At the heart of the story of America’s wars are our “citizen soldiers”—those hometown heroes who fought and sacrificed from Bunker Hill at Charlestown to Pointe du Hoc in Normandy, and beyond, without expectation of recognition or recompense. Americans like to think that the service of its citizen volunteers is, and always has been, of momentous importance in our politics and society. But though this has made for good storytelling, the reality of America’s relationship to its veterans is far more complex. In Those Who Have Borne the Battle, historian and marine veteran James Wright tells the story of the long, often troubled relationship between America and those who have defended her—from the Revolutionary War to today—shedding new light both on our history and on the issues our country and its armed forces face today. From the beginning, American gratitude to its warriors was not a given. Prior to World War II, the prevailing view was that, as citizen soldiers, the service of its young men was the price of citizenship in a free society. Even Revolutionary War veterans were affectionately, but only temporarily, embraced, as the new nation and its citizens had much else to do. In time, the celebration of the nation’s heroes became an important part of our culture, building to the response to World War II, where warriors were celebrated and new government programs provided support for veterans. The greater transformation came in the wars after World War II, as the way we mobilize for war, fight our wars, and honor those who serve has changed in drastic and troubling ways. Unclear and changing military objectives have made our actions harder for civilians to stand behind, a situation compounded by the fact that the armed forces have become less representative of American society as a whole. Few citizens join in the sacrifice that war demands. The support systems seem less and less capable of handling the increasing number of wounded warriors returning from our numerous and bewildering conflicts abroad. A masterful work of history, Those Who Have Borne the Battle expertly relates the burdens carried by veterans dating back to the Revolution, as well as those fighting today’s wars. And it challenges Americans to do better for those who serve and sacrifice today.
He was the consummate designer of film architecture on a grand scale, influenced by German expressionism and the work of the great European directors. He was known for his visual flair and timeless innovation, a man who meticulously preplanned the color and design of each film through a series of continuity sketches that made clear camera angles, lighting, and the actors’ positions for each scene, translating dramatic conventions of the stage to the new capabilities of film. Here is the long-awaited book on William Cameron Menzies, Hollywood’s first and greatest production designer, a job title David O. Selznick invented for Menzies’ extraordinary, all-encompassing, Academy Award–winning work on Gone With the Wind (which he effectively co-directed). It was Menzies—winner of the first-ever Academy Award for Art Direction, jointly for The Dove (1927) and Tempest (1928), and who was as well a director (fourteen pictures) and a producer (twelve pictures)—who changed the way movies were (and still are) made, in a career that spanned four decades, from the 1920s through the 1950s. His more than 120 films include Rosita (1923), Things to Come (1936), Foreign Correspondent (1940), Kings Row (1942), Mr. Lucky (1943), The Pride of the Yankees (1943), For Whom the Bell Tolls (1943), Address Unknown (1944), It’s a Wonderful Life (1947), Invaders from Mars (1953), and Around the World in 80 Days (1956). Now, James Curtis, acclaimed film historian and biographer, writes of Menzies’ life and work as the most influential designer in the history of film. His artistry encompassed the large, scenic drawings of Douglas Fairbanks’ The Thief of Bagdad (1924), which created a new standard for beauty on the screen and whose exotic fairy-tale sets are still regarded as pure genius. (“I saw The Thief of Bagdad when it first came out,” said Orson Welles—he was, at the time, a nine-year-old boy. “I’ll never forget it.”) Curtis writes of Menzies’ design and supervision of John Barrymore’s Beloved Rogue (1927), a film that remains a masterpiece of craft and synthesis, one of the most distinctive pictures to emerge from Hollywood’s waning days of silent films, and of his extraordinary, opulent appointments for Gone With the Wind (1939). It was Menzies who defined and solidified the role of art director as having overall control of the look of the motion picture, collaborating with producers like David O. Selznick and Samuel Goldwyn; with directors such as D. W. Griffith, Raoul Walsh, Alfred Hitchcock, Lewis Milestone, and Frank Capra. And with actors as varied as Ingrid Bergman, W. C. Fields, Cary Grant, Clark Gable, John Barrymore, Barbara Stanwyck, Ronald Reagan, Gary Cooper, Vivien Leigh, Carole Lombard, Mary Pickford, Gloria Swanson, and David Niven. Interviewing colleagues, actors, directors, friends, and family, and with full access to the William Cameron Menzies family collection of original artwork, correspondence, scrapbooks, and unpublished writing, Curtis brilliantly gives us the path-finding work of the movies’ most daring and dynamic production designer: his evolution as artist, art director, production designer, and director. Here is a portrait of a man in his time that makes clear how the movies were forever transformed by his startling, visionary work. (With 16 pages of color illustrations, and black-and-white photographs throughout.)
