Martin A propulsive and panoramic history of one of the most dramatic stories never told—the greatest railroad war of all time, fought by the daring leaders of the Santa Fe and the Rio Grande to seize, control, and create the American West.It is difficult to imagine now, but for all its gorgeous scenery, the American West might have been barren tundra as far as most Americans knew well into the 19th century. While the West was advertised as a paradise on earth to citizens in the East and Midwest, many believed the journey too hazardous to be worthwhile—until 1869, when the first transcontinental railroad changed the face of transportation. Railroad companies soon became the rulers of western expansion, choosing routes, creating brand-new railroad towns, and building up remote settlements like Santa Fe, Albuquerque, San Diego, and El Paso into proper cities. But thinning federal grants left the routes incomplete, an opportunity that two brash new railroad men, armed with private investments and determination to build an empire across the Southwest clear to the Pacific, soon seized, leading to the greatest railroad war in American history. In From the River to the Sea, bestselling author John Sedgwick recounts, in vivid and thrilling detail, the decade-long fight between General William J. Palmer, the Civil War hero leading the “little family” of his Rio Grande, and William Barstow Strong, the hard-nosed manager of the corporate-minded Santa Fe. What begins as an accidental rivalry when the two lines cross in Colorado soon evolves into an all-out battle as each man tries to outdo the other—claiming exclusive routes through mountains, narrow passes, and the richest silver mines in the world; enlisting private armies to protect their land and lawyers to find loopholes; dispatching spies to gain information; and even using the power of the press and incurring the wrath of the God-like Robber Baron Jay Gould—to emerge victorious. By the end of the century, one man will fade into anonymity and disgrace. The other will achieve unparalleled success—and in the process, transform a sleepy backwater of thirty thousand called “Los Angeles” into a booming metropolis that will forever change the United States. Filled with colorful characters and high drama, told at the speed of a locomotive, From the River to the Sea is an unforgettable piece of American history “that seems to demand a big-screen treatment” (The New Yorker).

    The book includes never-before-published detail of the

    Supplemented with original newspaper articles, clippings, funeral notices, memorial ephemera and more, the collection will take us on a journey through a fascinating, moving, and melancholically beautiful part of our past. The images in Beyond the Dark Veil speak to us: they speak of love, loss, lives cut short, brave final hours, shattered families, and the depths of the human spirit. Contains 194 images of hand-colored photographs, albumen prints, ambrotypes, cabinet cards, carte de viste, daguerreotypes, gelatin silver prints, opaltypes, real photo postcards, stereoviews, tintypes, and supplementary articles and related ephemera. Contributors include: Adam Arenson I, Jacqueline Ann Bunge Barger, Alex Jackson, Bess Lovejoy, Marion Peck, Joanna Roche, and Joe Smoke. ABOUT THE ARCHIVE: Located in Woodinville, Washington, The Thanatos Archive houses an extensive collection of early post-mortem, memorial, and mourning photographs dating as far back as the 1840s. The online version of the archive, hosted at Thanatos.net since 2002, offers a searchable database of over 2,300 scanned images, with scans of new acquisitions being added on a regular basis. In addition to the main online archive, hundreds of additional images and material can be found in the community discussion forum, including hi-resolution enlargements, genealogical information, and more.

    This book sets out to provide the first concise interpretation of the period as a whole, clarifying the artists and their works along the way. Closely informed by new critical approaches, it concentrates on the relationship between American and European art from the end of the Second World War to the eve of the new millennium.Jackson Pollock, Jasper Johns, Yves Klein, Andy Warhol, Louise Bourgeois, Cindy Sherman, and Damien Hirst are among many artists discussed, with careful attention being given to the political and cultural worlds they inhabited. Moving along a clear timeline, the author highlights key movements such as Abstract Expressionism, Pop Art, Minimalism, Conceptualism, Postmodernism, and performance art to explain the theoretical and issue-based debates that have provided the engine for the art of this period.

    Constitution, the establishment of a permanent military had become the most divisive issue facing the new government. Would a standing army be the thin end of dictatorship? Would a navy protect American commerce against the Mediterranean pirates, or drain the treasury and provoke hostilities with the great powers? The foundersparticularly Jefferson, Madison, and Adamsdebated these questions fiercely and switched sides more than once. How much of a navy would suffice? Britain alone had hundreds of powerful warships.From the decision to build six heavy frigates, through the cliffhanger campaign against Tripoli, to the war that shook the world in 1812, Ian W. Toll tells this grand tale with the political insight of Founding Brothers and a narrative flair worthy of Patrick O'Brian. According to Henry Adams, the 1812 encounter between USS Constitution and HMS Guerriere "raised the United States in one half hour to the rank of a first class power in the world." 16 pages of illustrations; 8 pages of color.

    Today, whole sections of the city resemble a war zone, its once-spectacular architectural grandeur reduced to vacant ruins. In Detroit Disassembled, photographer Andrew Moore records a territory in which the ordinary flow of time-or the forward march of the assembly line-appears to have been thrown spectacularly into reverse. For Moore, who throughout his career has been drawn to all that contradicts or seems to threaten America's postwar self-image (his previous projects include portraits of Cuba and Soviet Russia), Detroit's decline affirms the carnivorousness of our earth, as it seeps into and overruns the buildings of a city that once epitomized humankind's supposed supremacy. In Detroit Disassembled, Moore locates both dignity and tragedy in the city's decline, among postapocalyptic landscapes of windowless grand hotels, vast barren factory floors, collapsing churches, offices carpeted in velvety moss and entire blocks reclaimed by prairie grass. Beyond their jawdropping content, Moore's photographs inevitably raise the uneasy question of the long-term future of a country in which such extreme degradation can exist unchecked. (20110821)

    Life in Winnie's sleepy town of Coward Creek, Texas, is just fine for her. Although her troubled mother's distant behavior has always worried Winnie, she's plenty busy caring for her younger sisters, going to school, playing chess with Mr. Levy, and avoiding her testy grandmother. Plus, her sweetheart Nolan is always there to make her smile when she's feeling low. But when the Spanish Influenza claims its first victim, lives are suddenly at stake, and Winnie has never felt so helpless. She must find a way to save the people she loves most, even if doing so means putting her own life at risk.Winnie's take-charge attitude will empower and inspire readers, as Jenny Moss's lyrical writing beautifully captures the big-time worries of a small-town girl.

