THE STORY: Cynthia Karslake is a freewheeling divorcee in 1906 New York City society. She has decided to settle down again into a much more stable, reliable relationship with the prominent Judge Philip Phillimore. Little does she know, however, tha

"A provocative interpretation of the political and cultural history of the early cold war years. . . . By insisting that art, even art of the avant-garde, is part of the general culture, not autonomous or above it, he forces us to think differently not only about art and art history but about society itself."—New York Times Book Review

From a Sibert Medalist comes the epic story of Manhattan—a magical, maddening island “for all” and a microcosm of America. A veteran nonfiction storyteller dives deep into the four-hundred-year history of Manhattan to map the island’s unexpected intersections. Focusing on the evolution of four streets and a square (Wall Street, 42nd Street, West 4th Street, 125th Street, and Union Square) Marc Aronson explores how new ideas and forms of art evolved from social blending. Centuries of conflict—among original Americans and Europeans, slavers and the enslaved, rich and poor, immigrants and native-born—produced segregation, oppression, and violence, but also new ways of speaking, singing, and being American. From the Harlem Renaissance to Hammerstein, from gay pride in the Village to political clashes at Tammany Hall, this clear-eyed pageant of the island’s joys and struggles—enhanced with photos and drawings, multimedia links to music and film, and an extensive bibliography and source notes—is, above all, a love song to Manhattan’s triumphs.

In 1919 American Communist Party member Benjamin Gitlow was arrested for distributing a "Left Wing Manifesto," a publication inspired by the Russian Revolution. He was charged with violating New York's Criminal Anarchy Law of 1902, which outlawed the advocacy of any doctrine advocating to the violent overthrow of government. Gitlow argued that the law violated his right to free speech but was still convicted. He appealed and five years later the Supreme Court upheld his sentence by a vote of 7-2. Throughout the legal proceedings, much attention was devoted to the "bad tendency" doctrine-the idea that speakers and writers were responsible for the probable effects of their words-which the Supreme Court explicitly endorsed in its decision. According to Justice Edward T. Sanford, "A state may punish utterances endangering the foundations of organized government and threatening its overthrow by unlawful means." More important was Justice Oliver Wendell Holmes' dissent, in which he argued that the mere expression of ideas, separated from action, could not be punished under the "clear and present danger" doctrine. As Holmes put it, "Every idea is an incitement"-and the expression of an idea, no matter how disagreeable, was protected by the First Amendment. While the majority disagreed, it also raised and endorsed the idea that the Bill of Rights could be violated by neither the federal government nor individual states-an idea known as "incorporation" that was addressed for the first time in this case. In recreating Gitlow, Marc Lendler opens up the world of American radicalism and brings back into focus a number of key figures in American law: defense attorney Clarence Darrow; New York Court of Appeals justices Roscoe Pound and Benjamin Cardozo; Walter Pollak of the fledgling ACLU; and dissenting justices Oliver Wendell Holmes and Louis Brandeis. Lendler also traces the origins of the incorporation doctrine and the ebb and flow of Gitlow as a precedent through the end of the Cold War. In a time when Islamic radicalism raises many of the same questions as domestic Communism did, Lendler's cogent explication of this landmark case helps students and Court-watchers alike better understand "clear and present danger" tests, ongoing debates over incitement, and the importance of the Holmes-Brandeis dissent in our jurisprudence.

"The New York Idea" is a comedy about divorce that examined the emerging phenomenon of casual divorce in the early 1900s. Its lively dialogue and the relevant absurdities of the character made it a famous drawing-room comedy.