officials were turning the surveillance powers of the federal government -- designed to stop terrorist attacks -- against the Republican presidential team. These were the ruthless tactics of a Soviet-style police state, not a democratic republic.The Red Thread asks the simple question: Why? What is it that motivated these anti-Trump conspirators from inside and around the Obama administration and Clinton networks to depart so drastically from "politics as usual" to participate in a seditious effort to overturn an election?Finding clues in an array of sources, Diana West uses her trademark investigative skills, honed in her dazzling work, American Betrayal, to construct a fascinating series of ideological profiles of well-known but little understood anti-Trump actors, from James Comey to Christopher Steele to Nellie Ohr, and the rest of the Fusion GPS team; from John Brennan to the numerous Clintonistas still patrolling the Washington Swamp after all these years, and more.Once, we knew these officials by august titles and reputation; after The Red Thread, readers will recognize their multi-generational and inter-connecting communist and socialist pedigrees, and see them for what they really are: foot-soldiers of the Left, deployed to take down America's first "America First" and most anti-Communist president.If we just give it a pull, the "red thread" is very long and very deep.

    The white slave trade was rampant, and along with all the vice crimes, murders became a weekly occurrence. Law enforcement seemed to turn a blind eye, and cries of political corruption were heard in the state capital. This scenario replayed itself over and over again during the past century as mobsters and madams ruled and murders plagued the city and county at an alarming rate.

    How does the spectacle of the sufferings of others (via television or newspapers) affect us? Are viewers inured--or incited--to violence by the depiction of cruelty? In Regarding the Pain of Others, Sontag takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001. In Regarding the Pain of Others Susan Sontag once again changes the way we think about the uses and meanings of images in our world, and offers an important reflection about how war itself is waged (and understood) in our time.Features an analysis of our numbed response to images of horror. This title alters our thinking about the uses and meanings of images, and about the nature of war, the limits of sympathy, and the obligations of conscience.

    Croix. He went to America to pursue his education. Along the way he became one of the American Revolution’s most dashing—and unlikely—heroes. Adored by Washington, hated by Jefferson, Hamilton was a lightning rod: the most controversial leader of the American Revolution.She was the well-to-do daughter of one of New York’s most exalted families—feisty, adventurous, and loyal to a fault. When she met Alexander, she fell head over heels. She pursued him despite his illegitimacy, and loved him despite his infidelity. In 1816 (two centuries ago), she shamed Congress into supporting his seven orphaned children. Elizabeth Schuyler Hamilton started New York’s first orphanage. The only “founding mother” to truly embrace public service, she raised 160 children in addition to her own.With its flawless writing, brilliantly drawn characters, and epic scope, The Hamilton Affair will take its place among the greatest novels of American history.

    With characteristic perversity - and trademark originality - THE ONGOING MOMENT is Dyer's unique and idiosyncratic history of photography. Seeking to identify their signature styles Dyer looks at the ways that canonical figures such as Alfred Stieglitz, Paul Strand, Walker Evans, Kertesz, Dorothea Lange, Diane Arbus and William Eggleston have photographed the same scenes and objects (benches, hats, hands, roads). In doing so Dyer constructs a narrative in which those photographers - many of whom never met in their lives - constantly come into contact with each other. Great photographs change the way we see the world; THE ONGOING MOMENT changes the way we look at both. It is the most ambitious example to date of a form of writing that Dyer has made his own: the non-fiction work of art.

    But to the women locked up there it was something else. A Living Hell. More than 4,000 internees were held there from January 1942 until February 1945.'Living Hell' is their harrowing story. The book is based on the diaries of Isla Corfield. An Englishwoman whose comfortable life in Shanghai was suddenly disrupted by the outbreak of World War Two, she fled with her daughter Gill on an evacuee ship.But the ship was captured by the Japanese -- and Isla and Gill would have to struggle to survive as prisoners of war in both Santo Tomas and Los Banos internment camps.In the communities of the camps, Isla and her daughter experienced the extremes of both friendship and loss. Cut-off from information about the war and with no end to their internment in sight, the pair experience starvation, disease and desperation.Finally liberated by the Americans after four years, Isla's story is both humbling and life-affirming - the story of one brave Englishwomen's battle to survive against terrible odds.It is one of the great untold stories of World War Two. "An incredible story of bravery and will-power." - Robert Foster, best-selling author of 'The Lunar Code'. Celia Lucas is a writer of children’s fiction and biography. She is a journalist, feature writer and public relations consultant. Winner of Tir na Nog Prize 1988 she has also collaborated on a TV series with husband Ian Skidmore. Endeavour Press is the UK's leading independent digital publisher.

