In three huge volumes George Curtis Waldo jr. has amassed a wealth of information on the beautiful town of Bridgeport, Connecticut. Volume one spans the settlement of the town, its governments, military and educational history and much more. It also includes chapters on the evolution of nearby Stratford and Fairfield. Volumes two and three contain hundreds of biographical sketches of the most prominent men and women of these towns, offering an almost flawless overview of the most important Connecticut people. These three volumes are treasure chests for everyone interested in the history of Connecticut and/or genealogical sources thereof.
In her eighty-four years, Arlynn Swope endured many of lifes greatest challenges. She knew illness, poverty, a near-death pregnancy, mental illness in her immediate family, and the suicide of her husband. She lived through the Great Depression and dropped out of school in the ninth grade to help her family survive the 1930s. But through it all, she faced each of the many rocks in her road with love and grit. Hers is an uncommon tale from a most common Hoosier woman, the little woman who was never little but was always there for those she loved. A veteran of the US Navy with an eleventh-grade education, John Curtis Knight didnt know what he was in for when he fell crazy in love with Arlynn. A welder and factory worker by trade, he built a reputation as a top amateur golfer who became a real player on his native Indiana courses. His life was built around Arlynn and their family, and they shared a rich adventure togetheruntil despair and paranoia led to his suicide when he was seventy-eight. Theirs is a true love story, one in which these two common Hoosiers share a life of uncommon love. Together they walked, pushed, pulled, and loved their way through it all.
Writing as a newspaper reporter for nearly forty years, Curtis Wilkie covered eight presidential campaigns, spent years in the Middle East, and traveled to a number of conflicts abroad. However, his memory keeps turning home and many of his most treasured stories transpire in the Deep South. He called his native Mississippi, “the gift that keeps on giving.” For Wilkie, it represented a trove of rogues and racists, colorful personalities and outlandish politicians who managed to thrive among people otherwise kind and generous. Assassins, Eccentrics, Politicians, and Other Persons of Interest collects news dispatches and feature stories from the author during a journalism career that began in 1963 and lasted until 2000. As a young reporter for the Clarksdale Press Register, he wrote many articles that dealt with the civil rights movement, which dominated the news in the Mississippi Delta during the 1960s.Wilkie spent twenty-six years as a national and foreign correspondent for the Boston Globe. One of the original “Boys on the Bus” (the title of a best-selling book about journalists covering the 1972 presidential campaign), he later wrote extensively about the winning races of two southern Presidents, Jimmy Carter and Bill Clinton. Wilkie is known for stories reported deeply, rife with anecdotes, physical descriptions, and important background details. He writes about the notorious, such as the late Hunter S. Thompson, as well as more anonymous subjects whose stories, in his hands, have enduring interest. The anthology collects pieces about several notable southerners: Ross Barnett; Byron De La Beckwith and Sam Bowers; Billy Carter; Edwin Edwards and David Duke; Trent Lott; and Charles Evers. Wilkie brings a perceptive eye to people and events, and his eloquent storytelling represents some of the best journalistic writing.
Who was William Henry Harrison, and what does his military career reveal about the War of 1812 in the Great Lakes Region? In his study of William Henry Harrison, David Curtis Skaggs sheds light on the role of citizen-soldiers in taming the wilderness of the old Northwest. Perhaps best known for the Whig slogan in 1840—"Tippecanoe and Tyler Too"—Harrison used his efforts to pacify Native Americans and defeat the British in the War of 1812 to promote a political career that eventually elevated him to the presidency. Harrison exemplified the citizen-soldier on the Ohio frontier in the days when white men settled on the western side of the Appalachian Mountains at their peril. Punctuated by almost continuous small-scale operations and sporadic larger engagements, warfare in this region revolved around a shifting system of alliances among various Indian tribes, government figures, white settlers, and business leaders. Skaggs focuses on Harrison’s early life and military exploits, especially his role on Major General Anthony Wayne's staff during the Fallen Timbers campaign and Harrison's leadership of the Tippecanoe campaign. He explores how the military and its leaders performed in the age of a small standing army and part-time, Cincinnatus-like forces. This richly detailed work reveals how the military and Indian policies of the early republic played out on the frontier, freshly revisiting a subject central to American history: how white settlers tamed the west—and at what cost.
