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Why should we care about the past? For millennia, humanity has sought to understand and transmit to future generations not just the “know-how” of life, but the “know-why”—the meaning and purpose of our existence, as expressed in art, architecture, religion, and philosophy. This crucial passing down of knowledge has required the radical integration of insights from the past and from other cultures. In Culture, acclaimed author, professor, and public intellectual Martin Puchner takes us on a breakneck tour through pivotal moments in world history, providing a global introduction to the arts and humanities in one engaging volume.   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At times, then, the anti-theatrical impulse leads to a withdrawal from the theater. At other times, however, it returns to the stage, when Yeats blends lyric poetry with Japanese Noh dancers, when Brecht controls the stage with novelistic techniques, and when Beckett buries his actors in barrels and behind obsessive stage directions. The modernist theater thus owes much to the closet drama whose literary strategies it blends with a new mise en scene. 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This hybrid language, dubbed Rotwelsch, facilitated survival for people in flight—whether escaping persecution or just down on their luck. It was a language of the road associated with vagabonds, travelers, Jews, and thieves that blended words from Yiddish, Hebrew, German, Romani, Czech, and other European languages and was rich in expressions for police, jail, or experiencing trouble, such as \"being in a pickle.\" This renegade language unsettled those in power, who responded by trying to stamp it out, none more vehemently than the Nazis.   As a boy, Martin Puchner learned this secret language from his father and uncle. Only as an adult did he discover, through a poisonous 1930s tract on Jewish names buried in the archives of Harvard’s Widener Library, that his own grandfather had been a committed Nazi who despised this \"language of thieves.\" Interweaving family memoir with an adventurous foray into the mysteries of language, Puchner crafts an entirely original narrative. 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The rapid diffusion of these manifestos was made \"possible by networks--such as the successive socialist internationals and international avant-garde movements--that connected Santiago and Zurich, Moscow and New York, London and Mexico City. 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At times, then, the anti-theatrical impulse leads to a withdrawal from the theater. At other times, however, it returns to the stage, when Yeats blends lyric poetry with Japanese Noh dancers, when Brecht controls the stage with novelistic techniques, and when Beckett buries his actors in barrels and behind obsessive stage directions. The modernist theater thus owes much to the closet drama whose literary strategies it blends with a new mise en scene. 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Through sixteen foundational texts selected from more than four thousand years of world literature, he shows us how writing has inspired the rise and fall of empires and nations, the spark of philosophical and political ideas, and the birth of religious beliefs.\u003cbr\u003e \u003cbr\u003e We meet Murasaki, a lady from eleventh-century Japan who wrote the first novel, \u003ci\u003eThe Tale of Genji\u003c\/i\u003e, and follow the adventures of Miguel de Cervantes as he battles pirates, both seafaring and literary. We watch Goethe discover world literature in Sicily, and follow the rise in influence of \u003ci\u003eThe\u003c\/i\u003e \u003ci\u003eCommunist Manifesto\u003c\/i\u003e. Puchner takes us to Troy, Pergamum, and China, speaks with Nobel laureates Derek Walcott in the Caribbean and Orhan Pamuk in Istanbul, and introduces us to the wordsmiths of the oral epic \u003ci\u003eSunjata\u003c\/i\u003e in West Africa. 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The breathtaking scope and infectious enthusiasm of this book are a tribute to that ideal.\"\u003cb\u003e--\u003ci\u003eThe Sunday Times\u003c\/i\u003e (U.K.) \u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \"Enthralling . . . Perfect reading for a long chilly night . . . 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From Nefertiti’s lost city to the plays of Wole Soyinka; from the theaters of ancient Greece to Chinese travel journals to Arab and Aztec libraries; from a South Asian statuette found at Pompeii to a time capsule left behind on the Moon, Puchner tells the gripping story of human achievement through our collective losses and rediscoveries, power plays and heroic journeys, innovations, imitations, and appropriations. More than a work of history, Culture is an archive of humanity’s most monumental junctures and a guidebook for the future of us humans as a creative species. 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