    Still, this first-hand account does shed much light on what it was really like to come under the charge of many different Indian tribes.Although Brayton’s treatment was not entirely negative or positive, his frank and blunt story does much to dispel the romantic stories that have been perpetuated about young settlers’ children who became Indian chattel. It does much to tell true history and dispel any deliberate or accidental revisions. In many cases the Indians treated Brayton well, but there can be no doubt that they stole from him and his family a life that would end up confused and stuck between two worlds. Although Brayton did finally unite with many of his natural family, he never stopped identifying with Native Americans, and he was forced to leave an Indian wife and child behind. In fact, when the War of Rebellion or Civil War broke out, Brayton enlisted and served in an American Indian brigade. Chet DembeckPublisher of One

    Pendel's attention. It is very interesting and throws many sidelights on the life of the White House. Pendel writes: "In 1861, or 1862, the Metropolitan Police was established by Congress at the Capital, and I made application for and received an appointment on the force. I made the first arrest, with the assistance of "Buck" Essex. The case was that of a fellow named Grady, one of the English Hill toughs. A roundsman said to us, "Boys, you take a walk down Seventh Street, and if you see anything going on, take a hand in it." Just as we got opposite the Patent Office, this Grady had assaulted, or rather was assaulting, a young fellow with a whip. I went up and grabbed him and put him under arrest, then took him to Squire Dunn's court and preferred charges against him. The Squire was busy writing for some time. When he got through he handed me the paper he was writing, and I was so green at the business I did not know what it was, so said: "What is this, Squire?" He replied, "Why, that is the paper of commitment for this fellow. Take him to jail." "On November 3, 1864, Sergeant John Cronin, Alfonso Dunn, Andrew Smith, and myself were ordered to report at the First Precinct, in the old City Hall, at one o'clock in the afternoon. We supposed we were to be detailed for detective work in New York City on account of the great riot then on there, especially as we were ordered to report in citizens' clothes, to conceal our revolvers, and to be sure to have them all clean and in good order. We arrived at the City Hall, and then were told where we were to go, which was to the President's Mansion, there to report to Marshal Lanham, at that time United States Marshal of the District of Columbia, and a bosom friend of Abraham Lincoln. "These were days that tried men's hearts, and women's, too. Men were falling at the front by hundreds, both in the Union and in the Confederate armies. There was weeping and mourning all over the land. Our nation was trembling with anxiety; we were all hoping that the great strife was over or soon to be. "Marshal Lanham took us upstairs and into the President's office, where we were introduced to him and to his two secretaries, Mr. Nicolay and Mr. Hay, the latter now being Secretary of State. We were then instructed to keep a sharp lookout in the different parts of the house, more particularly in the East Room and at the door of the President's office. " CONTENTS I — Under President Lincoln II — Under President Johnson III — Under President Grant IV — Under President Hayes V — Under President Garfield VI — Under President Arthur VII — Under President Cleveland VIII — Under President Harrison IX — Cleveland's Second Administration X— Under President McKinley XI — Furniture in Executive Mansion Originally published in 1902; reformatted for the Kindle; may contain an occasional imperfections; original spellings have been kept in place.

    It is hard enough to find thesequalities in trained photographers with the benefit of schooling and mentors and a community of fellow artists and aficionados supporting and rewarding their efforts. It is incredibly rare to find it in someone with no formal training and no network of peers.Yet Vivian Maier is all of these things, a professional nanny, who from the 1950s until the 1990s took over 100,000 photographs worldwide—from France to New York City to Chicago and dozens of other countries—and yet showed the results to no one. The photos are amazing both for the breadth of the work and for the high quality of the humorous, moving, beautiful, and raw images of all facets of city life in America’s post-war golden age.It wasn’t until local historian John Maloof purchased a box of Maier’s negatives from a Chicago auction house and began collecting and championing her marvelous work just a few years ago that any of it saw the light of day. Presented here for the first time in print, Vivian Maier: Street Photographer collects the best of her incredible, unseen body of work.

    The Long Pursuit tells the dramatic story of how these two radically different individuals rose to the top rung of American politics, and how their personal rivalry shaped and altered the future of the nation during its most convulsive era. Indeed, had it not been for Douglas, who served as Lincoln's personal goad, pace horse, and measuring stick, there would have been no Lincoln-Douglas debates in 1858, no Lincoln presidency in 1860, and perhaps no Civil War six months later. For both men—and for the nation itself—the stakes were that high.Not merely a detailed political study, The Long Pursuit is also a compelling look at the personal side of politics on the rough-and-tumble western frontier. It shows us a more human Lincoln, a bare-knuckles politician who was not above trading on his wildly inaccurate image as a humble "rail-splitter," when he was, in fact, one of the nation's most successful railroad attorneys. And as the first extensive biographical study of Stephen Douglas in more than three decades, the book presents a long-overdue reassessment of one of the nineteenth century's more compelling and ultimately tragic figures, the one-time "Little Giant" of American politics.