In this century, those strains of realism and naturalism that characterize the classic body of Southern writing appear in the representational art of painters who defied the modern abstract dictum. And finally, the exciting, compelling works of a current generation of both self-taught artists and sophisticated contemporary painters complete this fascinating, though sometimes neglected, chapter in American art history
A remnant of the Renaissance : the transnational iconography of justice -- Civic space, the public square, and good governance -- Obedience : the judge as the loyal servant of the state -- Of eyes and ostriches -- Why eyes? : color, blindness, and impartiality -- Representations and abstractions : identity, politics, and rights -- From seventeenth-century town halls to twentieth-century courts -- A building and litigation boom in Twentieth-Century federal courts -- Late Twentieth-Century United States courts : monumentality, security, and eclectic imagery -- Monuments to the present and museums of the past : national courts (and prisons) -- Constructing regional rights -- Multi-jurisdictional premises : from peace to crimes -- From "rites" to "rights" -- Courts : in and out of sight, site, and cite -- An iconography for democratic adjudication.
In January 1982, archaeologists conducting a pre-construction excavation at 175 Water Street in Lower Manhattan found the remains of an eighteenth-century ship. Uncertain of what they had found or what its value might be, they called in two nautical archaeologists—Warren Riess and Sheli Smith—to direct the excavation and analysis of the ship’s remains. As it turned out, the mystery ship’s age and type meant that its careful study would help answer some important questions about the commerce and transportation of an earlier era of American history. The Ship that Held Up Wall Street tells the whole story of the discovery, excavation, and study of what came to be called the “Ronson ship site,” named for the site’s developer, Howard Ronson. Entombed for more than two hundred years, the Princess Carolina proved to be the first major discovery of a colonial merchant ship. Years of arduous analytical work have led to critical breakthroughs revealing how the ship was designed and constructed, its probable identity as a vessel built in Charleston, South Carolina, its history as a merchant ship, and why and how it came to be buried in Manhattan.
This first-ever biography of American painter Grace Hartigan traces her rise from virtually self-taught painter to art-world fame, her plunge into obscurity after leaving New York to marry a scientist in Baltimore, and her constant efforts to reinvent her style and subject matter. Along the way, there were multiple affairs, four troubled marriages, a long battle with alcoholism, and a chilly relationship with her only child. Attempting to channel her vague ambitions after an early marriage, Grace struggled to master the basics of drawing in night-school classes. She moved to New York in her early twenties and befriended Willem de Kooning, Jackson Pollock, and other artists who were pioneering Abstract Expressionism. Although praised for the coloristic brio of her abstract paintings, she began working figuratively, a move that was much criticized but ultimately vindicated when the Museum of Modern Art purchased her painting The Persian Jacket in 1953. By the mid-fifties, she freely combined abstract and representational elements. Grace-who signed her paintings "Hartigan"- was a full-fledged member of the "men's club" that was the 1950s art scene. Featured in Time, Newsweek, Life, and Look, she was the only woman in MoMA's groundbreaking 12 Americans exhibition in 1956, and the youngest artist-and again, only woman-in The New American Painting, which toured Europe in 1958-1959. Two years later she moved to Baltimore, where she became legendary for her signature tough-love counsel to her art school students. Grace continued to paint throughout her life, seeking-for better or worse-something truer and fiercer than beauty.
