What We Are Reading Today: The Cognitive Challenge of War: Prussia 1806 by Peter Paret

Updated 15 August 2018
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What We Are Reading Today: The Cognitive Challenge of War: Prussia 1806 by Peter Paret

  • Fields of history that are often kept separate are brought together in this book, which seeks to replicate the links between different areas of thought and action as they exist in reality and shape events

Responding to the enemy’s innovation in war presents problems to soldiers and societies of all times. This book traces Napoleon’s victory over Prussia in 1806 and Prussia’s effort to recover from defeat to show how in one particular historical episode operational analyzes together with institutional and political decisions eventually turned defeat to victory.

The author moves from a comparative study of French and Prussian forces to campaign narrative and strategic analysis. He examines processes of change in institutions and doctrine, as well as their dependence on social and political developments, and interprets works of art and literature as indicators of popular and elite attitudes toward war, which influence the conduct of war and the kind and extent of military innovation. In the concluding chapter he addresses the impact of 1806 on two men who fought on opposing sides in the campaign and sought a new theoretical understanding of war — Henri Jomini and Carl von Clausewitz.

Fields of history that are often kept separate are brought together in this book, which seeks to replicate the links between different areas of thought and action as they exist in reality and shape events.

Peter Paret is professor emeritus at the Institute for Advanced Study. He has written widely on the history of war and society and on the relationship of art, society, and politics. He is the author of Clausewitz and the State (Princeton), now in its third revised edition. Most recently he gave the 2008 Lees Knowles Lectures at Cambridge University, on which this book is based, and was guest curator for the spring 2009 exhibition Myth and Modernity at the Princeton University Art Museum.


What We Are Reading Today: ‘A Love Story from the End of the World’

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Updated 17 January 2026
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What We Are Reading Today: ‘A Love Story from the End of the World’

Author: Juhea Kim

Juhea Kim’s 2024 climate fiction work “A Love Story from the End of the World,” turns the climate catastrophe inward, offering ten stories where environmental collapse is felt in the fragile interiors of the human experience.

The short stories in this book imagine a familiar world where ecological collapse is a lived reality. Global cities are sealed inside domes to survive toxic air. Humans drift across ruined landscapes on mobile arks. Islands become landfills for the waste of richer nations. 

Yet Kim keeps her focus trained on the human scale, writing about how people continue to reach for life and one another even as the ground beneath becomes less stable.

They are all love stories, though not in the traditional sense. Some explore romance and longing, others center on family bonds, friendship, or the connection between humans and the natural world.

The writing is clear and precise, never overwrought, delivering characters’ thoughts and emotions while keeping the bigger concerns in clear view.

“Mountain, Island” follows a boy living on a massive landfill island who gains online fame for his K-pop-inspired dances. The contrast between joy and horror is almost unbearable, and it brings to light the global inequalities that we have grown far too used to accepting. 

In “Biodome,” the opening story, Seoul is sealed beneath a protective dome and follows a civil engineer navigating prospects for an arranged marriage. Intimacy and connection feel constrained, shaped by a reality where even the air is controlled and the possibilities of life have narrowed.

“Bioark,” meanwhile, imagines humanity surviving aboard a massive ark after Earth’s land becomes uninhabitable, using this floating world to examine class and capitalism even at the end of everything. 

Kim has spoken in interviews about conceiving this short story collection as an exhibition, inspired by colors and life changing art experiences around the world. Each story, indeed, feels like a distinct work, yet is enriched by its neighbors. Read together, they form a gallery of love, grief and hope.

“A Love Story from the End of the World” is not a fun and cozy read, despite the title. It is heavy, often heartbreaking, and attentive to the ways we remain human even as the world falls apart. 

Readers who loved “How High We Go in the Dark” by Sequoia Nagamatsu or “What We Fed to the Manticore” by Talia Lakhsmi Kolluri, will find a familiar ache in these stories, and perhaps something to ponder long after the final page is turned.