Stretching from the colonial era to 9/11 and beyond, New York at War is that most rare of books: a work of history that is at once local and international, timely and timeless. Bringing a unique lens to bear on the world's most celebrated and contested city, Jaffe reveals the unimaginable ways the city has changed -- and how it has stubbornly endured -- under threats both external and internal.

Gotham at War is an accessible, entertaining account of America's biggest and most powerful urban center during the Civil War. New York City mobilized an enthusiastic but poorly trained military force during the first month of the war that helped protect Washington, D.C., from Confederate capture. Its strong financial support for the national government may well have saved the Union. New York served as a center for manpower, military supplies, and shipbuilding. And medically, New York became a center for efforts to provide for sick and wounded soldiers. Yet, despite being a major Northern city, New York also had strong sympathy for the South. Parts of the city were strongly racist, hostile to the abolition of slavery and to any real freedom for black Americans. The hostility of many New Yorkers to the military draft culminated in one of the greatest of all urban upheavals, the draft riots of July 1863. Edward K. Spann brings his experience as an urban historian to provide insights on both the varied ways in which the war affected the city and the ways in which the city's people and industry influenced the divided nation. This is the first book to assess the city's contributions to the Civil War. Gotham at War examines the different sides of the city as some fought to sustain the Union while others opposed the war effort and sided with the South. This unique book will entertain all readers interested in the Civil War and New York City. About the Author Edward K. Spann is professor emeritus of history at Indiana State University. He is a specialist in nineteenth-century history and urban history. Spann has authored a number of books, including The New Metropolis: New York City 1840-1857 and Ideals and Politics: New York Intellectuals and Liberal Democracy, which was nominated for a Pulitzer Prize.

A wonderfully nostalgic and inspiring look at the center of the home front during World War II—New York City More than any other place, New York was the center of action on the home front during World War II. As Hitler came to power in Germany, American Nazis goose-stepped in Yorkville on the Upper East Side, while recently arrived Jewish émigrés found refuge on the Upper West Side. When America joined the fight, enlisted men heading for battle in Europe or the Pacific streamed through Grand Central Terminal and Pennsylvania Station. The Brooklyn Navy Yard refitted ships, and Times Square overflowed with soldiers and sailors enjoying some much-needed R & R. German U-boats attacked convoys leaving New York Harbor. Silhouetted against the gleaming skyline, ships were easy prey—debris and even bodies washed up on Long Island beaches—until the city rallied under a stringently imposed dim-out. From Rockefeller Center's Victory Gardens and Manhattan's swanky nightclubs to metal-scrap drives and carless streets, Over Here! captures the excitement, trepidation, and bustle of this legendary city during wartime. Filled with the reminiscences of ordinary and famous New Yorkers, including Walter Cronkite, Barbara Walters, and Angela Lansbury, and rich in surprising detail—from Macy's blackout boutique to Mickey Mouse gas masks for kids—this engaging look back is an illuminating tour of New York on the front lines of the home front.

A “lucid, detailed, and imaginative analysis” (The Nation) of the model city that working-class New Yorkers created after World War II—and its tragic demise More than any other city in America, New York in the years after the Second World War carved out an idealistic and equitable path to the future. Largely through the efforts of its working class and the dynamic labor movement it built, New York City became the envied model of liberal America and the scourge of conservatives everywhere: cheap and easy-to-use mass transit, work in small businesses and factories that had good wages and benefits, affordable public housing, and healthcare for all. Working-Class New York is an “engrossing” (Dissent) account of the birth of that ideal and the way it came crashing down. In what Publishers Weekly calls “absorbing and beautifully detailed history,” historian Joshua Freeman shows how the anticommunist purges of the 1950s decimated the ranks of the labor movement and demoralized its idealists, and how the fiscal crisis of the mid-1970s dealt another crushing blow to liberal ideals as the city’s wealthy elite made a frenzied grab for power. A grand work of cultural and social history, Working-Class New York is a moving chronicle of a dream that died but may yet rise again.

From John Strausbaugh, author of City of Sedition and The Village, comes the definitive history of Gotham during the World War II era. New York City during World War II wasn't just a place of servicemen, politicians, heroes, G.I. Joes and Rosie the Riveters, but also of quislings and saboteurs; of Nazi, Fascist, and Communist sympathizers; of war protesters and conscientious objectors; of gangsters and hookers and profiteers; of latchkey kids and bobby-soxers, poets and painters, atomic scientists and atomic spies. While the war launched and leveled nations, spurred economic growth, and saw the rise and fall of global Fascism, New York City would eventually emerge as the new capital of the world. From the Gilded Age to VJ-Day, an array of fascinating New Yorkers rose to fame, from Mayor Fiorello La Guardia to Franklin and Eleanor Roosevelt, Langston Hughes to Joe Louis, to Robert Moses and Joe DiMaggio. In Victory City, John Strausbaugh returns to tell the story of New York City's war years with the same richness, depth, and nuance he brought to his previous books, City of Sedition and The Village, providing readers with a groundbreaking new look into the greatest city on earth during the most transformative -- and costliest -- war in human history.

What if the world of the old New York waterfront was as violent and mob-controlled as it appears in Hollywood movies? Well, it really was, and the story of its downfall, told here in high style by Nathan Ward, is the original New York mob story. New York Sun reporter Malcolm "Mike" Johnson was sent to cover the murder of a West Side boss stevedore and discovered a "waterfront jungle, set against a background of New York's magnificent skyscrapers" and providing "rich pickings for criminal gangs." Racketeers ran their territories while doubling as union officers, from the West Side's "Cockeye" Dunn, who'd kill for any amount of dock space, to Jersey City's Charlie Yanowsky, who controlled rackets and hiring until he was ice-picked to death. Johnson's hard-hitting investigative series won a Pulitzer Prize, inspired a screenplay by Arthur Miller, and prompted Elia Kazan's Oscar-winning film On the Waterfront. And yet J. Edgar Hoover denied the existence of organized crime - even as the government's dramatic hearings into waterfront misdeeds became must-see television. In Dark Harbor, Nathan Ward tells this archetypal crime story as if for the first time, taking the reader back to a city, and an era, at once more corrupt and more innocent than our own.

Bestselling author David Shields analyzed over a decade's worth of front-page war photographs fromTheNew York Timesand came to a shocking conclusion: the photo-editing process ofthe "paper of record,"by way of pretty, heroic, and lavishly aesthetic image selection, pullsthe woolover the eyes of its readers; Shields forces us to face not only the the media's complicity in dubious and catastrophic military campaigns but our own as well.This powerful media mouthpiece, the mightyTimes, far from being a check on governmental power, is in reality a massive amplifier for its dark forces by virtue of the way it aestheticizeswarfare. Anyone baffled by the willful American involvement in Iraq and Afghanistan can't help but see in this book how eagerly and invariably theTimesled the way in making the case for these wars through the manipulation of its visuals. Shields forces the reader to weigh the consequences of our own passivity in the face of these images' opiatic numbing. The photographs gathered inWar Is Beautiful, often beautiful and always artful, are filters of reality rather than the documentary journalism they purport to be.