Defining "genocide" as an international crime, this two-volume set provides a comparative study of historical cases of genocide and mass atrocity—clearly identifying the factors that produced the attitudes and behaviors that led to them—discusses the reasons for rules in war, and examines how the five principles laid out in the Geneva Conventions and other international agreements have functioned in modern warfare. Written by an expert on international politics and law, Genocide, Mass Atrocity, and War Crimes in Modern History: Blood and Conscience is an easy-to-understand resource that explains why genocides and other atrocities occur, why humanity saw the need to create rules that apply during war, and how culture, rules about war, and the nature of war intersect. The first volume addresses the history and development of the normative regime(s) that define genocide and mass atrocity. Through a comparative study of historical cases that pay particular attention to the factors involved in producing the attitudes and behaviors that led to the incidents of mass slaughter and mistreatment, the author identifies the reasons that genocides and mass atrocities in the 20th century were largely ignored until the early 1990s and why even starting then, responses were inconsistent. The second book discusses why rules in war exist, which factors may lead to the adoption of rules, what defines a war "crime," and how the five fundamental principles laid out in the Geneva Conventions and other international agreements have actually functioned in modern warfare. It also poses—and answers—the interesting question of why we should obey rules when our opponents do not. The final chapter examines what actions could serve to identify future situations in which mass atrocities may occur and identifies the problems of timely humanitarian intervention in international affairs.
Daddy. She pierced him suddenly with her green eyes. You know what it is, stop pretending. Im grown up now; tell me what it is! Cathy, you always said you didnt want to know; it made you feel different, you didnt want to know. And youre not grown up. I said a lot of things. But now I want to know. Youre not grown up, youre... He stared into her burning eyes for a long time, having known for sixteen years that this moment would one day come, that she would have to know the truth someday. Its called Mist, he heard his voice saying. Its a powerful field, something along the lines of magnetism. You know, that game we used to play on the kitchen table, Cathy; when you tried to push the positive sides of your magnets together and they repelled each other, and one scooted away without even touching the other, and how you used to giggle? She studied him for a long time. But when I reversed one of them, they didnt repel, they attracted. He looked away from her, his little girl, the miracle. Fear throbbed in his eyes as he stared out the window at the Blue River Valley beyond the farmhouse. He had always known that they couldnt hide here, nor anywhere. She would never be safe, not anywhere on Earth, not anywhere in the universe. He had always known that this day would come. Mist, Cathy said, breaking him out of his stare. Mist. Thats the field that surrounds you. Daddy, am I human?
From the moment films were first produced, comedy has been a key feature of cinema. From just before the turn of the twentieth century until the early 1930s, audiences celebrated the brilliant humor of cinematic clowns who left their marks forever. We still remember—and laugh at—the hilarious antics of Laurel and Hardy, Buster Keaton, Harold Lloyd, and many others. In 100 Essential Silent Film Comedies James Roots identifies the major comedic motion pictures produced in the first few decades of the twentieth century. With a lucid and lively style, Roots takes a look at more than 400 silent comedies and narrows the list to 100 that viewers should consider. Each entry includes cast and crew information, a synopsis, critical evaluation, and additional commentary—all to demonstrate why that particular film is essential viewing. The films range from 70 seconds to full-length features and even include some of the earliest produced films, starting in 1894. In addition to citing Hollywood’s finest, the book profiles comedies from around the world, including selections from the United Kingdom, France, Japan and Russia. More thanseventy silent comedians from Charlie Chaplin to Max Linder are represented in these selections, and the book celebrates such established classics as The General and Safety Last—as well as relatively obscure one-reelers. Including information about DVD availability, 100 Essential Silent Film Comedies is an invaluable resource that provides both scholars and general film fans a list of entertaining films to explore.