    He's called it Binge because it's impossible to read just one. Imagine feeling 100% alive every moment of every minute of the day! Maybe that's how animals live. Or trees, even. I sometimes stare at the plastic bag tree visible from my apartment window and marvel that both it and I are equally alive and that there's no sliding scale of life. You're either alive, or you're not. Or you're dead or you're not.Thirty years after Douglas Coupland broke the fiction mould and defined a generation with Generation X, he is back with Binge, 60 stories laced with his observational profundity about the way we live and his existential worry about how we should be living: the very things that have made him such an influential and bestselling writer. Not to mention that he can also be really funny.Here the narrators vary from story to story as Doug catches what he calls the voice of the people, inspired by the way we write about ourselves and our experiences in online forums. The characters, of course, are Doug's own: crackpots, cranks and sweetie-pies, dad dancers and perpetrators of carbecues. People in the grip of unconscionable urges; lonely people; dying people; silly people. If you love Doug's fiction, this collection is like rain on the desert.

    In a richly anecdotal chronological narrative he describes the rise and occasional fall of the extraordinary men and women who over the centuries have made it their business to sell art to kings, merchants, nobles, entrepreneurs, and museums. From its beginnings in Antwerp, where paintings were sometimes sold by weight, to the rich hauteur of the contemporary gallery in New York, Paris, and London, art dealing has, he shows, been about identifying what is intangible but infinitely desirable, and then finding clients for whom it is irresistible. Those who have purveyed art for a living range from tailors, spies, and the occasional anarchist to scholars, aristocrats, merchants, and connoisseurs, each variously motivated by greed, belief in their own vision of art and its history, or simply the will to win. Philip Hook’s history is one of human folly, and greed—yet ingenuity and heroism. Rogues’ Gallery is learned, witty, and irresistibly readable.

    Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight."Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature."One of Publishers Weekly's Best Nonfiction Books of 2013

    A true comprehensive study, this catalog is the first in-depth look at McQueen and explores key themes of the exhibition—tailoring, gothic, primitivism, naturalism, and futurism. The book also features previously unseen material as well as groundbreaking essays and feature spreads by multiple authors and leading fashion commentators. This kaleidoscopic approach explores themes central to the designer’s work and his collections, such as the psychology of fashion, natural history, the theatre and spectacle of his shows, and the key creative collaborators during McQueen’s lifetime.Alexander McQueen also offers an encyclopedic survey of McQueen’s catwalk collections, illustrated with striking images by leading fashion photographers, and specially commissioned photographs that capture the breathtaking skill of his designs and awesome theatricality of his shows.

    More than most writers, perhaps, I find myself drawing inspiration from the past—my childhood, adolescence, youth, early manhood... The stories and the poems float in through my window, float in from the magic mountains, and the words appear on the page without much effort on my part.Ruskin Bond has been writing for over sixty years, in the course of which he has come to be known for his simple and witty writing style. These twenty-five stories form a delightful collection of some of his non-fiction sketches, his interaction with the natural world, and his life in small towns that has given him some of his biggest stories.Bond’s journey as a writer has been a remarkable one and these stories show the master storyteller at his very best.

    While it embodies the entire system of his teaching, with much technical advice and critical comment for the student, it also contains inspiration for those to whom the happiness to be found through all the arts is important.No other American painter attracted such a large, intensely personal group of followers as Henri, whose death in 1929 brought to an end a life that has been completely devoted to art. He was an inspired artist and teacher who believed that everyone is vitally concerned in the happiness and wisdom to be found through the arts. Many of his paintings have been acquired by museums and private collectors. Among them are the Baltimore Museum of Art, the Metropolitan Museum of Art, the National Gallery of Art, the Whitney Museum of American Art, the Wichita Art Museum, and Yale University Art Gallery.

    McCay is largely forgotten today, but he unleashed an art form, and the creative energy of artists from Otto Messmer and Max Fleischer to Walt Disney and Warner Bros.' Chuck Jones. Their origin stories, rivalries, and sheer genius, as Reid Mitenbuler skillfully relates, were as colorful and subversive as their creations--from Felix the Cat to Bugs Bunny to feature films such as Fantasia--which became an integral part and reflection of American culture over the next five decades.Pre-television, animated cartoons were aimed squarely at adults; comic preludes to movies, they were often "little hand grenades of social and political satire." Early Betty Boop cartoons included nudity; Popeye stories contained sly references to the injustices of unchecked capitalism. "During its first half-century," Mitenbuler writes, "animation was an important part of the culture wars about free speech, censorship, the appropriate boundaries of humor, and the influence of art and media on society." During WWII it also played a significant role in propaganda. The Golden Age of animation ended with the advent of television, when cartoons were sanitized to appeal to children and help advertisers sell sugary breakfast cereals.Wild Minds is an ode to our colorful past and to the creative energy that later inspired The Simpsons, South Park, and BoJack Horseman.

    Designed as a supplementary text, this book helps students of art and art history understand contemporary art, by engaging them in the study of criticism and the practice of critically considering contemporary forms of art.