This is the inside account of this high-pressure confrontation.

    The sports page chronicles man's triumphs." So the adage goes, never more true than when surveying 100 years of American history through its coverage of sports. From Bobby Knight to Bobby Fischer, from Secretariat to Sugar Ray, from Butkus to the Babe, the 20th century abounds with classic figures in sports history. Their compelling stories fuel our collective memory. In the pieces assembled here, The Best American Sports Writing of the Century captures these indelible moments in words worth a thousand pictures. Working with series editor Glenn Stout (Best American Sports Writing 1999 etc.), Pulitzer-Prize winner David Halberstam (The Summer of '49, Playing For Keeps:Michael Jordan & the World He Made) selects the century's most engaging sports journalism. While the task was surely a challenge, the result is a near-seamless retrospective of contemporary athleticism. The pieces are contemporaneous with the events recounted, infusing the entire collection with an intimate immediacy. You are there — with Joe DiMaggio, Junior Johnson, Muhammad Ali, Branch Rickey — again & again. The writing is uniformly excellent, mixing some familiar choices with otherwise overlooked gems. However, one criticism must be noted: This is for fans of men's endeavors, for women hardly appear in the 800-plus pages. No exquisite essays on Wilma Rudolph's struggles to achieve Olympic gold. No mention of Chris Evert's importance to tennis. No hymns of praise for Peggy Fleming's inspiring skating. Nohyperboleabout Shirley Muldowney's drag racing prowess. No Mary Decker, no Nancy Lopez, no Picabo Street. Perhaps a companion volume is in the offing. For capturing 10 decades of achievement by the men, tho, no tribute could be finer. Whether rejoicing on the quietude of fishing (Thomas McGuane, The Longest Silence, 1969) or the cacophony of Bobby Thomson's pennant-winning heroics (Red Smith, Miracle of Coogan's Bluff, 1951), the writing is evocative and timeless. Some athletic greats are viewed as their careers are poised to explode (Tiger Woods in 1997's The Chosen One, by Gary Smith). Others are glimpsed in the rearview mirror: DiMaggio in 1966's The Silent Season of a Hero, by Gay Talese; Ty Cobb in 1961's The Fight to Live, by Al Stump; & Billy Conigliaro in 1989's "A Brother's Keeper," by Mike Lupica. In a marvelous choice, Halberstam concludes the book with six essays on Ali. The selections represent the full spectrum of his athletic and public career, from cocksure Cassius Marcellus Clay (Murray Kempton, "The Champ and the Chump," 1964) to reflective disciple of Islam (Dick Schaap, "Muhammad Ali Then and Now," 1971) to resurrected warrior in Manila (Mark Kram, "Lawdy, Lawdy, He's Great," 1975) & beyond.

    When Susan L. Taylor rose to editor in chief of Essence magazine more than a decade ago, she began writing an editorial column in which she shares her thoughts and feelings about how developing one's inner awareness ensures the wisdom and clarity needed to create a deeply satisfying and fulfilling life.The monthly column called "In the Spirit" is one of the most popular in the magazine.Susan L. Taylor connects with the reader in a personal and meaningful way, in a voice that is sisterly, informed, and motivating. She challenges her readers to transcend their fears, to face inevitable challenges in their lives courageously, and to use change as an opportunity to grow. "We limit ourselves because change may well mean dealing with the disapproval of the very people we rely on for support. Often words of inspiration and motivation, but she also suggests specific methods for working through problems and improving our emotional and spiritual health."We are not powerless spectators of life. We are co-creators with God, and all around is are the gifts, the clay, that we can use to shape our world," she says.Susan L. Taylor writes passionately about what she has seen and learned in the course of her travels throughout the United States, Caribbean, and Africa. Her essays have helped many to balance the demanding world of work and business with the personal world of family and friendship. She shares bits of her own life--her loves, her trails, and triumphs--and the lessons she's learned.Many of Susan L. Taylor's readers already collect her editorials and find in them a source of encouragement, self-affirmation, empowerment, and peace of mind. Now they can have new essays and a few previously published favorites elegantly bound in a gift-sized paperback edition to keep for themselves or to give as a gift of love to those who are special to them.

