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With Little Savage, Emily Fragos delivers a magnificent collection in the American tradition of Robert Lowell and Elizabeth Bishop. With clean, strongly wrought lines she builds poems that are elegant and powerful. Marie Ponsot calls the collection “remarkable. What separates Fragos from her contemporaries is her amazing ability to empathize with the characters she creates—the misfits, the artists, the children kept in a fifteenth century school, the composer going mad. She convincingly becomes a young girl in the Venetian conservatory for the abandoned: “Sofia del violino. Once I saw myself / in a clear puddle of rain / water. My teeth are very crooked, I / know. We are none of us / startled by the other. We are all / the same. To Heaven.” These moments ache with honesty, humility, and make us wish that every sentiment expressed by Fragos could be true. Deceptively simple poems written by an unostentatiously skilled poet, Little Savage is permeated with a reverence for nature, music, myth and dance—a veritable treasure trove of compassion and grace. Richard Howard's Foreword You are alone in the room, reading her poems. Nothing is happening, nothing wrong, but all at once, say around page 17 or 18, you hear – remember, no one is with you, no one else is there—a sigh. Or a whispered word: someone. You are not alarmed, but you had thought you were alone. Perhaps not. The sensation is what Freud used to call unheimlich, uncanny. That is the effect of the poems of Emily Fragos. Like their maker, her readers are accompanied, and not to their ulterior knowledge. It is not disagreeable to be thus escorted, attended, joined, but we had not expected it. And as Robert Frost used to tell us (“no surprise in the writer, no surprise in the reader”), Fragos too has not expected such visitations, as she will call them. This poet—these poems—endure otherness, they are haunted: “I remain, with one of everything.” Even as one is being saved…conjure the army of others” “What would happen to my life when all along there has been nothing but me?” “Did you not see how I was made to feel when you put me among others” “And my body—uninhabited—suffers and wonders: whose hands are these? whose hair?” The poems will reveal whose, though I do not think Emily Fragos herself ever finds out. Inevitably, we recall that old surrealist shibboleth, “Tell me by what you are haunted and I will tell you who you are;” it can be the password to indentity. But this poet has what she calls “luxurious mind” and her ghosts are legion: Alone in my odd-shaped room, I practice Blindness and the world floats close and away. I am uncertain of everything. I must walk slowly, carefully. She is acknowledging, with some uneasiness (“will you please tidy up?”), that it is not only the beloved dead, the proximate departed who are with her, who possess her, but others, any others. The remarkable thing about this poetic consciousness is that the woman’s body is inhabited—sometimes with mere habitude, sometimes joyously, more often with astonishing pain—by the prolixity of the real (and of the ‘unreal’); the poems are instinct with others: How dare you Care for me when all my life I have had this voltage to ignite me, this rhythm to drive me, when something inside your body dares me to touch my hands to yours… And quite as remarkable, of course, is the even tonality of such possession; there is nothing hysterical or even driven about the voice of the poems as it records, as it laments or exults in these unsought attendants. There is merely—merely!—a loving consistency of heedfulness; and one remembers Blake’s beautiful aphorism: unmixed attention is prayer. Of course such poetic staffage is not peculiar to Emily Fragos; like Maeterlinck, like Rilke, she exults in her discovered awareness: “I need the other/the way a virus/needs a host.” Rather, she imbues, she infects all of us with the consciousness that there are no single souls: we are not alone.

