Search results for ""author ivan"

On the night of November 7, 1841, the Creole, a brig transporting at least 135 slaves from Richmond, Virginia, to the auction block at New Orleans, was about 130 miles northeast of the Bahamas. In the darkness, a band of 19 slaves led by Madison Washington seized the crew and its captain. Over the next several days they forced the Creole to sail into Nassau harbor, where the British authorities offered freedom to the slaves on board, touching off a diplomatic squabble and continuing legal ramifications. In The Creole Mutiny, George and Willene Hendrick have pieced together, from scant information and remote sources, the story of this successful slave revolt and of the mysterious figure of Madison Washington, a fugitive slave who had been recaptured while trying to free his wife. With careful attention to background details, the authors describe what is known of Washington's life; the efforts of fugitive slaves to free other family members; the methods of slave traders and the operators of slave pens; the conditions on slave ships; and the sexual exploitation of female slaves, some mere children. In an Appendix, the authors show how Madison Washington has taken on mythic qualities in the works of major African-American writers, from Frederick Douglass to Theodore Ward. With 24 black-and-white illustrations. "Fascinating...compelling history."—Vernon Ford, Booklist

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The sixth winner of the annual New Criterion Poetry Prize is Bill Coyle's The God of This World to His Prophet. Mr. Coyle's first collection of poems spans the divide between the minutely considered trappings of an often hard-bitten and desolate world and the larger, more elusive questions of belief. Shifting easily through registers of sober reflection, gentle satire, and even outright humor, his poems encompass landscape and dramatic situation with equal skill. Decoding the import in a stand of leafless trees or recounting the melancholy ruminations of a solitary figure in winter, Mr. Coyle finds "imaginings / projected on a darkened world of things." Also included are a number of poems translated from the Swedish that dovetail seamlessly with the author's own sensibility and concerns. His virtuosic mastery of prosodic forms, far from occluding his deeply felt subjects, reveals them to us with great force and immediacy. As Mr. Coyle puts it with characteristic precision and grace, "Artifice, at its heart, is the human touch describing / lucidly what the world, stripped to its essence, is."

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It will soon be a hundred years since the death of Anton Chekhov. He was apt to remark that immortality is rubbish, but what has happened to his creative legacy in the last century matches all of man’s metaphors that express the idea of immortality. And the process continues, overcoming boundaries of time and space, and taking different form in different countries. In this luminous book of criticism, Chekhov’s foremost Russian interpreter offers to Western readers a remarkably clear and commanding appraisal of the master’s work. Vladimir Kataev concerns himself chiefly with Chekhov’s unique treatment of a wide range of diverse themes, motifs, and situations. With ringing authority and critical common sense, he examines Chekhov’s major tales, stories, and plays, pointing out patterns of development in Chekhov’s approach to characters and themes, and tracing the roots of Chekhov’s ideas as expressed through his plots. The hallmark of Mr. Kataev’s interpretations is their clarity. No one who has endured tortuous explanations of Chekhov will fail to welcome his lucid criticism. With his careful arguments, he quietly undermines many conventional (and persistent) approaches to Chekhov, Western as well as Russian, and establishes a radically new position of his own.

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With health reform enacted by the Congress and signed by the President, the subject matter of The Treatment Trap is a compelling component in the national debate. Taking advantage of Rosemary Gibson's knowledge gleaned from extended experience in the field of medical care and Janardan Singh's similar knowledge but from a financial perspective, the authors explore the most neglected issue in American medicine today: the overuse of medical care, including needless surgery and other invasive procedures, out-of-control x-ray imaging, profligate testing, and other wasteful practices that have become routine among too many American doctors. Their combined reporting and analysis concentrates on the human aspects of this disturbing trend in health care, with personal experiences that reflect poorly on hospitals as well as physicians. They show how money spent for questionable and even useless care is diverting major funds that could be better used to treat patients who are genuinely sick and sometimes cannot afford the extravagant charges of the American health-care system. Their suggestions for reforming the delivery of health care, and their cautions to individual consumers about how to deal with situations they may encounter, make The Treatment Trap essential reading for medical care consumers, health-care professionals, and policymakers alike.

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A history of Ireland from the twelfth century to the present, following on the author's highly successful In Search of Ancient Ireland. In addition to plumbing the historical record, Ms. McCaffrey discusses the leading Irish families and their social roles, and the great castles and homes that dot the Irish countryside. The history comes alive for the present-day reader. Illustrated.

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The story of baseball in America begins not with the fabled Abner Doubleday but with a generation of mid-nineteenth-century Americans who moved from the countryside to the cities and brought a cherished but delightfully informal game with them. But Didn't We Have Fun? will make you rethink everything you thought you knew about baseball's origins. Peter Morris, author of the prizewinning A Game of Inches, takes a fresh look at the early amateur years of the game. Mr. Morris retrieves a lost era and a lost way of life. Offering a challenging new perspective on baseball's earliest years, and conveying the sense of delight that once pervaded the game and its players, Mr. Morris supplants old myths with a story just as marvelous-but one that really happened. With 25 rare photographs and drawings.

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In this witty and candid perspective on American television, the Pulitzer Prize–winning critic Howard Rosenberg traces a disturbing pattern: TV's relentless pursuit of the mundane in its seeming quest to dumb-down America. And, he writes, it may be succeeding. How else to interpret the onslaught of look-alike, deceptively titled "reality" shows that have transformed much of prime time into a cratered moonscape? The longer mediocrity endures, Mr. Rosenberg advises, the greater the chance we will become permanently desensitized to it—and seduced by it—making third-rate the standard. He finds occasional heroes but more often rogues. Many of his essays in Not So Prime Time relate to television news, which the author charges has failed dismally in its shrilly self-proclaimed role as a Bethlehem star of enlightenment, its influence continuing to widen in circles that value tabloid over truth. He finds it hard to say, in fact, whether there is more "reality" in Survivor or in a typical newscast on CNN, the Fox News Channel, or MSNBC. News and entertainment now mingle on TV as intimately as singles snorting up together at a cocktail party, becoming interchangeable, with newscasts cross-dressing as theater, and vice versa. Not So Prime Time records how this has happened—not overnight; the crud has been creeping forward for years. Oh the horror.