    Drawing on hundreds of interviews and scores of documents never seen before, Mayer and Abramson demonstrate that the political machinations that assured Thomas's ascension to the Court went far beyond what was revealed to the public: Several witnesses were prepared but not allowed to testify in support of Anita Hill's specific allegations about Thomas's pronounced interest in sexually explicit materials.; Republican Judiciary Committee members manipulated the FBI and misled the American public into believing that Hill was fabricating testimony during the televised hearings.; Clarence Thomas mythologized certain elements of his upbringing and career to draw attention away fr

    Jaffe and Sherwood reveal the shocking inside story of a city polarized by race, class, poverty, and power.

    An extraordinarily vivid, unflinching series of portraits of South America today, written from the inside out, by the award-winning New Yorker journalist and widely admired author of Samba.

    Seumas Milne revealed for the first time the astonishing lengths to which the government and its intelligence machine were prepared to go to destroy the power of Britain’s miners’ union. There was an enemy within. It was the secret services of the British state, operating inside the NUM itself.Milne revealed for the first time the astonishing lengths to which the government and its intelligence machine were prepared to go to destroy the power of Britain’s miners’ union. Using phoney bank deposits, staged cash drops, forged documents, agents provocateurs and unrelenting surveillance, M15 and police Special Branch set out to discredit Scargill and other miners’ leaders. Planted tales of corruption were seized on by the media and both Tory and Labour politicians in what became an unprecedentedly savage smear campaign.In this new edition, published for the twentieth anniversary of Britain’s most important postwar social confrontation, new material brings the story up to date  – and, in the wake of the Iraq war intelligence scandals, highlights the continuing threat posed by the security services to democracy today.

    An outstanding observer of the American scene, he became one of the world’s best-loved broadcasters, and a foreigner who helped Americans better understand themselves.Here, in print for the first time, is a collection of Cooke’s finest reports that celebrates the inimitable style of this wise and avuncular reporter. Beginning with his first letter in 1946, a powerful description of American GIs returning home, and ending with his last broadcast in February 2004, in which he expressed his views on the United States presidential campaign, the collection captures Cooke’s unique voice and gift for telling stories.Gathered in this volume are encounters with the many presidents Cooke knew, from Roosevelt to Nixon, Reagan, Clinton, and Bush, both Senior and Junior. His friends are warmly recollected–among them Leonard Bernstein, Philip Larkin, Humphrey Bogart, Charlie Chaplin, and Katharine Hepburn. We observe a variety of political landmarks–the Vietnam War, Watergate, Cooke’s remarkable eyewitness account of Robert Kennedy’s assassination, through to the scandals that surrounded Clinton and the conflict in Iraq. His moving evocation of the events of September 11 and its aftermath remains essential reading, while his recollections of holidays and sporting events remind us of Cooke’s delight in the pleasures of everyday life.Imbued with Alistair Cooke’s good humor, elegance, and understanding, Letter from America, 1946—2004 is a captivating insight into the heart of a nation and a fitting tribute to the man who was for so many the most reassuring voice of our times.From the Hardcover edition.

    Photos. Satellite TV tour (20 cities).

    But three? It's enough to make you believe in the supernatural. The Cleveland Indians were surely tempting the fates when they traded away Rocky Colavito. He was young, strong, rugged, popular, and coming off back-to-back 40 home run/100 RBI seasons. He was the type of player you just don't trade, especially not for a three-years-older singles hitter, even if Harvey Kuenn had just won the American League batting title. Frank Lane's blunder could be expected to hurt the Tribe's pennant chances for a while. But for a generation? In the thirteen years before the trade, the Indians finished above .500 twelve times, and were first, second, or third in the league nine times. In the thirty-three years since the trade, they've finished above .500 six times, and were in the top three in their league just once (never finishing as high as third in their division). With the sharp-edged wit and keen eye for detail that have made him Cleveland's favorite sportswriter, Terry Pluto looks at the strange goings-on of the past thirty-plus years, unusual occurrences that could only be the result of some cosmic plan. Other teams lose players to injuries; the Indians lose them to alcoholism (Sam McDowell), a nervous breakdown (Tony Horton), and the pro golf tour (Ken Harrelson - okay, so it was only for a little while). Other teams bask in the glow when a young star plays in the All-Star Game in his first full season; the Indians saw catcher Ray Fosse's career derailed by a homeplate collision with Pete Rose in the 1970 midsummer classic. Other teams make deals to improve the ballclub; the Indians had to trade young Dennis Eckersley because his wife had fallen in love with hisbest friend and teammate, Rick Manning. Through long years of trials and tribulations that would have tested Job, the Indians' faithful have continued to come to huge, drafty Cleveland Stadium. Pluto understands the fierce attachment Tribe fans feel for their team, because he's

