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"A high school field hockey star must choose between her love of the game and her new, distractingly beautiful rival"--

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"In this masterly book, [Alfani] offers an insightful long-run perspective and fascinating lessons for the future. A must-read!"--Thomas Piketty, author of Capital in the Twenty-First Century A sweeping narrative that shows how the rich historically justified themselves by helping their societies in times of crisis, why they no longer do, and what that may mean for social stability The rich have always fascinated, sometimes in problematic ways. Medieval thinkers feared that the super-rich would act 'as gods among men'; much more recently Thomas Piketty made wealth central to discussions of inequality. In this book, Guido Alfani offers a history of the rich and super-rich in the West, examining who they were, how they accumulated their wealth and what role they played in society. Covering the last thousand years, with frequent incursions into antiquity, and integrating recent research on economic inequality, Alfani finds--despite the different paths to wealth in different eras--fundamental continuities in the behaviour of the rich and public attitudes towards wealth across Western history. His account offers a novel perspective on current debates about wealth and income disparity. Alfani argues that the position of the rich and super-rich in Western society has always been intrinsically fragile; their very presence has inspired social unease. In the Middle Ages, an excessive accumulation of wealth was considered sinful; the rich were expected not to appear to be wealthy. Eventually, the rich were deemed useful when they used their wealth to help their communities in times of crisis. Yet in the twenty-first century, Alfani points out, the rich and the super-rich--their wealth largely preserved through the Great Recession and COVID-19--have been exceptionally reluctant to contribute to the common good in times of crisis, rejecting even such stopgap measures as temporary tax increases. History suggests that this is a troubling development--for the rich, and for everyone else.

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A provocative case for why immortalizing Greek and Roman culture as "classical" marginalizes and devalues Black lifeGreek and Roman antiquity has been enshrined in disciplines and curricula at all levels of education, perpetuating what the historian of political thought J.G.A. Pocock has called "a conceptual dictatorship on the rest of the planet." Classicism and Other Phobias shows how the concept of "classicism" lacks the capacity to affirm the aesthetic value of Black life and asks whether a different kind of classicism-one of insurgence, fugitivity, and emancipation-is possible. Engaging with the work of Sylvia Wynter and other trailblazers in Black studies while drawing on his own experiences as a Black classicist, Dan-el Padilla Peralta situates the history of the classics in the racial and settler-colonialist settings of early modern and modern Europe and North America. He argues that immortalizing ancient Greek and Roman authors as "the classical" comes at the cost of devaluing Black forms of expression. Is a newfound emphasis on Black classicism the most effective counter to this phobia? In search of answers, Padilla Peralta ranges from the poetry of Juan de Castellanos to the writings of W.E.B. Du Bois and paintings by contemporary artists Kehinde Wiley and Harmonia Rosales. Based on the prestigious W.E.B. Du Bois Lectures delivered at Harvard University, Classicism and Other Phobias draws necessary attention to the inability of the classics as a field of study to fully cope with Blackness and Black people.

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