Shaw Industries, which is based in Dalton, Georgia, is the nation's leading textile manufacturer and the world's largest producer of carpets. This history focuses on the evolution of Shaw's business strategy and its adaptations to changing economic conditions. Randall L. Patton chronicles Shaw's rise to dominance by drawing on corporate records, industry data, and interviews with Shaw employees and management, including Robert E. Shaw, the only CEO the company has known in its more than thirty years. Patton situates Shaw within both the overall context of Sunbelt economic development and the unique circumstances behind the success of the tufted carpet industry in northwest Georgia. After surveying the state of the carpet industry nationwide at the end of World War II, Patton then tells the Shaw story from the boom years of 1955-1973, through the transitional decade of 1973-1982, the consolidation phase of the 1980s and early 1990s, and the "new economy" of the mid- to late 1990s. Throughout, Patton shows, Shaw's drive has always been toward vertical integration--controlling the outside forces that could affect its bottom line. He tells, for instance, how Shaw built its own trucking fleet and became its own yarn supplier, all to the company's advantage. He also relates less successful ventures, most notably Shaw's attempt at direct retailing. The picture emerges of a company proud of its image as a steady and profitable business surviving in a competitive industry. Patton traces the history of Shaw Industries from its start as a family-owned operation through its growth into a multinational corporation that recently joined Warren Buffett's holding company, Berkshire-Hathaway. The Shaw saga has much to tell us about the continuing vitality of "old economy" manufacturers.

This book is the first comprehensive account of the numerous attempts made since the Second World War to provide food security for all. It provides a reference source for all those involved and interested in food security issues.

This special issue of Shaw offers ten articles that focus on the theme of "Shaw and History." That focus illuminates Shaw's concept of history as art and its uses for dramatic purposes. It is a focus that is broadly applied to the historical perspective. Views range from Shaw's uses of historical sources in the Shavianizing of history, his uses of historical, geographical, and political places and events in his work, to views that place selected Shavian works within a historical context. Stanley Weintraub discusses Shaw's references to Cetewayo, Zulu chieftain, in Cashel Byron's Profession as the first incorporation of a contemporary historical figure into his work. John Allett explores the liberal, socialist, and radical feminist views of prostitution in nineteenth-century England and demonstrates how those political views are developed within the unfolding action ofMrs Warren's Profession. Sidney P. Albert studies the Utopian movement, "The Garden City," to determine the extent to which that movement influenced Shaw's conception of Perivale St. Andres inMajor Barbara. He also narrates his personal attempt to identify the Ballycorus smelting works and its surroundings as well as the campanile, or Folly, at Faringdon as sites that provided the scenic sources for Perivale St. Andres inMajor Barbara. Gale K. Larson has edited a partially unpublished Shavian manuscript that addresses Shaw's relationship with Frank Harris and, among other matters, sets the historical record right as to who deserves the credit for attributing the identity of the Dark Lady of the Sonnets to Mary Fitton. He also examines the historical sources that influenced Shaw's views on Charles II, the "Merry Monarch," in"In Good King Charles's Golden Days" and demonstrates Shaw's reclamation of yet another historical figure from the traditional historians. David Gunby examines the first-night performance of O'Flaherty, V.C. for purposes of setting the historical record straight as to the facts of that production. Wendi Chen presents the stage history of the production of Mrs Warren's Professionin China during the early 1920s and argues its central role in shaping modern Chinese drama. Rodelle Weintraub assesses Too True to Be Good as a dream play within the context of the nightmarish times of World War I. Michael M. O'Hara surveys the Federal Theatre's productions of Androcles and the Lionin the 1930s to reveal the political and religious repressions that those productions underscore. Shaw 19 also includes three reviews of recent additions to Shavian scholarship as well as John R. Pfeiffer's "Continuing Checklist of Shaviana."

New, accessible overview of the global history of Christianity

Let residents tell you what it's been like to live in D.C.'s most gentrified neighborhood. When Gretchen Wharton came to Shaw in 1946, the houses were full of families that looked like hers: lower-income, African American, two parents with kids. The sidewalks were full of children playing. When Leroy Thorpe moved in in the 1980s, the same streets were dense with drug markets. When John Lucier found a deal on a house in Shaw in 2002, he found himself moving into one of four occupied homes on his block. Every morning, he waited by himself on the empty platform of the newly opened metro station. When Preetha Iyengar became pregnant with her first child in 2016, she jumped into a seller's market to buy a rowhouse in the area. Journalist and Shaw resident Shilpi Malinowski explores the complexities of the many stories of belonging in the District's most dynamic neighborhood.

Shaw told Ellen Terry that he required whole populations and historical epochs to engage his interests seriously, and this book examines his engagement-as a dramatist-with historical issues. It explores his sense of history in plays set in the past, and it also demonstrates that many of Shaw's plays, although set in the present or future, can profitably be seen as history plays in that they dramatize historical issues.