The first edition, The Right Fights Back, follows the campaign for the Republican presidential nomination.   The battle for the 2012 Republican presidential nomination promises to be one of the most hotly contested and closely fought in recent memory, as establishment Republicans, Tea Party favorites, and dark horse insurgents vie to take on President Obama in the November election. In The Right Fights Back, Mike Allen, chief White House correspondent for POLITICO, and Evan Thomas, the award-winning journalist and author of Robert F. Kennedy and The War Lovers, chronicle the dramatic events of this historic campaign as it unfolds.   With exclusive real-time reporting from the campaign trail, The Right Fights Back provides detail, color, and in-depth analysis that take readers beyond the hourly headlines and commentary. From the role of Super PACS and conservative interest groups to the clashes of personality and policy that will define the race to capture the GOP nomination, this is a history-as-it-happens account of the resurgent American right at the crossroads.

    But concern over what Louis Brandeis called the "curse of bigness" can no longer remain the province of specialist lawyers and economists, for it has spilled over into policy and politics, even threatening democracy itself. History suggests that tolerance of inequality and failing to control excessive corporate power may prompt the rise of populism, nationalism, extremist politicians, and fascist regimes. In short, as Wu warns, we are in grave danger of repeating the signature errors of the twentieth century.In The Curse of Bigness, Columbia professor Tim Wu tells of how figures like Brandeis and Theodore Roosevelt first confronted the democratic threats posed by the great trusts of the Gilded Age--but the lessons of the Progressive Era were forgotten in the last 40 years. He calls for recovering the lost tenets of the trustbusting age as part of a broader revival of American progressive ideas as we confront the fallout of persistent and extreme economic inequality.

    From the steel foundry to the burger-grill, from Woodrow Wilson to John Sweeney, from Homestead to Pittston, Lichtenstein weaves together a compelling matrix of ideas, stories, strikes, laws, and people in a streamlined narrative of work and labor in the twentieth century.The "labor question" became a burning issue during the Progressive Era because its solution seemed essential to the survival of American democracy itself. Beginning there, Lichtenstein takes us all the way to the organizing fever of contemporary Los Angeles, where the labor movement stands at the center of the effort to transform millions of new immigrants into alert citizen unionists. He offers an expansive survey of labor's upsurge during the 1930s, when the New Deal put a white, male version of industrial democracy at the heart of U.S. political culture. He debunks the myth of a postwar "management-labor accord" by showing that there was (at most) a limited, unstable truce.Lichtenstein argues that the ideas that had once sustained solidarity and citizenship in the world of work underwent a radical transformation when the rights-centered social movements of the 1960s and 1970s captured the nation's moral imagination. The labor movement was therefore tragically unprepared for the years of Reagan and Clinton: although technological change and a new era of global economics battered the unions, their real failure was one of ideas and political will. Throughout, Lichtenstein argues that labor's most important function, in theory if not always in practice, has been the vitalization of a democratic ethos, at work and in the larger society. To the extent that the unions fuse their purpose with that impulse, they can once again become central to the fate of the republic. "State of the Union" is an incisive history that tells the story of one of America's defining aspirations.

    Focusing on the qualities that never made it into White House press releases, the authors look at their sexual misdeeds and strange family relationships, scandals that engulfed administrations, fights with enemies, and questionable money matters. Dip into these pages to find out: Which president was famous for being the richest man alive because of all his brilliant real estate deals? Which president was born in Canada, and was ineligible to hold the office of president? Which president caused some problems by trying to grow “strange herbs” in the White House garden? Which president often ordered White House staff to rub Vaseline into his scalp while he ate breakfast in bed? Which president often called his deputy chief of staff “Turd Blossom”?Updated with new material about many presidents including George W. Bush and Barack Obama, White House Confidential will have you laughing (and sometimes cursing!) as you take a second look at the next occupant of the Oval Office.

    The collection is based on works acquired directly from the artist by his brother. Among the treasures reproduced here are Potato Eaters, The Bedroom Self Portrait as an Artist, Wheatfield with Crows, and Harvest.

