The authors discuss the publication of Cline's "After 1177 B.C.: The Survival of Civilizations" and Fawkes' graphic novel adaptation of Cline's previous bestseller, "1177 B.C."
In the gripping sequel to his bestselling "1177 B.C.: The Survival of Civilizations," Cline tells the story of what happened after the Bronze Age collapsed.
Glynnis Fawkes's new graphic novel is an adaptation of Cline’s earlier book, "1177 BC.: A Graphic History of the Year Civilization Collapsed."
Praise for Cline's new title: “A landmark book: lucid, deep, and insightful . . . You cannot understand human civilization and self-organization without studying what happened on, before, and after 1177 B.C.” —Nassim Nicholas Taleb, bestselling author of "The Black Swan"
In Conversation:
Eric H. Cline is professor of classics and anthropology at George Washington University. He is best known for his "1177 B.C.: The Year Civilization Collapsed."
Glynnis Fawkes is the author-illustrator of "Charlotte Brontë before Jane Eyre" and "Persephone’s Garden," among other books, and her comics have appeared on the website of The New Yorker. She has worked as an archaeological illustrator around the Aegean and Eastern Mediterranean, and teaches at the Center for Cartoon Studies in Vermont.
Miguel Centeno is the Musgrave Professor of Sociology and Executive Vice-Dean of SPIA (on leave) at Princeton University. His latest publications are "War and Society" (Polity, 2016), "Global Capitalism" (Polity, 2010), "States in the Developing World" (Cambridge UP, 2017) and "State and Nation Making in the Iberian World" (Cambridge UP , Vol. 1, 2013; Vol. II, 2018; Vol. III, 2023), and "When Worlds Collapse" (Routledge, 2023). He is the founder of the Research Community on Global Systemic Risk (http://risk.princeton.edu).
Co-sponsored by Labyrinth Books and Princeton University's Center for Collaborative History and presented with support from the National Endowment for the Humanities: Any views, findings, conclusions or recommendations expressed in this programming do not necessarily represent those of the National Endowment for the Humanities.