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An aspiring TV journalist faces a shattering moral dilemma and the prospect of losing her career and her life, when she joins an impetuous photographer in the Middle East. A shocking, searingly authentic thriller by award-winning ex-CNN news executive Sarah Sultoon.‘Shocking and visceral, this novel deals with the horrors of war … a brave, important and utterly compelling book’ S J Watson ‘Gritty, hard-hitting and often harrowing … a hugely exciting voice in crime fiction’ Victoria Selman‘A powerhouse writer’ Jo Spain––––––––––––––––––––––––––––––––––––––An act of mercyOr the ultimate betrayal…Who decides?Samira is an up-and-coming TV journalist, working the nightshift at a major news channel and yearning for greater things. So when she’s offered a trip to the Middle East, with Kris, the station’s brilliant but impetuous star photographer, she leaps at the chanceIn the field together, Sami and Kris feel invincible, shining a light into the darkest of corners … except the newsroom, and the rest of the world, doesn’t seem to care as much as they do. Until Kris takes the photograph.With a single image of young Sudanese mother, injured in a raid on her camp, Sami and the genocide in Darfur are catapulted into the limelight. But everything is not as it seems, and the shots taken by Kris reveal something deeper and much darker … something that puts not only their careers but their lives in mortal danger.Sarah Sultoon brings all her experience as a CNN news executive to bear on this shocking, searingly authentic thriller, which asks immense questions about the world we live in. You'll never look at a news report in the same way again... ‘A powerful story of the brutality of front-line journalism. Authentic, provocative and terrifyingly relevant’ Will Carver ‘A gritty, jarring page-turner’ Peter Hain ‘Passionate, disturbing storytelling at its best’ James Brabazon ‘You won't read another book like this in 2022! Raw, authentic, powerful ... you won't see the end coming!’ E C Scullion ‘Brilliantly conveys both the exhilaration and the unspeakable horror of life on the international news frontline’ Jo Turner ‘Astute and penetrating, evoking feelings that are long lasting and hard to shake off … Sarah Sultoon is a new and welcome voice in what can be a very crowded genre’ Random Things through My Letterbox ‘A masterclass in storytelling and cinematic in scope’ Live & Deadly ‘Brutally honest, extremely thought-provoking, stark and vivid … impossible to put down’ Jen Med’s Book ReviewsPraise for The Source**Winner: Crime Fiction Lover Best Debut Award**‘A brave and thought-provoking debut novel. Sarah Sultoon tackles a challenging and disturbing subject without sensation, and her sensitive handling, tight plotting and authentic storytelling make for a compelling read’ Adam Hamdy‘A taut and thought-provoking book that’s all the more unnerving for how much it echoes the headlines in real life’ CultureFly‘A tense thriller, a remarkable debut, heartbreaking, but ultimately this is a story of resilience and survival’ New Books Magazine‘A powerful, compelling read that doesn’t shy away from some upsetting truths … written with such energy’ Fanny Blake‘Tautly written and compelling, not afraid to shine a spotlight on the darker forces at work in society’ Rupert Wallis‘So authentic and exhilarating … breathtaking pace and relentless ingenuity’ Nick Paton Walsh, CNN‘A powerful, intense whammy of a debut that is both uncomfortable and exhilarating to read … Thought-provoking, tense, and expressive’ LoveReading‘A gripping, dark thriller’ Geoff Hill, ITV‘A cleverly constructed story that offers an authentic view behind the scenes in a British newsroom … an original and wholly engaging debut. Definitely a name to watch’ Crime Fiction Lover‘My heart was racing … fiction to thrill even the most hard-core adrenaline junkies’ Diana Magnay, Sky News ‘Unflinching and sharply observed. A hard-hitting, deftly woven debut’ Ruth Field‘With this gripping, fast-paced debut thriller, it’s easy to see what made Sultoon such a great journalist’ Clarissa Ward, CNN ‘A hard-hitting, myth-busting rollercoaster of a debut’ Eve Smith‘I could picture and feel each scene, all the fear, tension and hope’ Katie Allen For fans of Holly Watt, Sarah Vaughan, Laura Lippman and Karin Slaughter

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Many Americans, argues Michael C. C. Adams, tend to think of the Civil War as more glorious, less awful, than the reality. Millions of tourists flock to battlefields each year as vacation destinations, their perceptions of the war often shaped by reenactors who work hard for verisimilitude but who cannot ultimately simulate mutilation, madness, chronic disease, advanced physical decay. In Living Hell, Adams tries a different tack, clustering the voices of myriad actual participants on the firing line or in the hospital ward to create a virtual historical reenactment. Perhaps because the United States has not seen conventional war on its own soil since 1865, the collective memory of its horror has faded, so that we have sanitized and romanticized even the experience of the Civil War. Neither film nor reenactment can fully capture the hard truth of the four-year conflict. Living Hell presents a stark portrait of the human costs of the Civil War and gives readers a more accurate appreciation of its profound and lasting consequences. Adams examines the sharp contrast between the expectations of recruits versus the realities of communal living, the enormous problems of dirt and exposure, poor diet, malnutrition, and disease. He describes the slaughter produced by close-order combat, the difficulties