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In this bracing collection of provocative essays, Michael Knox Beran examines the false benevolence that characterizes the power classes in contemporary America. Their enlightened pity for their fellow citizens, he charges, conceals an instinct for power rather than compassion. Mr. Beran argues that today's elites have come to rely on a social philosophy that reduces people to a mass of social groups and types, obscures their individual humanity, and makes them easier to manipulate. While they tragically conceive their desire for authority as a form of virtue, the elite classes have set about remaking schools, rewriting the U.S. Constitution, dehumanizing charity, and making war on tradition in the name of a crude form of Social Darwinism. Through readings of such inspired critics of the social imagination as Hannah Arendt, Isaiah Berlin, Ralph Waldo Emerson, and Abraham Lincoln, Mr. Beran exposes the romance of dominion that underlies the philosophy of social benevolence, a philosophy that has steadily undermined the older and more valuable tradition that Edmund Burke associated with the moral imagination. In seeking to depose this moral impulse in the pantheon of culture, and enshrine the social imagination in its place, today's elites have weakened not only liberalism but also conservatism-indeed society as a whole. Where the moral imagination is not regularly and habitually cultivated, Mr. Beran observes, where it ceases to have a place in education and art, in schools and in the town square, it becomes more difficult even for the best-intentioned among us to resist the allure of a narrow and obtuse self-righteousness. Pathology of the Elites features a fresh voice of social criticism that is likely to raise hackles on both sides of the aisle.

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Since the earliest days of colonial America, the relationship between cotton and the African-American experience has been central to the history of the republic. America's most serious social tragedy, slavery and its legacy, spread only where cotton could be grown. Both before and after the Civil War, blacks were assigned to the cotton fields while a pervasive racial animosity and fear of a black migratory invasion caused white Northerners to contain blacks in the South. Gene Dattel's pioneering study explores the historical roots of these most central social issues. In telling detail Mr. Dattel shows why the vastly underappreciated story of cotton is a key to understanding America's rise to economic power. When cotton production exploded to satiate the nineteenth-century textile industry's enormous appetite, it became the first truly complex global business and thereby a major driving force in U.S. territorial expansion and sectional economic integration. It propelled New York City to commercial preeminence and fostered independent trade between Europe and the United States, providing export capital for the new nation to gain its financial "sea legs" in the world economy. Without slave-produced cotton, the South could never have initiated the Civil War, America's bloodiest conflict at home. Mr. Dattel's skillful historical analysis identifies the commercial forces that cotton unleashed and the pervasive nature of racial antipathy it produced. This is a story that has never been told in quite the same way before, related here with the authority of a historian with a profound knowledge of the history of international finance. With 23 black-and-white illustrations.

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As befits a game traditionally passed from one generation to the next, baseball has always had a special reverence for origins. Claims of being first with any element of the game are disputed with fervor and passion. When the octogenarian Fred Goldsmith died in 1939, a headline proclaimed, 'Goldsmith Dies Insisting He Invented Curve Ball'; Fred Goldsmith understood the secret of immortality. Yet while countless thousands of words have been spilled on the subject of baseball “firsts,” there has been no definitive source for the settlement of disputes. Peter Morris's endlessly fascinating A Game of Inches has now arrived to fill the void. Impeccably researched and engagingly written, this treasure trove will surprise, delight, and educate even the most knowledgeable fan by dispelling cherished myths and revealing the source of many of baseball's features that we now take for granted. The scope of A Game of Inches is encyclopedic, with nearly a thousand entries that illuminate the origins of items ranging from catchers' masks to hook slides to intentional walks to cork-center baseballs. But this is much more than just a reference guide. Award-winning author Peter Morris explains the context that led each new item to emerge when it did, and chronicles the often surprising responses to these innovations. Of few books can it genuinely be said that once you start reading, it's hard to put it down—but A Game of Inches is one of them. It belongs in the pantheon of great baseball books, and will give any reader a deeper appreciation of why baseball matters so much to Americans. (A companion volume, A Game of Inches: The Game Behind the Scenes, was published in the fall of 2006.)

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This remarkable, innovative book portrays one of the great American experiences in microcosm. Gerald McFarland tells the story of U.S. westward expansion through the stories of his own ancestors—from their arrival in Massachusetts in 1630, through successive generations that moved west, at length reaching the West Coast in 1900. "A Scattered People enriches the literature and reminds readers that most early Americans lived as the Hardemans and the Adairs and the Browns lived. This is the real American history."—Choice. "The evocation of historical event through the microcosm of the individual life is moving....In these histories of ordinary men and women, McFarland discovers that 'few [Americans] actually rose from rags to riches.'"—Journal of American History. "Except for John Brown, who was a half brother of Mr. McFarland's great-great-grandmother, the people in this history are not famous, but, through the author's meticulous research, every one of them comes to life."—New Yorker. "Full of fascinating historical detail. It is especially valuable for the insight it provides into the way ordinary Americans of the 19th century experienced and confronted the issues and concerns of their time."—Library Journal.

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In late 1913 the newly formed Federal League declared itself a major league in competition with the established National and American Leagues. Backed by some of America’s wealthiest merchants and industrialists, the new organization posed a real challenge to baseball’s prevailing structure. For the next two years the well-established leagues fought back furiously in the press, in the courts, and on the field. The story of this fascinating and complex historical battle centers on the machinations of both the owners and the players, as the Federals struggled for profits and status, and players organized baseball’s first real union. Award winning author, Daniel R. Levitt gives us the most authoritative account yet published of the short-lived Federal League, the last professional baseball league to challenge the National League and American League monopoly.

