Non-Fiction Books

BANCROFF PRIZE WINNER • King Philip's War, the excruciating racial war—colonists against Indigenous peoples—that erupted in New England in 1675, was, in proportion to population, the bloodiest in American history. Some even argued that the massacres and outrages on both sides were too horrific to "deserve the name of a war." The war's brutality compelled the colonists to defend themselves against accusations that they had become savages. But Jill Lepore makes clear that it was after the war—and because of it—that the boundaries between cultures, hitherto blurred, turned into rigid ones. King Philip's War became one of the most written-about wars in our history, and Lepore argues that the words strengthened and hardened feelings that, in turn, strengthened and hardened the enmity between Indigenous peoples and Anglos. Telling the story of what may have been the bitterest of American conflicts, and its reverberations over the centuries, Lepore has enabled us to see how the ways in which we remember past events are as important in their effect on our history as were the events themselves.

What ties Americans to one another? What unifies a nation of citizens with different racial, religious and ethnic backgrounds? These were the dilemmas faced by Americans in the eighteenth and nineteenth centuries as they sought ways to bind the newly United States together. In A is for American , award-winning historian Jill Lepore portrays seven men who turned to language to help shape a new nation’s character and boundaries. From Noah Webster’s attempts to standardize American spelling, to Alexander Graham Bell’s use of “Visible Speech” to help teach the deaf to talk, to Sequoyah’s development of a Cherokee syllabary as a means of preserving his people’s independence, these stories form a compelling portrait of a developing nation’s struggles. Lepore brilliantly explores the personalities, work, and influence of these figures, seven men driven by radically different aims and temperaments. Through these superbly told stories, she chronicles the challenges faced by a young country trying to unify its diverse people.

PULITZER PRIZE FINALIST • ANISFIELD-WOLF AWARD WINNER • A revelatory study of the ways in which slavery both destabilized and created American politics. “Vivid and provocative; [Lepore] evokes eighteenth-century New York in all its moral and physical messiness.” — The New Yorker “A historical study that is both intellectually rigorous and broadly accessible. . . . The type of book that we need to read and historians need to write, more often.” — Newsday In New York Burning , Bancroft Prize-winning historian Jill Lepore recounts these dramatic events of 1741, when ten fires blazed across Manhattan and panicked whites suspecting it to be the work a slave uprising went on a rampage. In the end, thirteen black men were burned at the stake, seventeen were hanged and more than one hundred black men and women were thrown into a dungeon beneath City Hall. Even back in the seventeenth century, the city was a rich mosaic of cultures, communities and colors, with slaves making up a full one-fifth of the population. Exploring the political and social climate of the times, Lepore dramatically shows how, in a city rife with state intrigue and terror, the threat of black rebellion united the white political pluralities in a frenzy of racial fear and violence.

Renowned Harvard scholar and New Yorker staff writer Jill Lepore has composed a strikingly original, ingeniously conceived, and beautifully crafted history of American ideas about life and death from before the cradle to beyond the grave. How does life begin? What does it mean? What happens when we die? “All anyone can do is ask,” Lepore writes. “That's why any history of ideas about life and death has to be, like this book, a history of curiosity.” Lepore starts that history with the story of a seventeenth-century Englishman who had the idea that all life begins with an egg and ends it with an American who, in the 1970s, began freezing the dead. In between, life got longer, the stages of life multiplied, and matters of life and death moved from the library to the laboratory, from the humanities to the sciences. Lately, debates about life and death have determined the course of American politics. Each of these debates has a history. Investigating the surprising origins of the stuff of everyday life—from board games to breast pumps—Lepore argues that the age of discovery, Darwin, and the Space Age turned ideas about life on earth topsy-turvy. “New worlds were found,” she writes, and “old paradises were lost.” As much a meditation on the present as an excavation of the past, The Mansion of Happiness is delightful, learned, and altogether beguiling.

From celebrated writer Jill Lepore, a literary and political history of American origin stories In The Story of America , Harvard historian and New Yorker staff writer Jill Lepore investigates American origin stories―from John Smith's account of the founding of Jamestown in 1607 to Barack Obama's 2009 inaugural address―to show how American democracy is bound up with the history of print. Over the centuries, Americans have read and written their way into a political culture of ink and type. Part civics primer, part cultural history, The Story of America excavates the origins of everything from the paper ballot and the Constitution to the I.O.U. and the dictionary. Along the way it presents fresh readings of Benjamin Franklin's Way to Wealth , Thomas Paine's Common Sense , "The Raven" by Edgar Allan Poe, and "Paul Revere's Ride" by Henry Wadsworth Longfellow, as well as histories of lesser-known genres, including biographies of presidents, novels of immigrants, and accounts of the Depression. From past to present, Lepore argues, Americans have wrestled with the idea of democracy by telling stories. In this thoughtful and provocative book, Lepore offers at once a history of origin stories and a meditation on storytelling itself.