of cleaning up the battlefields-where tens of thousands of dead and wounded often lay in an area of only a few square miles-and the resulting psychological damage survivors experienced. Drawing extensively on letters and memoirs of individual soldiers, Adams assembles vivid accounts of the distress Confederate and Union soldiers faced daily: sickness, exhaustion, hunger, devastating injuries, and makeshift hospitals where saws were often the medical instrument of choice. Inverting Robert E. Lee's famous line about war, Adams suggests that too many Americans become fond of war out of ignorance of its terrors. Providing a powerful counterpoint to Civil War glorification, Living Hell echoes William Tecumseh Sherman's comment that war is cruelty and cannot be refined. Praise for Our Masters the Rebels: A Speculation on Union Military Failure in the East, 1861-1865. "This excellent and provocative work concludes with a chapter suggesting how the image of Southern military superiority endured in spite of defeat." (Civil War History). "Adams' imaginative connections between culture and combat provide a forceful reminder that Civil War military history belongs not in an encapsulated realm, with its own categories and arcane language, but at the center of the study of the intellectual, social, and psychological currents that prevailed in the mid-nineteenth century." (Journal of American History). Praise for The Best War Ever: America and World War II: "Adams has a real gift for efficiently explaining complex historical problems." (Reviews in American History). "Not only is this mythologizing bad history, says Adams, it is dangerous as well. Surrounding the war with an aura of nostalgia both fosters the delusion that war can cure our social ills and makes us strong again, and weakens confidence in our ability to act effectively in our own time." (Journal of Military History).

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The native Creole culture of New Orleans and Louisiana is unique. We know its music, its food, its French and Spanish inspired accents. Ultimately though, the most distinctive feature is the people. What we now recognize as Creole developed over several hundred years, a “gumbo” of African slaves, and former slaves, free people of color, Europeans, even American Indians – all in just about any combination you can imagine. In New Orleans, regardless of the mixture, they were considered “colored.” African Americans had separate neighborhoods, stores and parks. Where black and whites came into contact there was as strict code of deference that had to be followed. Even in the Catholic churches that allowed both races to pray, parishioners expected that they would sit in separate pews with whites given the most advantageous positions. Needless to say, opportunities for the city’s colored population were severely limited. hen there was the “screen,” the New Orleans’ name for the “Colored Only” signs that were ubiquitous in the Jim Crow-dominated city. Every bus and trolley car had one to make sure the African American citizens knew to sit in the back, as if they needed to be reminded. “Screens” were found in many other places around town as well. It is in this separate, but still rich and vibrant, world that the inspiring story of Curtis Graves begins. His remarkable parents were determined that Curtis grow up aware of who he was and his fascinating roots, which included both former slaves and plantation owners. At first, this required deceptions by his family as they hid the most obvious signs of restrictions placed on their lives. As he became older Curtis observed life in New Orleans and was allowed to come to his own understanding. Mabel and Buddy Graves also placed a great value on education, expecting that Curtis would go to college, perhaps become a teacher, or businessman, among the few vocations available for educated African Americans. After a time attending college close to home, Curtis transferred to Texas Southern University in Houston, a large historically black college. The late 1950s was a time when even more attention was being paid to the burgeoning civil rights movement. A young Martin Luther King, Jr. had already emerged as its leader, focusing on nonviolence, a tactic and philosophy primary adopted from Gandhi in India, but enhanced through deep religious roots. The young students at Texas Southern took notice. Faced with racism all around them, Curtis and others decided to protest in their own way – demanding equal access to public places. The first target was the lunch counter at a Houston supermarket. In March 1960, they staged the first “sit-in” there. Nobody knew what would happen, but the sit-ins continued at supermarkets and drugstores around town, drawing more and more interest. When it made the national news, Curtis Graves’ parents were not happy. However, he made them realize that they had brought him up to take a stand, even if it was dangerous. By the time Curtis entered the Army, he had already earned a reputation for political activism in the cause of equality. Returning to Texas, he ran for a seat in the Texas State Legislature. After a raucous election, Curtis Graves won the election, becoming one of the first African Americans to hold state office since Reconstruction. He served six years, but even after he left office—and politics — Graves has never stopped battling for fairness and equal opportunity. He tells his story with real style, remembering with warmth and good humor all the people –both famous and not so well-known— who have touched his life along the way. Even more, he gives us an important first-hand, inside understanding of the struggles for civil rights in America.