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Since its first publication more than fifteen years ago, Literature Against Itself has achieved wide recognition as the first major critique of post-1960s cultural radicalism—and still, one of the best. In it, Gerald Graff argues that the reigning strategies for defending literature now end up by trivializing it, and he analyzes why and how they have gone wrong. He charges that our leading literary critics, whether they claim to be traditionalists or innovators, have taken positions that ultimately undermine the authority of art, literature, and criticism itself. "An extraordinarily important book, biting and cogent on every page."—Robert Boyers, Salmagundi. "In this recoil from the current anarchy of interpretation, Graff has affirmed that `literary thinking is inseparable from social and moral thinking."'—New York Times Book Review. "A wonderfully trenchant and illuminating inquiry… the shrewdness and cogency of his commentary are constantly arresting."—Virginia Quarterly Review.

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Pictures made by a lens are inextricably linked to the real world—the world the photographer not only sees but lives in and thinks about. The most ambitious photographs (in an earlier time one might confidently have said the greatest photographs) recognize that an understanding of the identities of things, and of their relationships, is as important as the harmonious combination of the shapes these things make when projected by a lens onto a flat surface. Starting from this premise, and in elegant and incisive prose, Jerry Thompson in Truth and Photography explores the many-leveled relationship between seeing and thinking. The book reproduces (in duotone) and the essays discuss some twenty photographs—some as well known as any the medium has produced, some more obscure, and some never before published. Mr. Thompson's discussions of pictures and picture-taking occasions are not strictly historical, nor are they concerned only with theoretical considerations. They do not rely exclusively on the author's thirty-year experience as a working photographer, nor are they confined to the medium of photography. Rather, Mr. Thompson employs multiple perspectives, usually in the same essay and often on a single picture. His examinations are penetrating, sustained, allusive, and frequently thrilling. They represent not settled explanations but living thought.

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As the 2000 presidential campaign has once again demonstrated, political journalism is an intrusive and nettlesome trade. More important, it is freighted with power—power to do good and also harm. But how much of power is real, and how much mere perception? Prize-winning reporter Robert Shogan draws on the lessons of seven presidential elections to answer these questions in Bad News. He shows how, amidst the upheavals of the 1960s, the press emerged as what many believed was the new dominant force in presidential politics. But as reporters moved into the power vacuum created by the demise of party vitality and the authority of the political bosses, they soon found themselves serving mainly as the instruments of a new political ruling class. The media, Mr. Shogan argues, now play the role of enablers. Without fully realizing it, they allow and abet the abuse of the political process by the candidates and their handlers. Bad News targets not only the machinations of the competing campaigns but the innate weaknesses and limitations of the press corps, with special attention to the 2000 election. “Too often journalists, myself included,” Mr. Shogan writes, “have been unwilling to learn what they do not know, and to make the information they possess relevant and important to their audiences. Too many of us, eager for attention, have been too willing to create stories that are larger than life and reality, and too impressed with our own importance to benefit from the criticism leveled against our work.” Rejecting conventional non-solutions, leavened by wit, and enriched by firsthand reportage, Bad News pierces the fog of pretense and hypocrisy that clouds the turbulent partnership of press and politicians. It provides voters with what they most need: a manual of self-defense against the excesses and distortions of presidential politics.

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The long history of the Federal Bureau of Investigation under J. Edgar Hoover is studded with serious questions about the Bureau’s professionalism and accountability. Revelations in the recent cases of Wen Ho Lee, Robert Hannsen, and Timothy McVeigh illustrate these misgivings. In Chasing Spies, Athan Theoharis, historian and perhaps the foremost authority on the FBI’s record, raises urgent new uncertainties about the Bureau’s behavior—and about the prospects for giving the FBI expanded powers of surveillance during the current national emergency. Mr. Theoharis here redefines the politics of the World War II and cold war eras, moving the debate beyond the narrow perspective triggered by the release of KGB records and intercepted Soviet consular reports (the Venona messages). The intriguing issue, he argues, is not the effectiveness of Soviet espionage activities as supported by the new evidence. Nor is it the long-standing charges of “softness toward communism” in the Roosevelt and Truman administrations. The real issue, he says, is the failure of the FBI to apprehend and convict Soviet agents. Based on meticulous research in FBI files, Chasing Spies uncovers the FBI’s role in the most important espionage cases of the cold war years. The book shows how secrecy immunized FBI operations from critical scrutiny and enabled FBI officials to mask their counterintelligence failures while promoting a politics of McCarthyism.

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This third volume of a projected six reinforces Huxley’s stature as one of the most acute and informed observers of the social and ideological trends of the years between the world wars. It contains the important collection of essays "Music at Night" as well as the majority of Huxley’s journalistic writing for the Hearst newspapers in the United States and for a variety of British periodicals such as Nash’s Pall Mall Magazine, the Evening Standard, and Time and Tide. Much of the attraction of the Hearst essays lies in their vivid period detail: references to the raucous voices of Nazi broadcasters, speeches by Roosevelt and Stalin, Soviet five-year plans, and the effects of the Great Depression combine to provide a rich context for Huxley’s increasingly active role in organized pacifism and his sense of standing on the threshold of a new era. The essays of "Music at Night" define this trend as “the New Romanticism,” a celebration of Enlightenment modernity and an excessive faith in instrumental reason and applied science. Huxley was both intrigued by and suspicious of state planning and centralized bureaucratic authority. The essays in Volume III (and the volume to follow) register his growing ambivalence about the role of technocracy and science in an era of experimentation in the concentration of executive and legislative power. At their best, Huxley’s essays stand among the finest examples of the genre in modern literature. "He was among the few writers who...played with ideas so freely, so gaily, with such virtuosity, that the responsive reader...was dazzled and excited."—Isaiah Berlin.