    . . presented with sympathy and frequently with humor . . . [of] a disparate people who were never united except by their resentment of a foreign conqueror." - Atlantic MonthlyIn The Impossible Country, Brian Hall relates his encounters with Serbs, Croats, and Muslims-- "real people, likeable people" who are now overcome with suspicion and anxiety about one another. Hall takes the standard explanations, the pundits' predictions, and the evening news footage and inverts our perceptions of the country, its politics, its history, and its seemingly insoluble animosities.

    The greatest stories are found in the Bible, enduring through the centuries. In "Genesis, " acclaimed television journalist Bill Moyers brings together some of the world's liveliest minds for spirited round-table discussions of the ageless stories from the Bible's first, towering book. Creation, temptation, murder, exile, and family strife--these emerge from every page of Genesis and speak to us today. "Genesis" invites readers into a lively and accessible discussion of the manifold meanings of these stories, and engages us in a fascinating exploration of the relationship between interpreter and text. Among the scores of writers, theologians, artists, and thinkers in the series are Mary Gordon, Phyllis Trible, John Barth, Faye Kellerman, Samuel Proctor, Aviva Zornberg, Walter Brueggemann, Robert Alter, Oscar Hijuelos, Charles Johnson, Stephen Mitchell, Leon Kass, Elaine Pagels, Bharati Mukherjee, Seyyed Hossein Nasr, Elizabeth Swados, Renita Weems--all in a dazzling, multi-layered chorus of voices.With the same interplay of text, photographs, and art that made "The Power of Myth" and "Healing and the Mind" so dynamic and unforgettable, "Genesis" has the capacity to enrich people's lives intellectually and spiritually.

    Rock journalism on: Brian Wilson, Guns'N'Roses, Roky Erickson, The New York Dolls, Sid Vicious, Roy Orbison, Elvis Costello, The Smiths, Neil Young, Jerry Lee Lewis, Miles Davis, The Pogues, Lou Reed, Syd Barrett, The Rolling Stones, Iggy Pop, Kurt Cobain

    Carmen Deedy combines the rich traditions of her Southern upbringing and her Latin American culture in a blend of delightful stories, many of which have been heard on National Public Radio's Weekend All Things Considered.

    Peachtree Press is proud to announce The Grizzard Sampler, a collection of the best of this beloved humorist. A portion of the proceeds from this book benefits the American Heart Association.

    Out of print for a decade, this new edition (with newly designed covers) of "The Comic Strip Art of Lyonel Feininger" features one of the ten cartooning greats featured in the historic "Masters of American Comics" show produced by the Los Angeles Hammer Museum and Museum of Contemporary Art and currently traveling across the country. It is the only complete collection of the legendary comic strips of one of the medium's all-time greatest artists. Known worldwide for his accomplishments as a painter, Feininger began his career as a cartoonist, producing--all too briefly--two beautifully ambitious comic strips for the "Chicago Sunday Tribune" in 1906: "The Kin-Der-Kids" and "Wee Willie Winkie's World," both of which remain high points in the history of strip cartooning. "The Kin-Der-Kids" is a rollicking comic opera of the ludicrous exploits of a group of young adventurers as they set off around the world in their bathtub with the oppressive Auntie Jim-Jam in hot pursuit. "Wee Willie Winkie's World" is a Little Nemo-esque visual tour-de-force of a little boy's charming fantasy world. Long considered an equal of Winsor McCay and George Herriman, Feininger's place in strip history is cemented with this beautiful, full-color, oversized collection, edited and featuring an introduction by historian Bill Blackbeard ("Krazy & Ignatz").