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Six Billion Dead—And One Man Intent on Putting a Stop to the Killing For more than fifty years, the Terran Republic and the Terran League have been killing one another. The death toll has climbed ever higher, year after year, with no end in sight. But the members of the Five Hundred, the social elite of the Republic's Heart Worlds, don't care. Their star systems are light-years from any threat of attack. Their children are sheltered from the “mandatory service” that falls so heavily on the Fringe Worlds' backs. Their trade connections with the Rishathan Sphere bring them wealth and influence. And their contracts to build ships, fighters, missiles, and all the other sinews of war have made them the wealthiest human beings in the history of the galaxy. Rear Admiral Terrence Murphy is a Heart Worlder. His family is part of the Five Hundred. His wife is the daughter of one of the Five Hundred's wealthiest, most powerful industrialists. His sons and his daughter can easily avoid military service, and political power is his for the taking. There is no end to how high he can rise in the Republic's power structure. All he has to do is successfully complete a risk-free military "governorship" in the backwater Fringe System of New Dublin without rocking the boat. Without dredging up any lunatic Fringe conspiracy theories. Without undercutting the Five Hundred's stranglehold on wealth and power. But the people sending him to New Dublin have miscalculated, because Terrence Murphy is a man who believes in honor. Who believes in duty—in common decency and responsibility. Who believes there are dark and dangerous secrets behind the façade of what "everyone knows." Terrence Murphy intends to meet those responsibilities and unearth those secrets, and he doesn't much care what the Five Hundred want. He intends to put a stop to the killing. Wherever that takes him, he will go. Whatever that costs him, he will pay. And whatever that requires, he will do. Terrence Murphy is coming for whoever has orchestrated fifty-six years of bloodshed and slaughter, and Hell itself is coming with him. A new novel in the world of In Fury Born, one of David Weber's most celebrated novels. About The Gordian Protocol: “Tom Clancy-esque exposition of technical details . . . absurd humor and bloody action. Echoes of Robert Heinlein . . . lots of exploding temporal spaceships and bodies . . . action-packed . . .” —Booklist “[A] fun and thrilling standalone from Weber and Holo. . . . Time travel enthusiasts will enjoy the moral dilemmas, nonstop action, and crisp writing.”—Publishers Weekly About David Weber: “[A] balanced mix of interstellar intrigue, counterespionage, and epic fleet action . . . with all the hard- and software details and tactical proficiency that Weber delivers like no one else; along with a large cast of well-developed, believable characters, giving each clash of fleets emotional weight.”—Booklist “[M]oves . . . as inexorably as the Star Kingdom’s Grand Fleet, commanded by series protagonist Honor Harrington. . . . Weber is the Tom Clancy of science fiction. . . . His fans will relish this latest installment. . . .”—Publishers Weekly “This entry is just as exciting as Weber’s initial offering. . . . The result is a fast-paced and action-packed story that follows [our characters] as they move from reaction to command of the situation. Weber builds Shadow of Freedom to an exciting and unexpected climax.”—The Galveston County Daily News “Weber combines realistic, engaging characters with intelligent technological projection and a deep understanding of military bureaucracy in this long-awaited Honor Harrington novel. . . . Fans of this venerable space opera will rejoice to see Honor back in action.”—Publishers Weekly “This latest Honor Harrington novel brings the saga to another crucial turning point. . . . Readers may feel confident that they will be Honored many more times and enjoy it every time.”—Booklist “[E]verything you could want in a heroine. . . . Excellent . . . plenty of action.”—Science Fiction Age “Brilliant! Brilliant! Brilliant!”—Anne McCaffrey “Compelling combat combined with engaging characters for a great space opera adventure.”—Locus “Weber combines realistic, engaging characters with intelligent technological projection. . . . Fans of this venerable space opera will rejoice . . .”—Publishers Weekly

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Dr Grantly Dick-Read died on 11 June 1959. His teaching, however, gains a growing recognition even though others are putting their names to his theories and practices. The delivery on this recording was not in fact an 'easy' one, as the baby was not fully rotated. The record, therefore, not only justifies Dick-Read's teaching but is also a tribute to his own skill as a gynaecologist. The following sleeve notes were written a month after the recording. 