National Book Award Finalist From one of our most accomplished and widely admired historians, a revelatory portrait of Benjamin Franklin’s youngest sister and a history of history itself. Like her brother, Jane Franklin was a passionate reader, a gifted writer, and an astonishingly shrewd political commentator. Unlike him, she was a mother of twelve. Benjamin Franklin, who wrote more letters to his sister than he wrote to anyone else, was the original American self-made man; his sister spent her life caring for her children. They left very different traces behind. Making use of an amazing cache of little-studied material, including documents, objects, and portraits only just discovered, Jill Lepore brings Jane Franklin to life in a way that illuminates not only this one woman but an entire world—a world usually lost to history. Lepore’s life of Jane Franklin, with its strikingly original vantage on her remarkable brother, is at once a wholly different account of the founding of the United States and one of the great untold stories of American history and letters: a life unknown.

A riveting work of historical detection revealing that the origin of one of the world’s most iconic superheroes hides within it a fascinating family story—and a crucial history of twentieth-century feminism Wonder Woman, created in 1941, is the most popular female superhero of all time. Aside from Superman and Batman, no superhero has lasted as long or commanded so vast and wildly passionate a following. Like every other superhero, Wonder Woman has a secret identity. Unlike every other superhero, she has also has a secret history. Harvard historian and New Yorker staff writer Jill Lepore has uncovered an astonishing trove of documents, including the never-before-seen private papers of William Moulton Marston, Wonder Woman’s creator. Beginning in his undergraduate years at Harvard, Marston was influenced by early suffragists and feminists, starting with Emmeline Pankhurst, who was banned from speaking on campus in 1911, when Marston was a freshman. In the 1920s, Marston and his wife, Sadie Elizabeth Holloway, brought into their home Olive Byrne, the niece of Margaret Sanger, one of the most influential feminists of the twentieth century. The Marston family story is a tale of drama, intrigue, and irony. In the 1930s, Marston and Byrne wrote a regular column for Family Circle celebrating conventional family life, even as they themselves pursued lives of extraordinary nonconformity. Marston, internationally known as an expert on truth—he invented the lie detector test—lived a life of secrets, only to spill them on the pages of Wonder Woman. The Secret History of Wonder Woman is a tour de force of intellectual and cultural history. Wonder Woman, Lepore argues, is the missing link in the history of the struggle for women’s rights—a chain of events that begins with the women’s suffrage campaigns of the early 1900s and ends with the troubled place of feminism a century later.

From New Yorker staff writer and Harvard historian Jill Lepore, the dark, spellbinding tale of her restless search for the long-lost, longest book ever written, a century-old manuscript called “The Oral History of Our Time.” Joe Gould, a madman, believed he was the most brilliant historian of the twentieth century. So did some of his friends, a group of modernist writers and artists that included E. E. Cummings, Marianne Moore, William Carlos Williams, John Dos Passos, and Ezra Pound. Gould began his life’s work before the First World War, announcing that he intended to write down nearly everything anyone ever said to him. “I am trying to preserve as much detail as I can about the normal life of every day people,” he explained, because “as a rule, history does not deal with such small fry.” By 1942, when The New Yorker published a profile of Gould written by the reporter Joseph Mitchell, Gould’s manuscript had grown to more than nine million words. But when Gould died in 1957, in a mental hospital, the manuscript was nowhere to be found. Then, in 1964, in “Joe Gould’s Secret,” a second profile, Mitchell claimed that “The Oral History of Our Time” had been, all along, merely a figment of Gould’s imagination. Lepore, unpersuaded, decided to find out. Joe Gould’s Teeth is a Poe-like tale of detection, madness, and invention. Digging through archives all over the country, Lepore unearthed evidence that “The Oral History of Our Time” did in fact once exist. Relying on letters, scraps, and Gould’s own diaries and notebooks—including volumes of his lost manuscript—Lepore argues that Joe Gould’s real secret had to do with sex and the color line, with modernists’ relationship to the Harlem Renaissance, and, above all, with Gould’s terrifying obsession with the African American sculptor Augusta Savage. In ways that even Gould himself could not have imagined, what Gould wrote down really is a history of our time: unsettling and ferocious.

