Buried renaissance of Root, Sullivan, Roebling, W. Homer, Eakins, Ryder, others. 12 illustrations.

Intended as a reference source for American social history, this volume discusses the people, events and ideas of the 1940s. After an introductory overview and chronology, subject chapters follow with subject-specific timelines and alphabetically arranged entries.

Bonded Leather binding

The New York Times and Washington Post bestseller that sparked a national conversation about America's new progressive, multiracial majority, updated to include data from the 2016 election With a new preface and afterword by the author When it first appeared in the lead-up to the 2016 election, Brown Is the New White helped spark a national discussion of race and electoral politics and the often-misdirected spending priorities of the Democratic party. This "slim yet jam-packed call to action" (Booklist) contained a "detailed, data-driven illustration of the rapidly increasing number of racial minorities in America" (NBC News) and their significance in shaping our political future. Completely revised and updated to address the aftermath of the 2016 election, this first paperback edition of Brown Is the New White doubles down on its original insights. Attacking the "myth of the white swing voter" head-on, Steve Phillips, named one of "America's Top 50 Influencers" by Campaigns & Elections, closely examines 2016 election results against a long backdrop of shifts in the electoral map over the past generation—arguing that, now more than ever, hope for a more progressive political future lies not with increased advertising to middle-of-the-road white voters, but with cultivating America's growing, diverse majority. Emerging as a respected and clear-headed commentator on American politics at a time of pessimism and confusion among Democrats, Phillips offers a stirring answer to anyone who thinks the immediate future holds nothing but Trump and Republican majorities.

This book contains 50 years of photography by the author, a National Geographic photographer. He was a pioneer of color photography with a style that called for entering people's homes and hearts; by winning their confidence he was able to capture "off guard" moments, and reveal the depth of human nature. His work reveals beauty, mystery, and a sense of adventure. Part photography retrospective and part personal memoir, this book paints a full picture of the life of a globe-trekking photographer over the past half century.

The war of words between critics and writers is no paper conflict but affects daily life where literature and politics interact. The twentieth-century concern is nowhere more evident than in Ireland today where the growing 'Troubles' in Ulster gave critical debate particular focus. In this clear-eyed survey Bill McCormack assesses the alliances, the animosities, the factions, seeking to show the common ground they share even as they dispute its possession. In his analysis of individual writers, journals and larger enterprises, McCormack raises some unexpected possibilities: Is Conor Cruise O'Brien best understood as a Catholic mystic? Should Field Day be seen as a depoliticising force in Irish culture? What truly distinguishes the manoeuvres of Seamus Heaney, Terence Brown, Edna Longley and Denis Donhgue from each other? Have critics begun to learn from historians, or have historians begun to fight shy of culture? Is the British "Literary Left" imperialist? Is there a non-sectarian art? Underlying this polished and stimulating critique is a sombre awareness of literature's contribution to political malaise, and a call for an engagement with the real forces that govern people's lives.