'When my wife informed me that she was going to have a baby, I think my reactions were typical of most husbands. I was delighted, for we both wanted to start a family, but I was also anxious. My knowledge of childbirth was limited. I had heard that pregnancy could be 'difficult', that labour itself, if not actually dangerous, meant many hours of suffering either nobly endured or alleviated with anaesthesia. My wife, however, insisted that I read "Childbirth without Fear" by Dr Grantly Dick-Read. There I learned the simple tenets upon which his teaching is founded. The fear of childbirth can be overcome by simple instruction in the truth of natural processes. The methods by which a woman can help herself and not cause her own distress - correct breathing and relaxation for use during pregnancy and labour were explained. Simple exercises (requiring only a few minutes per day) to aid the general fitness for the birth of the baby were described. Dr Dick-Read stressed that even more important than the removal of pain is the spiritual joy the mother experiences when she sees her baby into the world, a joy, which transcends the moment of birth, and has a lasting influence on the family unity. This, as Dr Dick-Read says, is the experience, which is destroyed when the sensations of birth are removed or disturbed by interference. My wife decided that she would prepare for natural childbirth. It was at this point that as a recording executive I became involved professionally. My wife volunteered to have her labour recorded and Dr Dick-Read agreed to supervise her delivery and give a commentary as the labour proceeded. In effect, we had provided Dr Dick-Read with a test of some severity. We were not asking him to choose the best result from, say, twelve cases. The patient was not even selected by him. She was having her first baby and she was over thirty. Mrs Dick-Read began the antenatal preparation, as described in the book "Antenatal Illustrated". The voices you will hear on this record are those of Dr Dick-Read, Mrs Dick-Read, the expectant mother and, towards the end of the record, a woman doctor in general practice who assisted Dr Dick-Read. Another doctor who was present primarily as an interested observer was also skilled in the administration of pain relief should the patient have desired it. A bedroom in Dr Dick-Read's house in Petersfield had been equipped with a labour bed. Trilene and Pethedine were available; for, contrary to some reports, a strongly maintained principle of Dr Dick-Read's teaching was that the patient should not be expected to suffer any unnecessary pain or discomfort. Three microphones were used. One was placed above the bed and used to pick up conversations between doctor and patient and also the atmosphere of the ward, which was calm and peaceful throughout. At each side of the bed we placed microphones for use when either Dr or Mrs Dick-Read wished to make any comment. I personally operated the recording equipment in an adjoining room during the confinement and can categorically state that at no time did I feel that my wife was asked to bear any severe discomfort. Even when owing to the incomplete rotation of the baby's head at the outlet, and in order to prevent unnecessarily prolonging the final stage of labour, a small incision was made, my wife did not feel this and did not at any stage request anaesthetic. That she was asked to do a lot of very hard work she will be the first to admit. But the joy of the birth itself is unforgettable. During the early stages of her labour I was with her and able to help during her contractions with the back-rubbing, she found so beneficial at this stage. A swishing sound on the record during the first stage contractions is made by this back-rubbing. It is during this stage that Dr Dick-Read insisted that all patients should have company. So often the expectant mother is 'left to get on with it until the second stage is reached. During the second stage considerable background noise is caused by the movement of the bed-clothes when the patient changes her position in order to use her contractions efficiently. The recording was made on tape, edited and then transferred to a long playing record. Before we started to condense the recording of a twelve-hour labour to the length of one LP record we invited reporters to hear parts of the as yet uncut tape, including the last twenty minutes. It was pointed out to them that although a very heavy task of selection lay ahead, there was nothing which needed to be suppressed for the purpose of demonstrating natural childbirth. The editing presented two major problems. Owing to the fact that our microphones were highly sensitive in order to pick up the quietly and calmly conducted comments and discussions of the doctor, his patient and his assistants, we also picked up many unwanted and distracting noises, doors closing, sterilised tins being opened, running taps, etc. These noises have been removed wherever possible from the finished record. Condensation proved more difficult, for many of the early stage contractions were very similar, and throughout the first two stages there were long periods when the patient was lying peacefully relaxed between her contractions. All that was merely repetitious or irrelevant had to be discarded. To present a twelve-hour labour on one long playing record was clearly impossible, therefore we were faced with a further problem. If we did not include some passages of rest and relaxation, we would give an impression that the patient