    A semi-memoir covering a decade of the acclaimed cartoonists formative years (1935-1945), and including many reproductions of famous drawings and photos from the authors personal collection.

    The resulting explosion leveled the four-year-old structure and resulted in a death toll of more than three hundred—most of them children. To this day, it is the worst school disaster in the history of the United States. The tragedy and its aftermath were the first big stories covered by Walter Cronkite, then a young wire service reporter stationed in Dallas. He would later say that no war story he ever covered—during World War II or Vietnam—was as heart-wrenching.In the weeks following the tragedy, a fact-finding committee sought to determine who was to blame. It soon became apparent that the New London school district had, along with almost all local businesses and residents, tapped into pipelines carrying unrefined gas from the plentiful oil fields of the area. It was technically illegal, but natural gas was in abundance in the “Oil Patch.” The jerry-rigged conduits leaked the odorless “green” gas that would destroy the school.A long-term effect of the disaster was the shared guilt experienced—for the rest of their lives—by most of the survivors. There is, perhaps, no better example than Bill Thompson, who was in his fifth grade English class and “in the mood to flirt” with Billie Sue Hall, who was sitting two seats away. Thompson asked another girl to trade seats with him. She agreed—and was killed in the explosion, while Thompson and Hall both survived and lived long lives, never quite coming to terms with their good fortune.My Boys and Girls Are in There: The 1937 New London School Explosion is a meticulous, candid account by veteran educator and experienced author Ron Rozelle. Unfolding with the narrative pace of a novel, the story woven by Rozelle—beginning with the title—combines the anguished words of eyewitnesses with telling details from the historical and legal record. Released to coincide with the seventy-fifth anniversary of the New London School disaster, My Boys and Girls Are in There paints an intensely human portrait of this horrific event.

    The boats patrolled the coast and rivers of South Vietnam, with the average age of the crew being twenty-four. Their days consisted of deadly combat, intense lightning firefights, storms and many hidden dangers.This action-packed story of combat written by Dan Daly, a Vietnam combat veteran who was the Officer in Charge of PCF 76 makes you part of the Swift Boat crew. The six man crew of PCF 76 were volunteers from all over the United States, eager to serve their country in a highly unique type of duty not seen since the PT boats of WWII. This inexperienced and disparate group of men would meld into a combat team - a team that formed an unbreakable, lifelong bond.After training they were plunged into a 12 month tour of duty. Combat took place in the closest confines imaginable, where the enemy were hidden behind a passing sand dune or a single sniper could be concealed in an onshore bunker, mines might be submerged at every fork in the river. The enemy was all around you, hiding, waiting, while your fifty-foot Swift Boat works its way upriver. In many cases the rivers became so narrow there was barely room to maneuver or turn around. The only way out might be into a deadly ambush. Humor and a touch of romance relieve the tension in this thrilling ride with America's finest.

    His influential work spans many practices over a 23-year period, from music packaging to installation work to printmaking. Here, he reveals his personal notebooks, photographs, sketches, and abandoned routes to iconic Radiohead artworks. Arranged chronologically, each chapter is dedicated to a major work—whether an album cover, promotional piece, or a personal project—and is presented as a step-by-step working case study. Featuring commentary by Thom Yorke and never-before-seen archival material, this is the first deep dive into Donwood’s creative practice and the artistic freedom afforded to him by working for a major music act. It is a must-have for fans of the band and anyone interested in graphic design and popular culture.

    Whether blasting Bush for his “Bring ’em on!” speech, spanking pedophile priests, questioning capital punishment, debating the disputed 2000 election, or just mocking baseball mascots, they learned that newspapers and magazines increasingly play it safe by suppressing satire.With censored cartoons, many unpublished, by the likes of Garry Trudeau, Doug Marlette, Paul Conrad, Mike Luckovich, Matt Davies, and Ted Rall (all Pulitzer Prize winners or finalists), as well as unearthed editorial illustrations by Norman Rockwell, Edward Sorel, Anita Kunz, Marshall Arisman, and Steve Brodner, you will find yourself surprised and often shocked by the images themselves—and outraged by the fact that a fearful editor kept you from seeing them. Needed now more than ever because of a neutered press that’s more lapdog than watchdog, Killed Cartoons will make you laugh, make you angry, and make you think.