4.0 International] licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations.

The first shots were fired at about eleven-thirty on a Sunday morning in June, 1815; by nine o'clock that night, forty thousand men lay dead or wounded, and Napoleon had abandoned not only his army, but all hope of recovering his empire. From the recollections of the men who were there, esteemed author David Howarth has recreated the battle as it appeared to them on the day it was fought. He follows the fortunes of men of all ranks and on both sides. But it is on the French side that the mysteries remain. Why did Ney attack with cavalry alone? And was Napoleon's downfall really due to the minor ailment he suffered that day? Beautifully written, vivid, and unforgettable, this illuminating history is impossible to put down.

Gripping true tale how of men who patrolled by dogsleds a stark 500-mile stretch of Greenland fought capture or death by outwitting and outlasting the Nazis.

David Howarth here gives a wonderfully vivid and accurate reconstruction of that great sea battle which decided a nation's fate

The problem of banks being 'too big to fail' was the defining regulatory issue of the global financial crisis. However, attempts to tackle the problem by separating retail banking from higher risk trading activities - known as structural reform - proved to be highly divisive and contributed to significant regulatory divergence. In this book, David Howarth and Scott James explain this variation by examining the politics of bank structural reform across six key jurisdictions: the United States, the European Union, the United Kingdom, France, Germany, and the Netherlands. Integrating political economy and public policy approaches, they develop a novel 'comparative financial power' framework to analyse how financial industry influence is mediated by two factors: first, whether bank lobbying is unified and centralized (cooperative financial power) or divided and fragmented (competitive financial power); and second, policy makers' use of venue shifting to depoliticize contentious policy issues. The book explains that the US and UK governments implemented major reforms because the banking industry was divided and faced significant opposition. However, venue shifting to an independent committee led to durable reform in the UK, while political polarization in the US contributed to contested reform. By contrast, the French and German governments balanced unified bank lobbying and political pressures to act by pursuing limited symbolic reforms; the Dutch government deflected the issue through delegation to multiple commissions (no reform); while political stalemate at the EU level resulted from early venue shifting and concerted pan-European bank lobbying. The book makes a major contribution to scholarship on the political economy of finance and business power.

* What do we mean by discourse? * What are the different conceptions of discourse and methods of discourse analysis in the contemporary social sciences? * How can this concept help to clarify key theoretical problems and illuminate empirical cases? The concept of discourse provokes considerable debate and is understood in a variety of ways in the contemporary social sciences. This text presents a comprehensive overview of the different conceptions and methods of discourse analysis, while setting out the traditions of thinking in which these conceptions have emerged. It surveys structuralist, post-structuralist and post-Marxist theory, and the author sets out a fresh approach to discourse analysis, drawing principally on the writings of Saussure, Levi-Strauss, Gramsci, Althusser, Foucault, Derrida, Laclau and Mouffe. He evaluates a number of pertinent criticisms of this approach, and explores ways in which discourse analysis can assist our understanding of identity formation, hegemony, and the relationship between structure and agency. This concise and engaging text provides a stimulating introduction to the concept of discourse for students and researchers across the social sciences.

This is a fascinating and highly readable account of the vital role the visual arts played in Great Britain during the Tudor and early Stuart monarchies. David Howarth examines the intersection of art and political power between the accession of the Tudors and the outbreak of civil war and draws on images of the Royal court to fashion his innovative cultural and political history. Howarth concentrates on the public uses and political exploitation of Renaissance art, rather than its quality or the creative process behind it. He argues that the English ruling class used and manipulated portraiture, architecture, the decorative arts, and spectacle in order to reinforce its own power and preserve England's political status quo. Howarth carefully studies the royal palaces, commissioned portraits, tombs, and period monuments to show how each work influenced--and was influenced by--politics. Even England's highly political battle between Catholicism and Protestantism found expression in religious architecture and painting. Contesting the orthodox view that no important works of art were produced in Britain from 1485 to 1649, Howarth finds proof to the contrary in the work of Sir AnthonyVan Dyck, Christopher Wren, Hans Holbein, and Inigo Jones, among others. Finally, Howarth addresses the political implications of the decisions made by art patrons, collectors, and critics. Of great interest are the critical reactions to art and architecture recorded by contemporary writers such as the Renaissance poet John Skelton and civil war polemicist William Prynne. This is a fascinating and highly readable account of the vital role the visual arts played in Great Britain during the Tudor and early Stuart monarchies. David Howarth examines the intersection of art and political power between the accession of the Tudors and the outbreak of civil war and draws on images of the Royal court to fashion his innovative cultural and political history. Howarth concentrates on the public uses and political exploitation of Renaissance art, rather than its quality or the creative process behind it. He argues that the English ruling class used and manipulated portraiture, architecture, the decorative arts, and spectacle in order to reinforce its own power and preserve England's political status quo. Howarth carefully studies the royal palaces, commissioned portraits, tombs, and period monuments to show how each work influenced--and was influenced by--politics. Even England's highly political battle between Catholicism and Protestantism found expression in religious architecture and painting. Contesting the orthodox view that no important works of art were produced in Britain from 1485 to 1649, Howarth finds proof to the contrary in the work of Sir AnthonyVan Dyck, Christopher Wren, Hans Holbein, and Inigo Jones, among others. Finally, Howarth addresses the political implications of the decisions made by art patrons, collectors, and critics. Of great interest are the critical reactions to art and architecture recorded by contemporary writers such as the Renaissance poet John Skelton and civil war polemicist William Prynne.