moved rapidly from contraction to contraction; but to allow a five-minute rest its full playing time was not possible. We have tried, therefore, to maintain the impression of the overall rhythm of labour by selection of contractions and the shortening of silences. We have not condensed individual contractions. This is important in demonstrating the breath control called for during contractions. This record, then, is an account of a twelve-hour labour leading up to the dramatic moments when the baby is born. One of the most outstanding moments on this record occurs towards the end of the first side. Using his stethoscope with a microphone placed alongside it, Dr Dick-Read searches for and listens to the heart-beat of the baby while it is still in the birth canal, one hour and a half before it is born-an exciting moment for the recording technicians and the doctors when they heard the playback for the first time. Reporting on the last twenty minutes of this recording, one of Britain's leading newspapers, the "Daily Mirror", called it: "The most moving record I have ever heard". If this record helps to abolish fear, it will help to abolish pain in labour. If it helps to spread the teachings of Dr Grantly Dick-Read, then it will have done its job. His work won its due recognition when it was acknowledged and approved by His Holiness, Pope Pius XII, who also commented upon the spiritual approach inherent in Dr Dick-Read's method, saying: "The researches of the Englishman, Dr Grantly Dick-Read, differed notably from those of the Russians (notably the followers of I.P. Pavlov) in their philosophical and metaphysical postulates which were not based, like those of the Russians, on materialistic concepts". This record should help to prepare a woman for the emotional and spiritual experience which is her right, and needs to be fought for, just as much as her right to highly skilled surgery, or pain-killing drugs. There is still some opposition to Dr Dick-Read's work, especially in his own country; there are many places where lip-service is paid to his system; but if his method is followed sincerely by those responsible for the conduct of labour, the result can be as on this record. Here, then, unscripted and unrehearsed, is a record of a natural childbirth.' H.J.U.

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If you are looking for the definitive resource to help you measure your students’ achievement, your search is over. PE Metrics: Assessing Student Performance Using the National Standards & Grade-Level Outcomes for K-12 Physical Education, Third Edition, aligns with SHAPE America’s National Standards and Grade-Level Outcomes for K-12 Physical Education, was created by SHAPE America and its writing team, and was reviewed by researchers and teachers with expertise in assessment. The result is a text that you can use with confidence as you help develop physical literacy in your students. Written for physical educators, administrators, and curriculum writers (and for physical education majors and minors), this latest edition offers the following: • 130 ready-to-use assessments for kindergarten through grade 12 (65 elementary, 43 middle school, and 22 high school) • Worksheets, checklists, and rubrics that support the assessments • Guidance on creating your own assessments for any lesson or unit These assessments are aligned with the three SHAPE America lesson planning books for elementary, middle, and secondary school and dovetail with SHAPE America’s The Essentials of Teaching Physical Education. The assessments can be used as they are, or you can modify them or use them as samples in creating assessments that are best suited to your needs. PE Metrics, now in a four-color design, is organized into four main parts: Part I introduces the purpose and uses of assessment, how to develop an assessment plan, and the various types of assessments and tools you can use. Part II contains sample assessments for students in grades K-5, focusing on fundamental motor skills; as such, the elementary-level assessments center heavily on Standard 1. In part III, the emphasis shifts to middle school assessments, with a concentration on Standard 2 and on the categories of dance and rhythms, invasion games, net/wall games, fielding/striking games, outdoor pursuits, aquatics, and individual-performance activities. Part IV offers sample assessments for high school students, with a priority on providing evidence of the knowledge and skills students will need to remain active and fit after they leave high school. This resource provides a comprehensive, performance-based assessment system that enables you to incorporate assessment into every facet of your teaching, create assessments that are unique to your program, and measure your students’ performance against the grade-level outcomes. The assessments are process focused and are designed to measure multiple constructs as well as provide meaningful feedback to students—ultimately helping them to develop holistically across all three learning domains (psychomotor, cognitive, and affective). PE Metrics will help you instill in students the knowledge, skills, and confidence they need to enjoy a lifetime of healthful physical activity.