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The Game Behind the Scenes continues and concludes Peter Morris's superb encyclopedia of the national pastime. The initial volume, The Game on the Field, was called by Library Journal "charming, densely packed, yet entirely accessible.... This is heaven for fans of the game and a required addition to all baseball collections." Endlessly fascinating, impeccably researched, and engagingly written, this treasure trove will surprise, delight, and educate even the most knowledgeable fan by dispelling cherished myths and revealing the source of many of baseball's features that we now take for granted. Together, both volumes of A Game of Inches contain nearly a thousand entries that illuminate the origins of items ranging from catchers' masks to hook slides to intentional walks to cork-center baseballs to the reserve clause of baseball's Basic Agreement. The volume on The Game Behind the Scenes concentrates on ballparks, fans, marketing, statistics, the building of teams, and other related aspects of the game—but this is much more than just a reference guide. Award-winning author Peter Morris explains the context that led each new item to emerge when it did, and chronicles the often surprising responses to these innovations. Of few books can it genuinely be said that once you start reading, it's hard to put it down, but A Game of Inches is one of them. It belongs in the pantheon of great baseball books, and will give any reader a deeper appreciation of why baseball matters so much to Americans. Praise for Peter Morris's Volume One: The Game on the Field

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In November 2002 the Chicago Tribune broke the astonishing story that Chicago-based Poetry magazine had received a bequest of more than $100 million from the amateur poet and pharmaceutical heiress Ruth Lilly, making it at once the richest as well as the most famous literary organization in the United States. What happened before and after this remarkable gift is now revealed in Between the Lines, edited by Poetry's longtime editor Joseph Parisi and its former senior editor Stephen Young. It is a concluding episode in the book that follows on the editors' Dear Editor (2002), which chronicled Poetry's first fifty years through its poignant, hilarious, and brutally frank correspondence with its contributing poets. Dear Editor told the story of Poetry's central role in the Modernist movement and its rise to a position as the acknowledged "magazine of verse." Between the Lines carries the narrative through the second revolution in American poetry, set against the backdrop of the restive early sixties, the tumultuous era of the Vietnam War, and the social upheavals of the last four decades. Virtually all of the close to five hundred letters in the book have never been printed before. In them, famous and aspiring authors tell Poetry's editors of their artistic aspirations, rivalries, problems and successes, unvarnished opinions, and reactions to events of the day, unfolding the improbable tale of how perennially impoverished Poetry survived to make literary—and financial—history. The book is abundantly illustrated with candid photographs, drawings, posters, programs, and clippings from newspapers and magazines.

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Ted Fink's wife heard the explosion from the living room, where she sat reading the day's mail and sipping iced tea. She ran to the front door and saw a massive curling fireball. Her husband was in the flames, she was certain. She called 911, asking for help at the farm.... So begins Michael McCarthy's extraordinary portrayal of a real-life nightmare: an Illinois corn farmer so badly burned in a tractor accident that only his feet, protected by his new steel-toe boots, escaped the flames. While he lay unconscious, his wife Rhoda, with no way of knowing how disabled or disfigured he would emerge from multiple surgeries, had to decide whether to allow doctors to enshroud him in a cocoon of artificial skin, or let him die. This rare and intimate story carries the reader through the Finks' agonizing experience as Ted is sedated into a coma for six months while Rhoda is left alone to contemplate this life-or-death decision. Even the possibility of saving Ted depends upon the product of laboratories at MIT, where Mr. McCarthy takes the reader to describe the long-shot development of the world's first artificial skin and the ambitious Greek chemist who refused to let his dream of inventing it die. Because this new skin enables people to survive traumas as never before, it also forces hard choices with unpredictable consequences on ordinary people. To gather scenes that are by turns wrenching, beautiful, and searing, Mr. McCarthy, who met the Finks while working on their story for the Wall Street Journal, talked with them at length over two years at their farm. His heartfelt narrative of tragedy and redemption weaves together a saga of six generations of Midwestern farmers while revealing the dark side of a nostalgic occupation bedeviled by accident and death. For images and additional information visit the author's website at: http://thesunfarmer.com

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In From Noon to Starry Night, published on the 100th anniversary of Walt Whitman's death, the great poet of democracy has at last found his biographer. Philip Callow brings to Whitman's extraordinary life the skills and sensitivities of novelist, poet, and biographer. Here is the life of America's poet—beguiling, surprising, in some ways magical—a wonderfully detailed portrait, lyrically told. More successfully than any earlier biography, Callow's has captured Whitman's elusive truth. Drawing upon a broad range of sources, and quoting liberally from Whitman's poems, Callow has re-created the poet's life in all its roundness and intricate corners, "smiling evasively in his thicket of identities." Tradesman, teacher, buccaneer journalist, suddenly a poet; a man who loved crowds yet was fundamentally a solitary, with a sexual fluidity that remains a riddle to this day, Whitman was, Callow observes, a democrat who set out to imagine the life of the average man in average circumstances changed into something grand and heroic. "The sheer certainty of his voice can still astonish us,'' the author writes. He has brought Whitman alive again in this perceptive and evocative biography. With 8 pages of photographs.

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What began at colleges in the sixties as a rejection of parental authority and the Vietnam War rapidly evolved into a social movement, one with lasting influences in diverse areas of American life. As anti-Communist and Great Society Democrats lost control of the Vietnam War and the unrest in America's inner cities, Students for a Democratic Society (SDS), the chief organization of the campus-based New Left, gained strength, ending the decade with 100,000 members. From political protest, SDS and its faculty and intellectual allies moved to violent confrontation with university and government officials. Sit-ins, building takeovers, riots, and strikes hit more than 300 of the nation's 2,000 campuses in the 1960s. Between January 1969 and April 1970, young radicals bombed 5,000 police stations, corporate offices, military facilities, and campus buildings. Twenty-six thousand students were arrested and thousands injured or expelled while engaged in protest activities. Meanwhile 57,000 youths, many of whom lacked the financial means to attend college and secure draft deferments, died in Vietnam. Against a backdrop of student protest, the campus drug culture blossomed. In Put Your Bodies Upon the Wheels (a quote from Free Speech leader Mario Savio), Mr. Heineman plays no favorites in indicting foolishness and absurdity on both left and right. While his account may make us wonder what happened to our common sense in those years, his assessment of the causes and consequences of the sixties revolt is impossible to evade. Heineman's sensible survey of student protest in the 1960s neither celebrates upheaval nor condemns the reform impulse. As a result, members of both camps can read his chronicle of events at Berkeley and elsewhere with nostalgia and for insight. —Dallas Morning News