    He traveled through much of the Middle East during and after the Gulf War, watching the bombs fall on Baghdad and waiting for Scuds in Tel Aviv, inspecting the gold bathroom fixtures installed by the U.S. Army Corps of Engineers in the empire's temporary palace in Kuwait City and dining with Kurdish chieftains in remote mountain camps in northern Iran.When ground war in Iraq began, Michael Kelly rented a four-wheel-drive Nissan Safari, borrowed some camouflage pants and gas-proof rubber gloves, and set off across the desert, where he was mistaken for an advance party of the American Army and surrendered to by a batch of bewildered Iraqi soldiers. In Kuwait after the liberation, he listened to horrific tales of torture and rape, and walked among the grotesque remains of the bombed-out retreating Iraqi army on the roads home. Later, when Kelly went to Kurdistan, he hiked into forbidden Iraqi territory and then traveled with various guerrilla bands at war with Saddam Hussein. He got out of Iraq by swimming across a river into Turkey in the company of smugglers. Kelly's story is witty, moving, and dramatically compelling, at once superb reporting and the very best travel writing. By avoiding the human story of the Gulf War, he has given us an indispensable piece of our history."Restrained yet explosive dispatches from the front . . . Kelly demonstrates a keen eye for the telling detail, a well-developed sense of irony . . . courage and enterprise."--National Magazine

    Political Science. In this 1994 speech--the first of three released by AK Press, oddly enough, in association with the punk record label Epitaph--Massachusetts Institute of Technology professor Noam Chomsky shoots from the hip, criticizing the early days of the Clinton administration long before anyone had ever heard of Monica Lewinsky. Chomsky digs into Clinton's bungled health care plan, his business interests, his labor policies, and his involvement with the North American Free Trade Agreement. Despite being the world's foremost linguist, Chomsky is not exactly a charismatic speaker--he drones a bit and offers humor sparingly. His strong, simple words, though, and his big ideas are undeniably engrossing. He takes politics out of the ether and shows us how it affects our lives and the lives of those around us.

    But in recent years, there is one creature whose decline could have a monumental impact on the world - the humble frog. In 1990, a group of scientists sounded an unusual alarm that was literally heard around the earth. Frogs and their cousin amphibians, the researchers warned, are declining in number and facing extinction at an unusually fast pace. And, some suggested, this decline could be a signal that human-caused environmental degradation has reached a new and potentially lethal level. Kathryn Phillips heard the alarm and followed the scientists as they responded to the possible catastrophe. Some headed straight into the wetlands and woodlands, with Phillips tagging along, to search for and study the disappearing amphibians. Others turned to their laboratories and experiments to seek the answer. One straddled the boundary between scientist and conservationist and took on a badly managed U.S. Forest Service to save a rare toad. Phillips tells a riveting story of these scientists' efforts to comprehend why their beloved frogs are dying. She draws a fascinating real-world picture of how scientists and science works, and she explores and clearly explains the environmental problems that threaten frogs - and people. And she entertains with some of the quirkier characteristics of frogs and the humans who study them. Both enlightening and entertaining, Ms. Phillips brilliantly explores the mystery of the extinction of this biological "barometer" of the planet's environment in a book that is paradoxically and simultaneously terrifying and delightful.

    Photojournalism" by the Washington Post here offers the most comprehensive book available on documentary photography, covering the history and ethics of the craft as well as practical issues for anyone with a serious interest in photography.

