Drawing on new interviews & previously unavailable documents, Mann offers a fresh & compelling narrative—a new history assessing what Reagan did, & didn't do, to help bring America’s four-decade conflict with the Soviet Union to a close. As he did so masterfully in Rise of the Vulcans, Mann sheds new light on the hidden aspects of American foreign policy. He reveals previously undisclosed secret messages between Reagan & Moscow; internal White House intrigues; & battles with leading figures such as Nixon & Kissinger, who repeatedly questioned Reagan’s unfolding diplomacy with Mikhail Gorbachev. He details the background & fierce debate over Reagan’s famous Berlin Wall speech & shows how it fit into Reagan’s policies. Ultimately, Mann dispels the facile stereotypes of Reagan in favor of a levelheaded, cogent understanding of a determined president & his strategy. This book finally answers the troubling questions about Reagan’s actual role in the crumbling of Soviet power; & concludes that by recognizing the significance of Gorbachev, Reagan helped bring the Cold War to a close.

    Drawing simultaneously on moral insights from defenders of economic liberty such as F. A. Hayek and advocates of social justice such as John Rawls, Tomasi presents a new theory of liberal justice. This theory, free market fairness, is committed to both limited government and the material betterment of the poor. Unlike traditional libertarians, Tomasi argues that property rights are best defended not in terms of self-ownership or economic efficiency but as requirements of democratic legitimacy. At the same time, he encourages egalitarians concerned about social justice to listen more sympathetically to the claims ordinary citizens make about the importance of private economic liberty in their daily lives. In place of the familiar social democratic interpretations of social justice, Tomasi offers a "market democratic" conception of social justice: free market fairness. Tomasi argues that free market fairness, with its twin commitment to economic liberty and a fair distribution of goods and opportunities, is a morally superior account of liberal justice. Free market fairness is also a distinctively American ideal. It extends the notion, prominent in America's founding period, that protection of property and promotion of real opportunity are indivisible goals. Indeed, according to Tomasi, free market fairness is social justice, American style.Provocative and vigorously argued, "Free Market Fairness" offers a bold new way of thinking about politics, economics, and justice--one that will challenge readers on both the left and right.

    It examines how various political actors try to get their messages into the news.

    It covers nearly seventy years of practice from World War II to the present day.The extraordinary situations described here are the result of more than 1,000 years of hands-on bedside knowledge. The vignettes contain wisdom and insight gained the hard way, from long experience in the trenches (sometimes in actual trenches) performing tasks that range from the most humble to the most skilled.These true stories run the gamut from birth to death. They deal with everything from war, ER, ICU, to childbirth, pediatrics, adult care, surgery, home and homeless healthcare, the psych ward, oncology, the nursing home, and finally hospice.The sacrifice and service of these nurses--their courage, kindness, and determination--is breathtaking.If you've ever wanted to know what goes on behind the scenes of a hospital--you've come to the right place.

    By the late 40's Kelly had transformed Pogo into a newspaper strip. The first of 45 books, simply titled Pogo, was released in 1951. This was quickly followed by I Go Pogo, Uncle Pogo's So-So Stories, The Pogo Papers, and The Pogo Stepmother Goose.

    With wit, wisdom, and a bullet-proof vest, Malkin ruthlessly and raucously skewers the myths of liberal tolerance, peace, and civility while responding to the incendiary insults and vile slurs directed at her and other conservatives. With infuriating details that are not for the faint of heart, Malkin chronicles the bizarre world of foaming-at-the-mouth Leftists in their natural habitats: the mainstream media, academia, Hollywood, and Washington.