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In this issue, we remember the enormous contribution of Jim Bouton, pictured on the cover in a portrait by artist Gary Cieradkowski. Throughout baseball’s hidebound history, rebels and mavericks have emerged to challenge the status quo in the sport and the wider society, none more so than Bouton. His book Ball Four ultimately changed baseball, the sports media, and American literature. During his playing days, Bouton spoke out against the Vietnam War, South African apartheid, the exploitation of players by greedy owners, and the casual racism of the teams and his fellow players. When his baseball career ended, he continued to use his celebrity as a platform against social injustice. Fifty years after Ball Four’s publication and now two years after Bouton’s death, Robert Elias and Peter Dreier look back at the legacy. ALSO IN THIS ISSUE: “When the Fans Didn’t Go Wild” by J. Furman Daniel, III & Elliott Fullmer While the circumstances of the 2020 MLB season were far from ideal, it did present a unique research opportunity. Home-field advantage has long been observed in all major team sports, including baseball. Over the past several decades, researchers have sought to explain this persistent phenomenon. While multiple explanations have been advanced, the most common centers on the effect of attending crowds. Cheering (or booing) fans, the argument goes, affect the performance of players or umpires, leading to advantages for the home team. Because the 2020 MLB season was played without crowds, we are able to test the impact of fans on game outcomes through this unique natural experiment. “Impact of the Varying Sac-Fly Rules on Batting Champs, 1931–2019” by Herm Krabbenhoft The back-and-forth character of the sacrifice fly rule (i.e., at-bat or no at-bat) over the course of the twentieth century has resulted in some interesting “What if?” situations. For instance, one of baseball’s oldest (and at-one-time highly revered) batting metrics is batting average, with the player with the highest batting average being regarded as the batting champion of his league. But which players would have won baseball’s batting crowns if the rule had been consistent? What if the current sacrifice fly rule had been in effect for the 1931–53 period? Who would have won the batting titles, then? “‘Country’ Base Ball in the Boom of 1866,” by Robert Tholkes As baseball spread throughout the United States after the Civil War, not every newspaper was supportive of the notion. “Violent exercise,” reported the Cleveland Plain Dealer, would lead to “the production of fevers and bowel diseases.” The Raleigh Daily Sentinel disapproved of Southerners spending time on amusements, noting that “Intellect, energy, frugality and hard labor will raise the South, and nothing else can.” And as incidents of Sunday ballplaying proliferated, stiff opposition was raised by the Sabbatarians and other religious groups, like the State Street Congregational Church of Brooklyn’s Missionary Society. The Society’s diatribe warned that the game had turned from “a reasonable exercise into a moral contagion…insidiously diffusing and infusing itself into the minds and brains of thousands upon thousands of our young American people, from thirty years of age downward to little children…exhibiting a reckless abandon and mad ecstasy.” Additional articles reexamine Hank Aaron’s home run record, the career of Al Kaline, and the uncanny walk-off prowess of Ryan Zimmerman. One study looks at whether the perception that PED use prolonged MLB careers is correct. The “fourth out rule” and the earliest use of uniform numbers in the minor leagues are also investigated, among 18 articles in all.

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