    Yet those wind-torn hours represented only the first stage of the relentless triple tragedy that Katrina brought to the entire Gulf Coast, from Louisiana to Mississippi to Alabama.First came the hurricane, one of the three strongest ever to make landfall in the United States -- 150-mile-per-hour winds, with gusts measuring more than 180 miles per hour ripping buildings to pieces.Second, the storm-surge flooding, which submerged a half million homes, creating the largest domestic refugee crisis since the Civil War. Eighty percent of New Orleans was under water, as debris and sewage coursed through the streets, and whole towns in south-eastern Louisiana ceased to exist.And third, the human tragedy of government mis-management, which proved as cruel as the natural disaster itself. Ray Nagin, the mayor of New Orleans, implemented an evacuation plan that favored the rich and healthy. Kathleen Blanco, governor of Louisiana, dithered in the most important aspect of her job: providing leadership in a time of fear and confusion. Michael C. Brown, the FEMA director, seemed more concerned with his sartorial splendor than the specter of death and horror that was taking New Orleans into its grip.In The Great Deluge, bestselling author Douglas Brinkley, a New Orleans resident and professor of history at Tulane University, rips the story of Katrina apart and relates what the Category 3 hurricane was like from every point of view. The book finds the true heroes -- such as Coast Guard officer Jimmy Duckworth and hurricane jock Tony Zumbado.Throughout the book, Brinkley lets the Katrina survivors tell their own stories, masterly allowing them to record the nightmare that was Katrina. The Great Deluge investigates the failure of government at every level and breaks important new stories. Packed with interviews and original research, it traces the character flaws, inexperience, and ulterior motives that allowed the Katrina disaster to devastate the Gulf Coast.

    In Surreal Lives, Ruth Brandon follows the lives and interactions of such firecracker minds as the movement's didactic "Pope," Andre Breton, and the ambitious and manic Salvador Dali, as well as Marcel Duchamp, Francis Picabia, Tristan Tzara, Man Ray, Max Ernst, and filmmaker Luis Bunuel. It charts their shifting allegiances, and their ties to muses and patrons like Gala Dali and Peggy Guggenheim. Ruth Brandon spins the many stories of Surrealism with wit, energy, and insight, bringing sharp analysis to an eccentric cast of characters whose struggles and achievements came to mirror and define the way the world changed between the wars. "Fascinating, impassioned... admirable [for] the masterly storytelling, the richness of anecdotal incident, the keen reporting of intellectual enthusiasms and artistic collaborations, and the panorama of a spectacular cultural galaxy." -- The New York Times Book Review; "Superbly entertaining... A cousin to Malcolm Cowley's Exile's Return." -- Michael Dirda, The Washington Post Book World; "A lively and absorbing complement to [the Surrealists'] work." -- The New Yorker

    To read this book is to revisit many of the greatest moments of late 20th-century American politics: its most colorful characters, its grandest triumphs, its most bitter ideological wars and crises.

    In Five Came Back, he achieves something larger and even more remarkable, giving us the untold story of how Hollywood changed World War II, and how World War II changed Hollywood, through the prism of five film directors caught up in the war: John Ford, William Wyler, John Huston, Frank Capra, and George Stevens. It was the best of times and the worst of times for Hollywood before the war. The box office was booming, and the studios’ control of talent and distribution was as airtight as could be hoped. But the industry’s relationship with Washington was decidedly uneasy—hearings and investigations into allegations of corruption and racketeering were multiplying, and hanging in the air was the insinuation that the business was too foreign, too Jewish, too un-American” in its values and causes. Could an industry this powerful in shaping America’s mind-set really be left in the hands of this crew? Following Pearl Harbor, Hollywood had the chance to prove its critics wrong and did so with vigor, turning its talents and its business over to the war effort to an unprecedented extent. No industry professionals played a bigger role in the war than America’s most legendary directors: Ford, Wyler, Huston, Capra, and Stevens. Between them they were on the scene of almost every major moment of America’s war, and in every branch of service—army, navy, and air force; Atlantic and Pacific; from Midway to North Africa; from Normandy to the fall of Paris and the liberation of the Nazi death camps; to the shaping of the message out of Washington, D.C. As it did for so many others, World War II divided the lives of these men into before and after, to an extent that has not been adequately understood. In a larger sense—even less well understood—the war divided the history of Hollywood into before and after as well. Harris reckons with that transformation on a human level—through five unforgettable lives—and on the level of the industry and the country as a whole. Like these five men, Hollywood too, and indeed all of America, came back from the war having grown up more than a little.