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"Steroids are ruining the game of baseball. It has faced no more serious threat since gamblers gained control of the World Series in 1919." Or are we overreacting? The problem of steroids, recreational drugs, and other performance enhancers is one of the fundamental issues facing not only baseball but all of sports and society. With pundits pointing fingers and former players naming names, a drug-induced McCarthyism is tarring some of the greatest players ever to take the field. In The Juice, Will Carroll, an acknowledged authority on baseball conditioning and injuries, calls for a scientific, reasoned approach to the steroids problem. He first explains the science of steroids and other drugs, describes how athletes are tested, considers the scientific evidence of effects and side effects, and, most important, analyzes whether and how these drugs impact the game. He explores the grey area of legal supplements, covers the BALCO story, and speculates on the next generation of performance enhancers. And he profiles the motivations and experiences of professional players, student athletes, and baseball trainers. Carroll has interviewed hundreds of players, executives, owners, and experts. His information from players who have used steroids will surprise everyone with the reasons why players cheat. His exclusive conversation with the creator of some of baseball's most abused substances will make The Juice the season's most widely discussed baseball book. For readers who want to understand why baseball has a drug problem, how the drugs work, and how they have affected the game, Carroll provides the answers. They are surprising—and should lead to new and better questions.

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Accursed Politics—a potent phrase used by one of Jean Jacques Rousseau's female characters—probes the intriguingly subtle equivocations revealed by six highly gifted and fascinating French women writers who were deeply involved in the political life of their day. Ostensibly denied any public political role, they paid lip service to the conventional pieties and went their own way. Their activities, as elegantly described by Renee Winegarten, ranged widely through the political spectrum. "Scandalous" Alexandrine de Tencin, former nun and popular novelist, enjoyed promoting her brother's political career while criticizing the monarchy of the ancien régime. Manon Roland, fascinated with politics from girlhood, a revolutionary of the first hour, shared in her husband's Girondin ministry and left important memoirs. Claire de Duras, loyal but tormented liberal royalist and author of far-seeing novels, worked tirelessly to serve the political career of her friend Chateaubriand. Félicité de Genlis, famed novelist and educationist, onetime lover of Philippe Egalité and tutor to his son, Louis Philippe, moved from revolutionary commitment to conservatism. Germaine de Staël, born into politics, was not only an influential novelist but a political thinker, one of the founders of political liberalism in France. And George Sand, whose controversial novels raised the consciousness of women and helped change their status, was long preoccupied with politics; she worked on the extreme left and called herself a communist. In Accursed Politics, Ms. Winegarten brings these absorbing women to life in a piece of history that has considerable resonance for our own time.

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“The history of poetry and of Poetry in America are almost interchangeable, certainly inseparable,” wrote A. R. Ammons. Founded by Harriet Monroe in 1912, Poetry magazine established its reputation immediately by printing T. S. Eliot’s “Love Song of J. Alfred Prufrock,” Carl Sandburg’s “Chicago Poems,” Wallace Stevens’s “Sunday Morning,” and the first important poems of Ezra Pound, Marianne Moore, William Carlos Williams, Robert Frost, and many other then unknown, now classic authors. Publishing monthly without interruption, Poetry has become America’s most distinguished magazine of verse, presenting, often for the very first time, virtually every notable poet of the last nine decades—an unprecedented record. Decade by decade, this bountiful ninetieth-anniversary anthology from Poetry includes the poems of the major talents—along with several lesser known—in all their variety: William Butler Yeats, Edgar Lee Masters, Sara Teasdale, D. H. Lawrence, Edna St. Vincent Millay, Vachel Lindsay, Robert Graves, May Sarton, Langston Hughes, W. H. Auden, Stephen Spender, Hart Crane, Robert Penn Warren, Dylan Thomas, e. e. cummings, Gwendolyn Brooks, James Merrill, John Ashbery, Frank O’Hara, Randall Jarrell, Elizabeth Bishop, Robert Lowell, Robinson Jeffers, Theodore Roethke, Karl Shapiro, Anne Sexton, Thom Gunn, John Berryman, Sylvia Plath, Maxine Kumin, Ted Hughes, Adrienne Rich, and Galway Kinnell. In recent decades, Poetry has presented Seamus Heaney, Rita Dove, Billy Collins, Kay Ryan, Eavan Boland, Stephen Dunn, Mary Oliver, Yusef Komunyakaa, Jane Kenyon, James Tate, Sharon Olds, Louise Glück, Marilyn Hacker, and many, many others. T. S. Eliot called Poetry “an American institution.” The Poetry Anthology is sure to be an American keepsake.