“Nothing short of a masterpiece.” ―NPR Books A New York Times Bestseller and a Washington Post Notable Book of the Year In the most ambitious one-volume American history in decades, award-winning historian Jill Lepore offers a magisterial account of the origins and rise of a divided nation. Widely hailed for its “sweeping, sobering account of the American past” ( New York Times Book Review ), Jill Lepore’s one-volume history of America places truth itself―a devotion to facts, proof, and evidence―at the center of the nation’s history. The American experiment rests on three ideas―“these truths,” Jefferson called them―political equality, natural rights, and the sovereignty of the people. But has the nation, and democracy itself, delivered on that promise? These Truths tells this uniquely American story, beginning in 1492, asking whether the course of events over more than five centuries has proven the nation’s truths, or belied them. To answer that question, Lepore wrestles with the state of American politics, the legacy of slavery, the persistence of inequality, and the nature of technological change. “A nation born in contradiction… will fight, forever, over the meaning of its history,” Lepore writes, but engaging in that struggle by studying the past is part of the work of citizenship. With These Truths , Lepore has produced a book that will shape our view of American history for decades to come. 70 illustrations

A New York Times Book Review Editors’ Choice Selection One of President Bill Clinton’s “Best Things I’ve Read This Year” From the acclaimed historian and New Yorker writer comes this urgent manifesto on the dilemma of nationalism and the erosion of liberalism in the twenty-first century. At a time of much despair over the future of liberal democracy, Jill Lepore makes a stirring case for the nation in This America , a follow-up to her much-celebrated history of the United States, These Truths . With dangerous forms of nationalism on the rise, Lepore, a Harvard historian and New Yorker staff writer, repudiates nationalism here by explaining its long history―and the history of the idea of the nation itself―while calling for a “new Americanism”: a generous patriotism that requires an honest reckoning with America’s past. Lepore begins her argument with a primer on the origins of nations, explaining how liberalism, the nation-state, and liberal nationalism, developed together. Illiberal nationalism, however, emerged in the United States after the Civil War―resulting in the failure of Reconstruction, the rise of Jim Crow, and the restriction of immigration. Much of American history, Lepore argues, has been a battle between these two forms of nationalism, liberal and illiberal, all the way down to the nation’s latest, bitter struggles over immigration. Defending liberalism, as This America demonstrates, requires making the case for the nation. But American historians largely abandoned that defense in the 1960s when they stopped writing national history. By the 1980s they’d stopped studying the nation-state altogether and embraced globalism instead. “When serious historians abandon the study of the nation,” Lepore tellingly writes, “nationalism doesn’t die. Instead, it eats liberalism.” But liberalism is still in there, Lepore affirms, and This America is an attempt to pull it out. “In a world made up of nations, there is no more powerful way to fight the forces of prejudice, intolerance, and injustice than by a dedication to equality, citizenship, and equal rights, as guaranteed by a nation of laws.” A manifesto for a better nation, and a call for a “new Americanism,” This America reclaims the nation’s future by reclaiming its past.

Longlisted • National Book Award (Nonfiction) Best Books of 2020 • Financial Times Best Books of Fall 2020: O, The Oprah Magazine , The Observer , Boston.com Most Anticipated Books of Fall 2020: TIME A revelatory account of the Cold War origins of the data-mad, algorithmic twenty-first century, from the author of the acclaimed international bestseller These Truths . The Simulmatics Corporation, launched during the Cold War, mined data, targeted voters, manipulated consumers, destabilized politics, and disordered knowledge―decades before Facebook, Google, and Cambridge Analytica. Jill Lepore, best-selling author of These Truths , came across the company’s papers in MIT’s archives and set out to tell this forgotten history, the long-lost backstory to the methods, and the arrogance, of Silicon Valley. Founded in 1959 by some of the nation’s leading social scientists―“the best and the brightest, fatally brilliant, Icaruses with wings of feathers and wax, flying to the sun”―Simulmatics proposed to predict and manipulate the future by way of the computer simulation of human behavior. In summers, with their wives and children in tow, the company’s scientists met on the beach in Long Island under a geodesic, honeycombed dome, where they built a “People Machine” that aimed to model everything from buying a dishwasher to counterinsurgency to casting a vote. Deploying their “People Machine” from New York, Washington, Cambridge, and even Saigon, Simulmatics’ clients included the John F. Kennedy presidential campaign, the New York Times, the Department of Defense, and dozens of major manufacturers: Simulmatics had a hand in everything from political races to the Vietnam War to the Johnson administration’s ill-fated attempt to predict race riots. The company’s collapse was almost as rapid as its ascent, a collapse that involved failed marriages, a suspicious death, and bankruptcy. Exposed for false claims, and even accused of war crimes, it closed its doors in 1970 and all but vanished. Until Lepore came across the records of its remains. The scientists of Simulmatics believed they had invented “the A-bomb of the social sciences.” They did not predict that it would take decades to detonate, like a long-buried grenade. But, in the early years of the twenty-first century, that bomb did detonate, creating a world in which corporations collect data and model behavior and target messages about the most ordinary of decisions, leaving people all over the world, long before the global pandemic, crushed by feelings of helplessness. This history has a past; If Then is its cautionary tale. 20 black-and-white illustrations