Geists memoir is written in the tradition of Saint Augustines book, Confessions. Confessions is considered the first Western autobiography chronicling the saints struggles with sin, lust, and his life in Christian ministry. With brutal honesty, Jim Geist shares stories of struggle with character defects, addiction, and obsessive-compulsive behavior. It is a series of antidotal stories from elementary school, little league sports, family stories, and funny stories from hunting camp, graduate school, ministry, and his job as a high school social studies teacher in New York City. In his fifteen years as an educator, dozens of students encouraged Mr. Geist to write a memoir because they found his stories interesting, humorous, and inspirational. He was voted Teacher of the Year in 2012 by his peers, the same year his assistant principal took him to arbitration to steal his livelihood for him speaking out against the change from teacher-centered teaching to classes becoming times of group work where most of the time was not being spent on the curriculum or preparing for the New York state exams. It is a memoir of his careers, marriage, divorce, heartbreak, relationships, human rights activism against genocide, and modern-day slavery. It is a story of an urban teacher, in the midst of changes in the public education paradigm and a failed political candidate shot with slings and arrows of dirty tricks and false charges. It has stories of arbitration and court battles and recovery from codependency through the twelve-step program, learning how to accept life on lifes terms. You will find yourself laughing on almost every page and identifying with many of the human conundrums we face in life because life is often stranger than fiction.
This work has been done so the next generations will know about their family history and how our True Pioneer Heritage made the United States the greatest country there is to live in.
In March 1996 the Society of Experimental Biology (UK) together with two other international scientific societies, the Australian and New Zealand Society for Comparative Physiology and Biochemistry and the Society for Integrative and Comparative Biology (formally the American Society for Zoology) joined forces with Springer-Verlag, Heidelberg to produce one of the first fully electronic online, peer-reviewed biological journals, Experimental Biology Online. The present product represents the fruits of this joint venture and encapsulates Volumes 1 and 2 of the journal. This will be an ongoing series such that an archival version of the journal will be available to all libraries as well as the on-line version. At the outset this was "new land" for all concerned but the launching of a journal which would cover experimental biology in terms of Animal, Cell and Plant topics was daunting but we all felt that the use of electronic media and the internet would be ideally suited to this purpose.
Every intricate detail of Curtis' life was inherited from the ways those before him left behind. Drugs, alcohol and even the secret sexual abuse of his youth, all found place on his adult path to manifest the struggles he had learned to hide. While on his journey to push through the torment of his past, Curtis breaks free of the handed down circumstance and not only finds himself, but gains the strength needed to take back the life others stole so many years ago.
“The book is carefully organized and well written, and it deals with a question that is still of great importance—what is the relationship of the Bill of Rights to the states.”—Journal of American History “Curtis effectively settles a serious legal debate: whether the framers of the 14th Amendment intended to incorporate the Bill of Rights guarantees and thereby inhibit state action. Taking on a formidable array of constitutional scholars, . . . he rebuts their argument with vigor and effectiveness, conclusively demonstrating the legitimacy of the incorporation thesis. . . . A bold, forcefully argued, important study.”—Library Journal
The author shows that although Americans are better off today in most areas than they were in 1960, they have performed poorly compared with other leading industrial nations.
Many of the most prominent figures in African-American Islam have been dismissed as Muslim heretics and cultists. Focusing on the works of five of these notable figures—Edward W. Blyden, Noble Drew Ali, Elijah Muhammad, Malcolm X, and Wallace D. Muhammad—author Edward E. Curtis IV examines the origin and development of modern African-American Islamic thought. Curtis notes that intellectual tensions in African-American Islam parallel those of Islam throughout its history—most notably, whether Islam is a religion for a particular group of people or whether it is a religion for all people. In the African-American context, such tensions reflect the struggle for black liberation and the continuing reconstruction of black identity. Ultimately, Curtis argues, the interplay of particular and universal interpretations of the faith can allow African-American Islam a vision that embraces both a specific group of people and all people.