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More than a century after the Norman Conquest, England remains a colony of foreign warlords. The dissolute Prince John plots to seize his brother's crown, his barons terrorize the country, and the mysterious outlaw Robin Hood haunts the ancient greenwood. The secret return of King Richard and the disinherited Saxon knight, Ivanhoe, heralds the start of a splendid and tumultuous romance, featuring the tournament at Ashby-de-la-Zouche, the siege of Torquilstone, and the clash of wills between the wicked Templar Bois-Guilbert and the sublime Jewess Rebecca. In Ivanhoe Scott fashioned an imperial myth of national cultural identity that has shaped the popular imagination ever since its first appearance at the end of 1819. The most famous of Scottish novelists drew on the conventions of Gothic fiction, including its risky sexual and racial themes, to explore the violent origins and limits of English nationality. This edition uses the 1830 Magnum Opus text, corrected against the Interleaved Set, and incorporates readings from Scott's manuscript. The introduction examines the originality and cultural importance of Ivanhoe, and draws on current work by historians and cultural critics. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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This volume contains English translations of: Ivanov, The Seagull, Uncle Vanya, Three Sisters, and The Cherry Orchard, with a new Introduction by Ronald Hingley. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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In between his romances with baseball, in early 1969 Bill Veeck took up the challenge of managing Boston's semi–moribund Suffolk Downs racetrack. "Being of sound mind and in reasonable possession of my faculties," Veeck wrote, "I marshaled my forces, at the tender age of fifty–four, and marched upon the city of Boston, Massachusetts, like a latter–day Ben Franklin, to seek my fame and fortune as the operator of a racetrack. Two years later, fortune having taken one look at my weathered features and shaken its hoary locks, I retreated, smiling gamely." When he took over the track, Veeck had yet to learn that the normal daily output of some sixteen hundred horses (including straw) would amount to so much, or be so hard to dispose of. But that was the least of his problems. In the tough–minded and Tabasco–tongued prose that is his trademark, Veeck recalls the battles he won and lost, the fun he had, and what he discovered about horse racing at "Sufferin' Downs." It's a zesty, complicated story but a relentlessly fascinating one about the inside workings of one of the most popular sports in America.

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The record of civil disobedience by African Americans, which George and Willene Hendrick recount in Why Not Every Man?, begins soon after slaves were brought legally to the American colonies: they began to run away. Through the years of the abolitionists, the struggle against the Fugitive Slave Act, opposition to Jim Crow laws, and the emergence of the civil rights movement, blacks continued the peaceful protest of their inequality and lack of freedom. In addition to describing these often forgotten episodes, the Hendricks show how the idea of civil disobedience, first suggested in America by Henry David Thoreau, crossed oceans to influence Mohandas K. Gandhi, whose thinking in turn attracted a young divinity student named Martin Luther King, Jr. The impact of these ideas was to be profound, forming a central tenet in Dr. King's movement against segregation and for the civil rights of black Americans. The record of civil disobedience in the service of African Americans is not without its failures, but overall it has been a powerful weapon in their quest for a share of the American dream. This is a succinct history of that story.

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Of the ten thousand letters that Aldous Huxley wrote, only a fraction have been published. Those that were once considered too sensitive for publication can now be included in a wholly new collection. James Sexton's thoughtful selection opens new perspectives on one of the giants of prose. Huxley's letters movingly depict his courageous battle with almost total blindness. Later letters to his patroness demonstrate the brilliance that would soon gain Huxley an international reputation as one of his generation's major satirists. Gradually the letters reveal a shift from cynical satirist to a committed critic of fascism. The letters also provide plentiful insights into the London and New York theater scenes, and vivid discussions of Hollywood's film industry.

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Here, back in print, is Jimmy Breslin's marvelous account of the improbable saga of the New York Mets' first year, as Bill Veeck notes in his Introduction, "preserving for all time a remarkable tale of ineptitude, mediocrity, and abject failure." Indeed the 1962 Mets were the worst major league baseball team ever to take the field. (The title of the book is a quote from Casey Stengel, their manager at the time.) Breslin casts the Mets, who lost 120 games out of a possible 162 that year, as a lovable bunch of losers. And, he argues, they were good for baseball, coming as a welcome antidote to "the era of the businessman in sports...as dry and agonizing a time as you would want to see." Although they were written forty years ago, many of Breslin's comments will strike a chord with today's sports fan, fed up with the growing commercialism of the games. Against this trend Breslin sets the exploits of "Marvelous" Marv Throneberry, Stengel, and the rest of the hapless Mets. "Wonderful."—Charles Salzberg, New York Times. "A touching, enjoyable, and interesting addition to anybody's sports reading list."—Patrick Conway

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In the twentieth century, African Americans not only helped make popular music the soundtrack of the American experience, they advanced American music as one of the preeminent shapers of the world's popular culture. Vast numbers of black American musicians deserve credit for this remarkable turn of events, but a few stand out as true giants. David Stricklin's superb new biography explores the life of one of them, Louis Armstrong. The life story of this great instrumentalist, bandleader, and entertainer illustrates much of the black entertainer's impact on American culture and illuminates how popular culture often intersects with politics and economics. Armstrong emerged from a precarious background and triumphed over almost impossible odds, becoming a transcendent public figure and an international icon. Mr. Stricklin concentrates on Armstrong's musical talent, something many observers called a thing of genius. But he also pays special attention to Armstrong's identity a black man in America and the ways in which he triumphed over the mistreatment and disrespect dealt countless people like him. The creativity and exuberance he shared with the world came from his unique vantage as an artist and as an African American with a striking and lively spirit of freedom. He might have been able to demonstrate that determination in any line of work, but his story has special urgency because he expressed his creative power through music. With 16 black-and-white photographs.

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Candy Is dandy But liquor Is quicker. These inimitable lines could only have been written by Ogden Nash, the American nonpareil of light verse and one of the most remarkable figures in American letters. His keen grasp of human nature and a unique style of verse made him, in the mid-twentieth century, the most widely read and frequently quoted poet of his time. For years, readers have longed for a biography to match Nash's charm, wit, and good nature; now we have it in Douglas Parker's absorbing and delightful life of the poet. My garden will never make me famous, I'm a horticultural ignoramus, I can't tell a stringbean from a soybean, Or even a girl bean from a boy bean. Ogden Nash grew up in Savannah, Georgia, went to prep school in Newport, Rhode Island, dropped out of Harvard after his freshman year, and soon after started work as an editor with Doubleday. When he began publishing humorous poems in the New Yorker, and later when he worked at the magazine, he became part of the literary circle that included E. B. and Katharine White, Dorothy Parker, Harold Ross, and S. J. Perelman. He went on to publish more than two dozen books of verse as well as screenplays, lyrics and scripts for the theater, children's stories, and essays. Douglas Parker, who has had exclusive access to family letters and diaries, and permission to quote liberally from them and from Nash's poems, has written a warm and inviting biography of the poet who reveled in pure whimsy and wordplay, but who was applauded by his more serious contemporaries. With 12 black-and-white photographs.

