Henry's talents, including such classics asThe Gift of the Magi and The Furnished Room.

    "Red Harvest" is more than a superb crime novel: it is a classic exploration of corruption and violence in the American grain.The Op was in Personville, derogatory nickname aside, as the result of a letter to the Continental Detective Agency in San Francisco from Donald Willsson, publisher of the local paper, asking for an agent to visit. No other information. As soon as the OP arrives, the body count begins. It starts with his client!

    When the woman becomes involved with another man, her husband must choose between forgiving his wife or abandoning the relationship, & Europe, forever.

    Jim Traft, the tenderfoot in charge of building the fence, finds himself in deep trouble.It takes all of his wits to stay alive, let alone complete the fence. But with courage and tenacity Traft finishes his work and lives to see it bring new order to the range.

    This pioneering novel found a way beyond the bondage of Blackness in American life to a new meaning in truth and beauty. Emma Lou Brown's dark complexion is a source of sorrow and humiliation -- not only to herself, but to her lighter-skinned family and friends and to the white community of Boise, Idaho, her home-town. As a young woman, Emma travels to New York's Harlem, hoping to find a safe haven in the Black Mecca of the 1920s. Wallace Thurman re-creates this legendary time and place in rich detail, describing Emma's visits to nightclubs and dance halls and house-rent parties, her sex life and her catastrophic love affairs, her dreams and her disillusions -- and the momentous decision she makes in order to survive. A lost classic of Black American literature, The Blacker the Berry...is a compelling portrait of the destructive depth of racial bias in this country. A new introduction by Shirlee Taylor Haizlip, author of The Sweeter the Juice, highlights the timelessness of the issues of race and skin color in America.

    When she reconnects with her childhood friend Clare Kendry, who is similarly light-skinned, Irene discovers that Clare has been passing for a white woman after severing ties to her past--even hiding the truth from her racist husband.Clare finds herself drawn to Irene's sense of ease and security with her Black identity and longs for the community (and, increasingly, the woman) she lost. Irene is both riveted and repulsed by Clare and her dangerous secret, as Clare begins to insert herself--and her deception--into every part of Irene's stable existence. First published in 1929, Larsen's brilliant examination of the various ways in which we all seek to "pass," is as timely as ever.

    In the early 1900s, four orphaned siblings, the eldest being seventeen, set out to fulfill their uncle's dream of homesteading in Tripp County, South Dakota, and although they face drought, discomfort, and sabotaging squatters, new friends and inner strength help them carry on.

    It brilliantly refutes the notion that Grant relied only on brute force to achieve his victories, demonstrating instead the mastery of mobility, surprise, cool judgment, and strategic coordination that made Grant the premier Civil War general."--James M. McPherson, author of Battle Cry of Freedom"A classic analysis of U.S. Grant, Fuller's work makes a strong case for the general as the pre-eminent soldier of his era. It is essential reading for students of Civil War military leadership."--Gary Gallagher, editor of Fighting for the Confederacy

    It is Wolfe's first novel, and is considered a highly autobiographical American Bildungsroman. The character of Eugene Gant is generally believed to be a depiction of Wolfe himself. The novel covers the span of time from Gant's birth to the age of 19. The setting is the fictional town and state of Altamont, Catawba, a fictionalization of his home town, Asheville, North Carolina. Playwright Ketti Frings wrote a theatrical adaptation of Wolfe's work in a 1957 play of the same title.

    In fact, such a model awaits them, if only they turn their eyes to their own past . . . to America’s thirtieth president, Calvin Coolidge.  Coolidge’s masterful autobiography offers urgent lessons for our age of exploding debt, increasingly centralized power, and fierce partisan division. This expanded and annotated volume, edited by Coolidge biographer Amity Shlaes and authorized by the Coolidge family, is the definitive edition of the text that presidential historian Craig Fehrman calls “the forgotten classic of presidential writing.”  To read this volume is to understand the tragic extent to which historians underrate President Coolidge. The Coolidge who emerges in these pages is a model of character, principle, and humility—rare qualities in Washington, then as now. A man of great faith, Coolidge told Americans: “Men do not make laws. They do but discover them.” Although he emphasized economics, Coolidge insisted on the importance of “things of the spirit.” At the height of his popularity, he chose not to run again when his reelection was all but assured. In this autobiography, Coolidge explains his mindset: “It is a great advantage to a President, and a major source of safety to the country, for him to know that he is not a great man.” For all his modesty, Coolidge left an expansive legacy—one we would do well to study today. Shlaes and ­coeditor ­Matthew Denhart draw out the lessons from Coolidge’s life and career in an enlightening introduction and annotations to Coolidge’s text. To aid Coolidge scholars young and old, the editors have also assembled nearly three dozen photographs, several of Coolidge’s greatest speeches, a timeline of Coolidge’s life, and afterwords by former Vermont governor James H. Douglas and two of Coolidge’s great-grandchildren, Jennifer Coolidge Harville and Christopher Coolidge Jeter. This autobiography combats the myths about one of our most misunderstood presidents. It also shows us how much we still have to learn from Calvin Coolidge.

    The book begins: My husband left me four years ago. Why-I don't precisely understand, and never did. Nor, I suspect, does he. Nowadays, when the catastrophe that it seemed to be and its causes are matters equally inconsequential, I am increasingly disposed to the belief that he brought himself to the point of deserting me because I made such outrageous scenes at first mention of the possibility.

    After the death of her parents, Angela moves to New York to escape the racism she believes is her only obstacle to opportunity. What she soon discovers is that being a woman has its own burdens that don't fade with the color of one's skin, and that love and marriage might not offer her salvation.