Reveals the important role of Muslim Americans in American politics Since the 1950s, and especially in the post-9/11 era, Muslim Americans have played outsized roles in US politics, sometimes as political dissidents and sometimes as political insiders. However, more than at any other moment in history, Muslim Americans now stand at the symbolic center of US politics and public life. This volume argues that the future of American democracy depends on whether Muslim Americans are able to exercise their political rights as citizens and whether they can find acceptance as social equals. Many believe that, over time, Muslim Americans will be accepted just as other religious minorities have been. Yet Curtis contends that this belief overlooks the real barrier to their full citizenship, which is political rather than cultural. The dominant form of American liberalism has prevented the political assimilation of American Muslims, even while leaders from Eisenhower to Obama have offered rhetorical support for their acceptance. Drawing on examples ranging from the political rhetoric of the Nation of Islam in the 1950s and 1960s to the symbolic use of fallen Muslim American service members in the 2016 election cycle, Curtis shows that the efforts of Muslim Americans to be regarded as full Americans have been going on for decades, yet never with full success. Curtis argues that policies, laws, and political rhetoric concerning Muslim Americans are quintessential American political questions. Debates about freedom of speech and religion, equal justice under law, and the war on terrorism have placed Muslim Americans at the center of public discourse. How Americans decide to view and make policy regarding Muslim Americans will play a large role in what kind of country the United States will become, and whether it will be a country that chooses freedom over fear and justice over prejudice.
Contains more than 100 maps, diagrams and illustrations The Staff Ride Handbook for the Overland Campaign, Virginia, 4 May to 15 June 1864, is the tenth study in the Combat Studies Institute’s (CSI) Staff Ride Handbook series. This handbook analyzes Lieutenant General Ulysses S. Grant’s 1864 Overland Campaign from the crossing of the Rapidan River on 4 May to the initiation of the crossing of the James River on 15 June. Unlike many of CSI’s previous handbooks, this handbook focuses on the operational level of war. Even so, it provides a heavy dose of tactical analysis, thereby making this ride a superb tool for developing Army leaders at almost all levels. Designed to be completed in three days, this staff ride is flexible enough to allow units to conduct a one-day or two-day ride that will still enable soldiers to gain a full range of insights offered by the study of this important campaign. In developing their plan for conducting an Overland Campaign staff ride, unit commanders are encouraged to consider analyzing the wide range of military problems associated with warfighting that this study offers. This campaign provides a host of issues to be examined, to include logistics, intelligence, psychological operations, use of reconnaissance (or lack thereof), deception, leadership, engineering, campaign planning, soldier initiative, and many other areas relevant to the modern military professional. Each of these issues, and others also analyzed herein, are as germane to us today as they were 150 years ago.
“Masterful . . . an epic tale of backbiting, shady deal-making, and greed [that] reads like a John Grisham novel.”—The Wall Street Journal A real-life legal thriller as timeless as a Greek tragedy, tracing the downfall of one of America’s most famous lawyers and exposing the dark side of Southern politics—from the author of When Evil Lived in Laurel Dickie Scruggs was arguably the most successful plaintiff’s lawyer in America. A brother-in-law of former U.S. Senate majority leader Trent Lott, Scruggs made a fortune taking on mass tort lawsuits against Big Tobacco and the asbestos industries. He was hailed by Newsweek as a latter-day Robin Hood and was portrayed in the movie The Insider as a dapper aviator-lawyer. Scruggs’s legal triumphs rewarded him lavishly, and his success emboldened both his career maneuvering and his influence in Southern politics—but at a terrible cost, culminating in his spectacular fall, when he was convicted for conspiring to bribe a Mississippi state judge. Based on extensive interviews, transcripts, and FBI recordings never made public, The Fall of the House of Zeus uncovers the Washington legal games and power politics: the swirl of fixed cases, blocked investigations, judicial tampering, and a zealous prosecution that would eventually ensnare not only Scruggs but his own son, Zach, in the midst of their struggle with insurance companies over Hurricane Katrina damages. Featuring Trent Lott and Jim Biden, brother of then-Senator Joe Biden, in supporting roles, with cameos by John McCain, Al Gore, and other Washington insiders, Curtis Wilkie’s account of this uniquely American tragedy reveals the seedy underbelly of institutional power.
The city of St. Louis is known for its African American citizens and their many contributions to the culture within its borders, the country, and the world. Images of Modern America: African American St. Louis profiles some of the events that helped shape St. Louis from the 1960s to the present. Tracing key milestones in the city's history, this book attempts to pay homage to those African Americans who sacrificed to advance fair socioeconomic conditions for all. In the closing decades of the Great Migration north, the civil rights movement was taking place nationally; simultaneously, St. Louis's African Americans were organizing to exert political power for greater control over their destiny. Protests, voter registration, and elections to public office opened new doors to the city's African Americans. It resulted in the movement for fairness in hiring practices and the expansion of the African American presence in sports, education, and entertainment.