This exciting book explores fashion not simply from an aesthetic point of view but also as a manifestation of social and cultural change. Focusing on fashion from 1850, noted fashion historians Daniel James Cole and Nancy Deihl consider the evolution of womenswear, menswear, and childrenswear, decade by decade. The book looks at the dissemination of style and the mechanisms of change, at the relationship between fashion and the visual, applied, and performing arts, the intertwined relationship between fashion and popular culture, the impact of new materials and technology, and the growing globalization of style. With photographs of costume from museums and images from the fashion press including editorial photography, illustrations, and advertising, the book will include insights into icons of fashion and the clothes worn by “real people”, providing a valuable visual reference for the reader.
A comprehensive collection of the American humorist’s best work—including “The Secret Life of Walter Mitty”—plus original drawings and a chronology of Thurber’s own troubled life James Thurber, whimsical fantasist and deadpan chronicler of everyday absurdities, brought American humor into the 20th century. His comic persona, a modern city-dweller whose zaniest flights of free association are tinged with anxiety, remains hilarious, subtly disturbing, and instantly recognizable. Here, in over 1,000 pages, editor Garrison Keillor presents the best and most extensive collection ever assembled. Pieces include “The Secret Life of Walter Mitty” and “The Catbird Seat,” the brilliantly satirical Fables for Our Time, the classic My Life and Hard Times, and the best of The Owl in the Attic, Let Your Mind Alone!, My World—And Welcome to It, and the other famous books. Plus 500 wonderful drawings, including The Seal in the Bedroom and celebrated sequences like “The Masculine Approach” and “The War Between Men and Women.” Rounding out the volume is a selection from The Years with Ross, a memoir of the New Yorker publisher, and a number of wonderful early pieces never collected by Thurber. Only a book of this scope can do justice to Thurber’s extraordinary career and to the many unexpected turns of his comic genius. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.
What happens when an overly active imagination fueled by the encouragement of fortune cookies is mixed with a bag of mutating powder, the family cat, and a bottle of grasshoppers? For Ricky Wayne Clay and his genius friend Joe Bob Johnson it spells disaster for the town of Sasquatch, Texas. It all begins with an incredible stroke of luck when Joe Bob acquires the highly sought after Chick-a-Dillo Animizoids playing card. With no way to defeat it, Ricky decides to create his own Animizoid monster. The quest for mutation leads to more trouble than the two boys bargained for, and Ricky and Joe Bob find themselves thrust into an odyssey to save their town. With the Animizoid unleashed on Sasquatch, no man, woman, child, or three-legged dog is safe. Join Ricky and Joe Bob on an adventure to save Sasquatch before time runs out.
This story covers three generations of an Italian family and their struggles in native Italy, their desire to come to America to have a new life, and their triumph and tribulations.
Evelyn Brent's life and career were going quite well in 1928. She was happily living with writer Dorothy Herzog following her divorce from producer Bernard Fineman, and the tiny brunette had wowed fans and critics in the silent films The Underworld and The Last Command. She'd also been a sensation in Paramount's first dialogue film, Interference. But by the end of that year Brent was headed for a quick, downward spiral ending in bankruptcy and occasional work as an extra. What happened is a complicated story laced with bad luck, poor decisions, and treachery detailed in this first and only full-length biography.
Journalists James Bawden and Ron Miller spent their careers interviewing the greatest stars of Hollywood's golden age. They visited Lee Marvin at home and politely admired his fishing trophies, chatted with Janet Leigh while a young Jamie Lee Curtis played, and even made Elizabeth Taylor laugh out loud. In You Ain't Heard Nothin' Yet, Bawden and Miller return with a new collection of rare interviews with iconic film stars including Henry Fonda, Esther Williams, Buster Keaton, Maureen O'Sullivan, Walter Pidgeon, and many more. The book is filled with humorous anecdotes and incredible behind-the-scenes stories. For instance, Bette Davis reflects that she and Katharine Hepburn were both considered for the role of Scarlett O'Hara but neither was "gorgeous enough" for the part; Janet Leigh analyzes the famous shower scene in Psycho (1960), which was shot in seven days and gave the actress nightmares for years; and Jimmy Stewart describes Alfred Hitchcock as a "strange, roly-poly man, interested only in blondes and murder." Popular horror film stars from Lon Chaney Jr. to Boris Karloff and Vincent Price are also featured in a special "movie monsters" section. With first-person accounts of Hollywood life from some of the most distinguished luminaries in the history of American cinema, this entertaining book will delight classic movie fans.