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Baltimore is the setting for (and typifies) one of the most penetrating examinations of bigotry and residential segregation ever published in the United States. Antero Pietila shows how continued discrimination practices toward African Americans and Jews have shaped the cities in which we now live. Eugenics, racial thinking, and white supremacist attitudes influenced even the federal government's actions toward housing in the 20th century, dooming American cities to ghettoization. This all-American tale is told through the prism of Baltimore, from its early suburbanization in the 1880s to the consequences of "white flight" after World War II, and into the first decade of the twenty-first century. The events are real, and so are the heroes and villains. Mr. Pietila's engrossing story is an eye-opening journey into city blocks and neighborhoods, shady practices, and ruthless promoters.

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The return of migrant birds from their wintering grounds in the tropics is one of the delights of America's spring, as anyone will testify whose heart has leapt in April or May at the first liquid song of the woodthrush, or the first black-and-orange flash of the Baltimore oriole. But in recent years concern has grown that migrant birds may be declining, perhaps because of deforestation at their winter quarters in the Caribbean and in Central and South America. Now comes the first evidence that such declines are indeed happening to migrant birds. They pour into the Northern Hemisphere each year in a multi-colored, singing cascade: cuckoos, swallows, martins, swifts, turtle doves, warblers, wagtails, wheatears, chats, nightingales, nightjars, thrushes, pipits, and flycatchers. The vanishing of these Old World birds would be not just an environmental loss but a cultural disaster of enormous magnitude, as many of these species have resonated through literature, legends, and folklore for thousands of years. The turtle dove's arrival is announced in the Bible's Song of Solomon; the nightingale sings from Latin poetry to John Keats to a 1940s hit in London's Berkeley Square; the European cuckoo, with its double note that is a perfect musical interval-a minor third-is the source of proverbs in every country of the continent. In Say Goodbye to the Cuckoo, Michael McCarthy highlights for the first time the disappearance of these birds which, he points out, are a part of Europe's distinctive cultural furniture, "as much as cathedrals, Latin, olive oil, or wine." He shows how their loss would do devastating damage to the cultural inheritance of us all. With 13 woodcuts.

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After an initial honeymoon with historians, in recent years John F. Kennedy has been more carefully scrutinized, resulting in a wide variety of assessments of his presidency and his life. Michael O'Brien, who knows as much about Kennedy as any historian now writing, has distilled the findings of his heavily detailed biography of a few years ago into a compact life that touches on all the important issues and incorporates the findings and judgments of major works since the president's death. He offers nuanced interpretations of the influence of Kennedy's parents, his early life, his struggles with health problems, his intellectual development, his heroism in World War II, his House and Senate career, and the paramount moments of his presidency, including the Bay of Pigs invasion of Cuba, the Cuban Missile Crisis, and his stand on civil rights, tax policy, and other domestic matters.

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In his second collection of poems, Adam Kirsch examines the world we live in now, a world in which the dangers of history have invaded the pleasures of private life. His connected poems use traditional forms to create a free, contemporary music amidst the omens of the post-September 11 world. Mr. Kirsch is at home with all the strange juxtapositions of our culture: he can celebrate "the paradisal sighs" of Jane Birkin and still hear the "angelic harmonies" of Handel's Messiah; he can observe military jets trailing "stripes of smoke" and find the quiet of a synagogue in Queens. Invasions is a moving and highly personal collection, Mr. Kirsch's exploration of what he calls, with fear and hope, "the magically real."

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The proliferation of dating websites, printed personals and self-help relationship books reflect the new ways Americans seek close, personal relationships. Exposed to changing and often conflicting values, trends, and fashions—disseminated by popular culture, advertising and assorted "experts"—Americans face uncertainties about the best ways to meet important emotional and social needs. How do we establish lasting and intimate personal relationships including marriage? In Extravagant Expectations Paul Hollander investigates how Americans today pursue romantic relationships, with special reference to the advantages and drawbacks of Internet dating compared to connections made in school, college, and the workplace. By analyzing printed personals, dating websites, and advice offered by pop psychology books, he examines the qualities that people seek in a partner and also assesses the influence of the remaining conventional ideas of romantic love. Hollander suggests that notions of romantic love have changed due to conflicting values and expectations and the impact of pragmatic considerations. Individualism, high expectations, social and geographic mobility, changing sex roles, and the American national character all play a part in this fascinating and finally sobering exploration of men and women to find love and meaning in life.

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The great American exodus to Paris after World War I included not only writers and artists but journalists. They came by the score, the raw and the accomplished, and in their baggage most carried the dream of eventually becoming poets, short-story writers, or novelists. Meanwhile Paris offered them an overwhelming advantage (coupled with a favorable postwar exchange rate and freedom from Prohibition) by providing jobs that enabled them to remain abroad for extended periods. With the war, American news activity had shifted from London to Paris. The city was now — as one of the arriving newspapermen called it — "the centre of American journalism in Europe," with jobs available on English-language newspapers and magazines, with news services and the foreign bureaus of American publications, and as freelancers of various sorts of writing for a Europe-hungry audience back home. News of Paris recaptures the colorful, often zany world of Paris-American journalists during the glory days of the expatriate period. It does so by concentrating on the lives of such figures as Ernest Hemingway, James Thurber, Henry Miller, Elliot Paul, William L. Shirer, Dorothy Thompson, Janet Flanner, and Eric Sevareid, and on the life of the major newspapers, including the Herald and the Tribune. Others populating its pages include Harold Stearns, Paul Scott Mowrer, Bill Bird, Vincent Sheean, Waverley Root, Eugene Jolas, Martha Foley, Whit Burnett, Ned Calmer, and A. J. Liebling. Ronald Weber aims to add journalists to their rightful place in the story of Americans in Paris at the fabled time when, as Gertrude Stein said, Paris was where the twentieth century was. But in producing this charming, delightfully entertaining book, Mr. Weber has given panache to his purpose. With 8 pages of black-and-white photographs and drawings.