    In these essays, James Kilgo seeks the common ground between his roles as a man, as husband and father, and as heir to his family legacy. Pausing at mid-life to make an eloquent, understated stand against our era's rootlessness, he honors friendship, kinship, nature, and tradition.In the opening section, Kilgo focuses on the tension between his need for ritualistic male camaraderie and his familial obligations. Searching the woods for arrowheads, sitting around the dinner table at a hunting lodge, or careening down an abandoned logging road in a pickup, he seems ever-prone to the intrusions of domesticity and civilization: a sudden memory of miring the family station wagon in the sand on a beach trip, an encounter with a couple on their sixtieth wedding anniversary, a stream littered with trash and stocked with overbred hatchery trout.Restlessness and responsibility converge and again clash in the second series of essays, in which domestic themes are explored in settings that range from Kilgo's own living room to Yellowstone Park and the deep waters off the Virgin Islands. Through such images as a hornet's nest, a gale-force storm, a grizzly bear, and a marlin, Kilgo gauges the strengths and vulnerabilities of his family and moves toward an existence that is part of, not apart from, the women in his life.The long title essay composes the book's final section. Reading through a cache of letters exchanged between his two grandfathers, Kilgo recovers and revises his memories of them. What he learns of their open, passionate friendship reveals an essentially feminine aspect of their patriarchal natures, enriching, but also confusing, Kilgo's earlier understanding of who they were. As some of the more unhappy or unpleasant details of his grandfathers' lives come to light, they first heighten, then assuage, Kilgo's ambivalence about a family heritage built as much on myth as on truth.The manner in which Kilgo makes such intensely personal concerns so broadly relevant accentuates what might be called the "told," rather than the "written," quality of Inheritance of Horses. He is foremost a storyteller, working in a style that is classically southern in its pacing and its feel for the land, but all his own in its restrained humor and lack of self-absorption. Guided by a storyteller's respect for common people and common feelings, Kilgo never prescribes or moralizes but rather brings us to places where principled choices can be made about what we need and value most in our lives.

    But reading his comments is like having a chat with an old friend, with intervals of belly laughs."--The Richmond-Times DispatchLewis Grizzard is not the only one who had fun. Over the course of seventeen books and countless columns, this feisty son of the South established himself as one of the most entertaining raconteurs--and provocateurs--across the nation. Whether he's trying to make you laugh, make you mad, or make you misty, his mixture of opinionated humor and down-home philosophizing is impossible to resist. Now this definitive collection brings together the cream of Grizzard's comic crop."STRAIGHT FROM THE HEART."--The Indianapolis Star"VERY MOVING, VERY FUNNY."--Headland Observer"RECOMMENDED."--Library Journal

    A photographer whose images captured the passion and intensity of his subjects, Peterson took up the camera in the mid-1930s and transformed himself from a performer on stage to a visual recorder and observer of the stage. Creating a photographic style that combines artistic sensibility and technical skill, he became a preeminent New York jazz photographer of the pre-bebop, small combos and Big Band era. A deep love of jazz led Peterson to the legendary clubs of Harlem, 52nd Street, and Greenwich Village; concert halls and ballrooms; jam sessions; recording studios; backstage get-togethers; and private parties. As a jazz scene insider, Peterson had access to all of these formal and informal venues and was often recommended to shoot special events by musicians, record producers, and club owners because, as Eddie Condon once noted, "he knows how to handle musicians. He won't bother them when he shouldn't bother them and he'll get what you want." And he did. Among the countless subjects he enshrined on film are Louis Armstrong, Billie Holiday, Duke Ellington, Benny Goodman, Zutty Singleton, Fats Waller, Mildred Bailey, Cab Calloway, Pee Wee Russell, Lester Young, and Jack Teagarden. Peterson's photographs expose a startling contrast between integrated bandstands and audiences and the segregated world, and reveal the determination of those who refused to be confined by such oppressive conventions of the time. They depict musicianship and camaraderie, dancing, and technical innovation, as well as the harsh contrast of an all-too-pervasivealcoholism that interrupted the lives of many in that New York scene. Jazz historian and critic W. Royal Stokes provides commentary, historical and biographical information, and lively anecdotes that connect the musicians featured in Peterson's photographs to each other and to the mus

    The Pulitzer Prize-winning authors of the bestselling "America: What Went Wrong?" now probe the current scandal of the American tax system and show in detail the inequities that run through federal, state, and local taxation.

    Discusses domestic and international political contexts of the rebellion. Reports day-to-day activities of the Ej ercito Zapatista de Liberaci on Nacional. Covers period through the 1994 elections

    Though not a feminist, Elinor Glyn was a pioneering woman, and this book should receive plenty of attention from the media.

    This title charts the city's history with the people who made it. It captures fragile moments in the life of a place or an individual.

    The feature that millions of Wall Street Journal readers look for first is the "middle column," a healthy dose of the exotic, intriguing, and entertaining in the midst of the everyday. This first-ever collection brings together the very best of the column's offbeat offerings.

    In this revised edition, Pulitzer Prize-winning writer and editor Harry S. Ashmore assesses the ideological impasses that limited Bill Clinton's effort to reinstate activist government in Washington and offers a penetrating analysis of the 1996 election.