Essays, drawings, plans, and over 200 black-and-white photographs document the courtyard housing in Los Angeles. The style, expressed in both grand and humble dwellings, was at its height in the 1920's and 1930's, but is still around to provide privacy and greenspace in the dense urban area. Annotation copyright by Book News, Inc., Portland, OR
Presents a collection of photographs by the iconic American artist, whose career as a fashion and fine art photographer spanned a period of thirty years until his untimely death from AIDS in 2002.
There's more to Los Angeles than lights, camera, action! From the city's early, devilish days populated by missionaries, robber barons, oil wells and orange groves, Chronicles of Old Los Angeles explains how the Wild West became the Left Coast. Learn how Alta California became the 31st state, and how ethnic waves built Los Angeles—from Native Americans to Spaniards, Latinos and Asians, followed by gangsters, surfers, architects and the Hollywood pioneers who brought fame to the City of the Angels. Then, discover the city yourself with six guided walking/driving tours of LA's historic neighborhoods, profusely illustrated with color photographs and period maps.
The Novel of Human Rights defines a new, dynamic American literary genre. It incorporates key debates within the contemporary human rights movement in the United States, and in turn influences the ideas and rhetoric of that discourse. In James Dawes’s framing, the novel of human rights takes as its theme a range of atrocities at home and abroad, scrambling the distinction between human rights within and beyond national borders. Some novels critique America’s conception of human rights by pointing out U.S. exploitation of international crises. Other novels endorse an American ethos of individualism and citizenship as the best hope for global equality. Some narratives depict human rights workers as responding to an urgent ethical necessity, while others see only inefficient institutions dedicated to their own survival. Surveying the work of Chris Abani, Susan Choi, Edwidge Danticat, Dave Eggers, Nathan Englander, Francisco Goldman, Anthony Marra, and John Edgar Wideman, among others, Dawes finds traces of slave narratives, Holocaust literature, war novels, and expatriate novels, along with earlier traditions of justice writing. The novel of human rights responds to deep forces within America’s politics, society, and culture, Dawes shows. His illuminating study clarifies many ethical dilemmas of today’s local and global politics and helps us think our way, through them, to a better future. Vibrant and modern, the human rights novel reflects our own time and aspires to shape the world we will leave for those who come after.
Why are one in three American adults pervasively dissatisfied with their lives? Why is major depression seven times more likely among those born after 1970 than their grandparents? Why are one in four of us addicted to at least one substance or behavior? Why is America drowning in record personal and public debt? Why did over 100,000 people humiliate themselves this year auditioning for Fox's American Idol? Why are 80 percent of women unhappy with their bodies? What is it about contemporary America that connects the swelling incidence of depression, behavioral addictions, eating disorders, debt, materialism, sleep deprivation, family breakdown, rudeness, fame fixation, ethical collapse, mistrust, and monstrous acts of personal violence? Drawing from emerging science in several fields and insights about our transformed social lives, Rubens explains how genes, commercial culture, and global hyper-competition have locked tens of millions of Americans into an unwinnable success benchmarks race and unleashed an epidemic of status defeat. OverSuccess shows how and why the resulting social and psychological pathologies are different for baby boomers, men, and women. Offering hope for our future, Rubens outlines 20 ways that individuals, businesses, and voluntary organizations can satisfy the American drive for recognition and personal achievement without the toxic burdens of OverSuccess. These cures range from holding the door for strangers and somatic cell gene therapy, to responsible displays of wealth and building village-scale social and business organizations.
A Wall Street Journal and National Bestseller! The man who predicted the worst economic crisis in US history shows you how to survive it. The current crisis is not like 2008 or even 1929. The New Depression that has emerged from the COVID pandemic is the worst economic crisis in U.S. history. Most fired employees will remain redundant. Bankruptcies will be common, and banks will buckle under the weight of bad debts. Deflation, debt, and demography will wreck any chance of recovery, and social disorder will follow closely on the heels of market chaos. The happy talk from Wall Street and the White House is an illusion. The worst is yet to come. But for knowledgeable investors, all hope is not lost. In The New Great Depression, James Rickards, New York Times bestselling author of Aftermath and The New Case for Gold, pulls back the curtain to reveal the true risks to our financial system and what savvy investors can do to survive -- even prosper -- during a time of unrivaled turbulence. Drawing on historical case studies, monetary theory, and behind-the-scenes access to the halls of power, Rickards shines a clarifying light on the events taking place, so investors understand what's really happening and what they can do about it. A must-read for any fans of Rickards and for investors everywhere who want to understand how to preserve their wealth during the worst economic crisis in US history.
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