We are surrounded by images, fairly drowning in them. From our cell phones to our computers, from our televisions at home to the screens that light up while we wait in the grocery store checkout line, images of all kinds are seducing us, commanding us to ibuy i, scaring us, dazzling us. p iFear, Reverence, Terrori invites us to look at images slowly, with the help of a few examples Picasso's iGuernicai, the Lord Kitchener Wants You World War I recruitment poster, Jacques-Louis David's iMarati, the frontispiece of Thomas Hobbes's iLeviathani, a cup of gilded silver with scenes from the conquest of the New World. Are these political images, Carlo Ginzburg asks Yes, because every image is, in a sense, political--an instrument of power. Tacitus once wrote, unforgettably, that we are enslaved by lies of which we ourselves are the authors. Is it possible to break this bond iFear, Reverence, Terrori will answer this question. p Praise for Ginzburg p Ginzburg has many claims to be considered t