"Jill Lepore is unquestionably one of America’s best historians; it’s fair to say she’s one of its best writers too." —Jonathan Russell Clark, Los Angeles Times Best Books of 2023: New Yorker, TIME A book to be read and kept for posterity, The Deadline is the art of the essay at its best. Few, if any, historians have brought such insight, wisdom, and empathy to public discourse as Jill Lepore. Arriving at The New Yorker in 2005, Lepore, with her panoptical range and razor-sharp style, brought a transporting freshness and a literary vivacity to everything from profiles of long-dead writers to urgent constitutional analysis to an unsparing scrutiny of the woeful affairs of the nation itself. The astonishing essays collected in The Deadline offer a prismatic portrait of Americans’ techno-utopianism, frantic fractiousness, and unprecedented—but armed—aimlessness. From lockdowns and race commissions to Bratz dolls and bicycles, to the losses that haunt Lepore’s life, these essays again and again cross what she calls the deadline , the “river of time that divides the quick from the dead.” Echoing Gore Vidal’s United States in its massive intellectual erudition, The Deadline , with its remarkable juxtaposition of the political and the personal, challenges the very nature of the essay—and of history—itself.

From the best-selling author of These Truths comes We the People , a stunning new history of the U.S. Constitution, for a troubling new era. The U.S. Constitution is among the oldest constitutions in the world but also one of the most difficult to amend. Jill Lepore, Harvard professor of history and law, explains why in We the People , the most original history of the Constitution in decades―and an essential companion to her landmark history of the United States, These Truths . Published on the occasion of the 250th anniversary of the nation’s founding―the anniversary, too, of the first state constitutions― We the People offers a wholly new history of the Constitution. “One of the Constitution’s founding purposes was to prevent change,” Lepore writes. “Another was to allow for change without violence.” Relying on the extraordinary database she has assembled at the Amendments Project, Lepore recounts centuries of attempts, mostly by ordinary Americans, to realize the promise of the Constitution. Yet nearly all those efforts have failed. Although nearly twelve thousand amendments have been introduced in Congress since 1789, and thousands more have been proposed outside its doors, only twenty-seven have ever been ratified. More troubling, the Constitution has not been meaningfully amended since 1971. Without recourse to amendment, she argues, the risk of political violence rises. So does the risk of constitutional change by presidential or judicial fiat. Challenging both the Supreme Court’s monopoly on constitutional interpretation and the flawed theory of “originalism,” Lepore contends in this “gripping and unfamiliar story of our own past” that the philosophy of amendment is foundational to American constitutionalism. The framers never intended for the Constitution to be preserved, like a butterfly, under glass, Lepore argues, but expected that future generations would be forever tinkering with it, hoping to mend America by amending its Constitution through an orderly deliberative and democratic process. Lepore’s remarkable history seeks, too, to rekindle a sense of constitutional possibility. Congressman Jamie Raskin writes that Lepore “has thrown us a lifeline, a way of seeing the Constitution neither as an authoritarian straitjacket nor a foolproof magic amulet but as the arena of fierce, logical, passionate, and often deadly struggle for a more perfect union.” At a time when the Constitution’s vulnerability is all too evident, and the risk of political violence all too real, We the People , with its shimmering prose and pioneering research, hints at the prospects for a better constitutional future, an amended America. 90 black-and-white illustrations