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Most readers will find much that is new to them here, and sometimes material that refutes what they thought they knew. Blainey's analysis of the world's great religions alone justifies the book, but it is only part of a broad tapestry that ranges across the entire human experience.-William L. O'Neill

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The most important criticism of the great comedian's work, including pieces by Andrew Sarris, David Thomson, Gilbert Seldes, Alistair Cooke, Robert E. Sherwood, Stark Young, Edmund Wilson, Stanley Kauffmann, Alexander Woollcott, George Jean Nathan, Max Eastman, Robert Warshow, Water Kerr, and James Agee. Richard Schickel, one of our outstanding film critics, has written a long introduction. Praise for Schickel's Chaplin documentary: An invaluable critic and historian.... Schickel's film...is like a course in cultural history taught by a witty, slightly dyspeptic professor.-A. O. Scott, New York Times

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On election night 1936, Franklin D. Roosevelt was sitting on top of the political world. Within a year, two seismic events would transform the political landscape. A nationwide outbreak of labor unrest, particularly the spread of a new and potent union weapon, the sit-down strike, and FDR's launching of a scheme to overhaul the Supreme Court would combine to generate a fierce public backlash that tarnished Roosevelt's mystique and drained the lifeblood from the New Deal. This is the engrossing story that Robert Shogan relates so compellingly in Backlash.

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For decades young people in the 18-to-34 age group have been the darlings of advertisers and marketers who yearn for greater sales and the elusive "buzz" of publicity. Young adults buy a disproportionate share of movie theater admissions, popular music recordings, and video games, and are regarded as prime targets by most television advertisers. As a consequence of this focus, Leo Bogart argues, media content itself has changed. Sex and violence have become endemic in movies and TV because they attract young audiences. Recent years have witnessed a continual loosening of restrictions on media content and, in the larger culture, a parallel transformation in how people relate to one another. What is now acceptable in civil society is over the edge in comparison with standards of only a few decades ago. This momentous shift has come about, says Mr. Bogart, despite a flawed marketing premise—the idea that young audiences are the most valuable consumers does not jibe with the evidence. Drawing on long experience as a scholar and practitioner in media and marketing, and using extensive research and exclusive interviews with media producers, Mr. Bogart traces the connection between commercial interests and standards of propriety in movies and television. He shows how media content aimed at young adults inevitably engages juveniles as well. He describes how the threat of government regulation has prompted the film, television, music, and video-game industries to adopt systems that rate or label their output; but how the labels intended to keep children away from unsuitable content actually encourage them to taste the forbidden fruit. And these same labels encourage media producers to introduce such content gratuitously. Over the Edge is a compelling analysis of a major American social problem, with surprising conclusions.

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Through the channels of the mass media, celebrity psychologists urge us to realize that society has robbed us of our authentic selves. That every moral standard or prohibition imposes on our selfhoods. That what we have inherited from the past is false. That we ourselves are the only truth in a world of lies. That we must challenge "virtually everything." That we must "wipe the slate clean and start over." Each of these "principles" is a commonplace of pop psychology, and each has almost unimaginably radical implications. Where did pop psychology come from, and what are its promises—and fallacies? How is it that we have elevated people like Phil McGraw, Theodore Rubin, Wayne Dyer, M. Scott Peck, Thomas Harris, John Gray, and many other self-help gurus to priestly status in American culture? In Fool's Paradise, the award-winning essayist Stewart Justman traces the inspiration of the pop psychology movement to the utopianism of the 1960s and argues that it consistently misuses the rhetoric that grew out of the civil rights movement. Speaking as it does in the name of our right to happiness, pop psychology promises liberation from all that interferes with our power to create the selves we want. In so doing, Mr. Justman writes, it not only defies reality but corrodes the traditions and attachments that give depth and richness to human life. His witty and astringent appraisal of the world of pop psychology, which quotes liberally from the most popular sources of advice, is an essential social corrective as well as a vastly entertaining and stimulating book.

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This book reprints a four-hour conversation between Mr. Schickel and Mr. Allen and includes a long essay of introduction by Mr. Schickel, which places Woody Allen's entire career in critical perspective, as well as a complete filmography. Readers will find Mr. Allen's reflections on his major preoccupations—the battle of the sexes; the conflict between reality and fantasy in his major films; mortality, religion, and the role that chance plays in the unfolding of our lives. The book also offers insights into Mr. Allen's working methods as a writer and the growth of his skills as a director.

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Pulitzer Prize-winning poet, consultant in Poetry to the Library of Congress (the position later to be known as "poet laureate"), editor of Poetry magazine—Karl Shapiro was among the commanding poets of the second half of the twentieth century, yet in many circles he is scarcely remembered today. A recent revival of interest in Shapiro has occurred with the Library of America's volume of his poems, edited by John Updike. Now, in this sparkling collection edited by Robert Phillips, Shapiro's most trenchant writings on poetry, poets, and cultural matters are once again available. They display the intelligence, power, and intellectual courage that made Shapiro one of the most important essayists of his generation. He was "a lively and slashing critic," Joseph Epstein has written, "and reading him one feels windows opening, clouds passing, sunlight, and a fresh breeze entering the room." Creative Glut contains twenty essays on such poets and writers as Eliot, Pound, Yeats, Auden, William Carlos Williams, Dylan Thomas, D. H. Lawrence, Henry Miller, and Randall Jarrell, and on questions of poetry and American culture that Shapiro felt as urgent, including his celebrated pieces "In Defense of Ignorance" and "To Abolish Children." In all, this is a savory slice of some of the most challenging criticism of our late century.

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Trenchant prose writings on poetry, poets, and cultural matters by one of the most important essayists of his generation. Edited with an Introduction by Robert Phillips. A lively and slashing critic...reading him one feels windows opening, clouds passing, sunlight, and a fresh breeze entering the room. —Joseph Epstein

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