THE INSPIRATION FOR THE NETFLIX ANIMATED SERIES WOLF KING. A thrilling series for Ranger's Apprentice fans! Imagine a world ruled by Werelords--men and women who can shift at will into bears, lions, and serpents. When Drew suddenly discovers he's not only a werewolf but the long-lost heir to the murdered Wolf King's throne, he must use his wits and newfound powers to survive in a land suddenly full of enemies. Drew's the only one who can unite the kingdom in a massive uprising against its tyrant ruler, Leopold the Lion. But the king is hot on Drew's tail and won't rest until he's got the rebel wolf's head. "Game of Thrones for the tween set." —School Library Journal
A rich, vibrant portrait—the most intimate and telling yet of this complex man considered by many to be the actor’s actor. Spencer Tracy’s image on-screen was that of a self-reliant man whose sense of rectitude toward others was matched by his sense of humor toward himself. Whether he was Father Flanagan of Boys Town, Clarence Darrow of Inherit the Wind, or the crippled war veteran in Bad Day at Black Rock, Tracy was forever seen as a pillar of strength. His full name was Spencer Bonaventure Tracy. He was called “The Gray Fox” by Frank Sinatra; other actors called him the “The Pope.” “The best goddamned actor I’ve ever seen!”—George M. Cohan In his several comedy roles opposite Katharine Hepburn (Woman of the Year and Adam’s Rib among them) or in Father of the Bride with Elizabeth Taylor, Tracy was the sort of regular American guy one could depend on. Now James Curtis, acclaimed biographer of Preston Sturges (“Definitive” —Variety), James Whale, and W. C. Fields (“By far the fullest, fairest, and most touching account . . . we have yet had. Or are likely to have” —Richard Schickel, The New York Times Book Review, cover review), gives us the life of one of the most revered screen actors of his generation. Curtis writes of Tracy’s distinguished career, his deep Catholicism, his devoted relationship to his wife, his drinking that got him into so much trouble, and his twenty-six-year-long bond with his partner on-screen and off, Katharine Hepburn. Drawing on Tracy’s personal papers and writing with the full cooperation of Tracy’s daughter, Curtis tells the rich story of the brilliant but haunted man at the heart of the legend. We see him from his boyhood in Milwaukee; given over to Dominican nuns (“They drill that religion in you”); his years struggling in regional shows and stock (Tracy had a photographic memory and an instinct for inhabiting a character from within); acting opposite his future wife, Louise Treadwell; marrying and having two children, their son, John, born deaf. We see Tracy’s success on Broadway, his turning out mostly forgettable programmers with the Fox Film Corporation, and going to Metro-Goldwyn-Mayer and getting the kinds of roles that had eluded him in the past—a streetwise priest opposite Clark Gable in San Francisco; a screwball comedy, Libeled Lady; Kipling’s classic of the sea, Captains Courageous. Three years after arriving at MGM, Tracy became America’s top male star. We see how Tracy embarked on a series of affairs with his costars . . . making Northwest Passage and Dr. Jekyll and Mr. Hyde, which brought Ingrid Bergman into his life. By the time the unhappy shoot was over, Tracy, looking to do a comedy, made Woman of the Year. Its unlikely costar: Katharine Hepburn. We see Hepburn making Tracy her life’s project—protecting and sustaining him in the difficult job of being a top-tier movie star. And we see Tracy’s wife, Louise, devoting herself to studying how deaf children could be taught to communicate orally with the hearing and speaking world. Curtis writes that Tracy was ready to retire when producer-director Stanley Kramer recruited him for Inherit the Wind—a collaboration that led to Judgment at Nuremberg, It’s a Mad Mad Mad Mad World, and Tracy’s final picture, Guess Who’s Coming to Dinner . . . A rich, vibrant portrait—the most intimate and telling yet of this complex man considered by many to be the actor’s actor.
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