    From "Bartleby the Scrivener" to The Office, from the steno pool to the open-plan cubicle farm, Cubed is a fascinating, often funny, and sometimes disturbing anatomy of the white-collar world and how it came to be the way it is—and what it might become.In the mid-nineteenth century clerks worked in small, dank spaces called “counting-houses.” These were all-male enclaves, where work was just paperwork. Most Americans considered clerks to be questionable dandies, who didn’t do “real work.” But the joke was on them: as the great historical shifts from agricultural to industrial economies took place, and then from industrial to information economies, the organization of the workplace evolved along with them—and the clerks took over. Offices became rationalized, designed for both greater efficiency in the accomplishments of clerical work and the enhancement of worker productivity. Women entered the office by the millions, and revolutionized the social world from within. Skyscrapers filled with office space came to tower over cities everywhere. Cubed opens our eyes to what is a truly "secret history" of changes so obvious and ubiquitous that we've hardly noticed them. From the wood-paneled executive suite to the advent of the cubicles where 60% of Americans now work (and 93% of them dislike it) to a not-too-distant future where we might work anywhere at any time (and perhaps all the time), Cubed excavates from popular books, movies, comic strips (Dilbert!), and a vast amount of management literature and business history, the reasons why our workplaces are the way they are—and how they might be better.

    First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

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    W. Brands, an incisive chronicle of the events and trends that guided-and sometimes misguided-our nation from the A-bomb to the iPhone. For a brief, bright moment in 1945, America stood at its apex, looking back on victory not only against the Axis powers but against the Great Depression, and looking ahead to seemingly limitless power and promise. What we've done with that power and promise over the past six decades is a vitally important and fascinating topic that has rarely been tackled in one volume, and never by a historian of H. W. Brands's stature. As "American Dreams" opens, Brands shows us a country dramatically different from our own-more unequal in social terms but more equal economically, more religious and rural but also more liberal and more wholeheartedly engaged with the rest of the world. As he traces the changes we have gone through as a nation, he reveals the great themes and dreams that have driven America-the rising focus on individual rights and pleasures, the growing distance between our global goals and those of the rest of the world, and the inexorable dissolution of a shared sense of what it means to be American. In Brands's adroit hands, these trends unfold through a character-driven narrative that sheds brilliant light on the obvious highs and lows-from Watergate to the Berlin Wall, from Apollo 11 to 9/11, from My Lai to shock and awe. But he also chronicles the surprising impact of less celebrated events and trends. Through his eyes, we realize the sweeping significance of the immigration reforms of the 1960s, which gradually transformed American society. We come to grasp the vast impact of abandoning the gold standard in 1971, which enabled both globalization and the current financial crisis. We ponder the unnerving results of CNN's debut in 1979, which sped up the news cycle and permanently changed our foreign policy by putting its effects live on our TV screens. Blending political and cultural history with his keen sense of the spirit of the times, Brands captures the national experience through the last six decades and reveals the still-unfolding legacy of dreams born out of a global cataclysm.

    Our Founding Fathers doodled, and so did Andrew Jackson. Benjamin Harrison accomplished almost nothing during his time in the White House, but he left behind some impressive doodles. During the twentieth century--as the federal bureaucracy grew and meetings got longer--the presidential doodle truly came into its own. Theodore Roosevelt doodled animals and children, while Dwight Eisenhower doodled weapons and self-portraits. FDR doodled gunboats, and JFK doodled sailboats. Ronald Reagan doodled cowboys and football players and lots of hearts for Nancy. The nation went wild for Herbert Hoover's doodles: A line of children's clothing was patterned on his geometric designs. The creators of Cabinet magazine have spent years scouring archives and libraries across America. They have unearthed hundreds of presidential doodles, and here they present the finest examples of the genre. Historian David Greenberg sets these images in context and explains what they reveal about the inner lives of our commanders in chief. Are Kennedy's dominoes merely squiggles, or do they reflect deeper anxieties about the Cold War? Why did LBJ and his cabinet spend so much time doodling caricatures of one another? Smart, revealing, and hilarious -- Presidential Doodles is the ideal gift for anyone interested in politics or history. And for anyone that doodles!

    They live in the towns and hamlets of southern Appalachia. They are the women of the coal-mine camps and mill towns; they are members of a fiercely proud sisterhood. For in spite of enormous abuse from mine and mill operators, welfare agencies, corrupt union officials, and their gun thugs, these women remain undaunted.Hillbilly Women tells their stories in their own words--sometimes angry, sometimes tender, always compelling and direct. This is a vivid and moving picture of hillbilly life: its tragedies, its rewards, and its indomitable resiliency.