     When her wagon train was 8 miles from Fort Laramie, Wyoming, a Sioux Oglalas war party, in war-paint, suddenly appeared and began to encircle their wagons, pretending to be most friendly and asking for presents. The Indians urged the emigrants on, and offered to accompany them, so that they pushed on in company for a short time, until it was saw that they were approaching a ravine where his party would be at a disadvantage, and he insisted on camping outside of it. The Indians, after some hesitation, agreed, and the travellers began to make preparations for supper, when suddenly the Indians fired a volley at them. Some of those who escaped the attack succeeded in hiding in the brushwood, but Mrs. Kelly and her adopted daughter, Mary, as well as Mrs. Larimer and her children, became the prisoners of the Indians. After the second night of capture, Larimer and her son Frank managed to escape and were later reunited with her husband at Camp Collins, Colorado Territory. Larimer wrote of her harrowing captivity and escape in her 1871 book "The Capture and Escape: Life Among the Sioux." In describing dangers encountered during their escape from the Indians, Larimer noted: "The horrors of our situation were harassing to contemplate. The wolves seemed congregated upon the highlands, and, awaking from their night’s repose, their wailing cries echoed back from the distant hills with terrific clearness. These prowling creatures abound in that country, where some species attain a great size. Even the buffalo, which does not fear them in the herd, knows his danger when overtaken alone; and the solitary bull, secreted from its hunter, succumbs before the united force of a gang of wolves." Sarah Luse Larimer (1836-1913) was born in Pennsylvania, headed west in 1859 with her husband, living for a while in Allen County, Kansas, where she operated a photographic gallery. In 1864, along with her husband and son the family set out for the mines of Idaho Territory, when their plans were disrupted by Oglalas on the warpath. John Bratt in his 1921 book "Trails of Yesterday" writes of Larimer: "At Sherman Station I became well acquainted with Mrs. Larimer and her son, who kept a general store there, bought and sold ties and cord wood, while her husband had a star route mail contract from Point of Rocks north. There was also a Mrs. Kelly living near the station. These two women and Mrs. Larimer's son had been captured by the Sioux Indians near Fort Laramie. Mrs. Larimer and her son, after two weeks' captivity in the lodge of the chief, stole away one night and though the Indians hunted them day and night, they succeeded in eluding them and got back to the fort, after suffering unmentionable cruelties. Mrs. Kelly, not so fortunate, was taken by the Indians up on the Missouri River and kept with the band over six months." In describing the moment of rescue by a passing wagon train, Larimer writes that "as we sat in this shelter, which proved to be the last, a most joyful and welcome sound greeted our ears —one in which there was no mistake—our own language, spoken by some boys who passed, driving cattle."

    With a charismatic young coach and a freshman phenom, this small Indiana city hoped to see its team shine in the national spotlight. Then, on a foggy night, after just four games, the plane carrying the team and its coach crashed after takeoff, killing everyone on board.The tragedy seemed insurmountable, a devastating blow to the identity of a fading factory town. But, with the support of a city in mourning, ambitious new coach Dick Walters promised to rebuild the cherished institution. Assembling a team of castoffs, walk-ons, and overachievers, Walters restored the legacy of the team and its fans. Against all odds, his young men made history.A tribute to those who were lost, and to those who carried on, We Will Rise is the rich and powerful story of an underdog team and its fans and the spirit of a resilient community.

    Now, in her own words, Twyla Tharp offers a rare and provocative glimpse into the mind and heart behind her famously deadpan face.Much more than a dance book, Push Comes to Shove is the story of a woman coming to terms with herself as daughter, wife and lover, mother, artist. A child of Indiana Quaker country, Twyla Tharp was traumatically uprooted to California when her stage-ambitious mother built a drive-in movie theater. Soon Twyla was studying piano, violin, flamenco, drums, French, baton twirling, tap, classical ballet...But it was in adolescence - tangling with a rattlesnake in the California desert and observing overheated couples in the backs of cars - that she began to learn the powers of the body and the erotic mysteries of dance. In New York her raw talent came under the influence of such giants as Martha Graham, Paul Taylor, Merce Cunningham, and George Balanchine. But Tharp fought to find her own vision as an artist. In the process she created a new vocabulary of movement: quirky rebellious, sexy, comic - a daring and defiant marriage of Jelly Roll Morton, Bach, the modern dance, and classical ballet. Her collaborations with Mikhail Baryshnikov, Jerome Robbins, director Milos Forman, and David Byrne of Talking Heads built bridges between ballet audiences and fans of popular culture. Now with a stunning accompaniment of photographs by Richard Avedon and others, she reveals the development of the Tharp style - the rendering of order out of chaos, and chaos out of conventional order - that won critical acclaim in such works as Deuce Coupe, The Fugue, Push Comes to Shove, In the Upper Room, and the movies Hair and Amadeus. But her spectacular success did not come without personal anguish.

    An offer to join the struggling West Coast Ballet Theatre as a principal dancer seems like the perfect opportunity for a fresh start—a new life in San Francisco, an exciting step up in her career, and the hope of a redefined sense of family. But the other dancers are wary, clannish and tight-lipped, particularly about an incident that hastened the departure of their beloved artistic director, leading to the arrival of his replacement, the young, inexperienced Anders Gunst. And no one wants to talk about Jana, a former company member who defiantly walked out rather than work under Anders. It is Jana herself who offers April hints, and even friendship, where she reveals a loneliness and hunger to belong that newly orphaned April well understands. But there is something troubling about Jana, and what April doesn’t know could prove deadly. A prequel to the Ballet Theatre Chronicles, BALLET ORPHANS explores the work and sacrifices required to arrive at the highest tiers of the professional ballet world, coupled with the primal, universal desire to belong, to love and be loved, and the lengths we’ll go to protect those we call family.

    In this provocative and stimulating book critically acclaimed author Will Hutton warns instead that China is running up against a set of daunting challenges from within its own political and economic system that could well derail its rise, leading to a massive shock to the global economy. The United States, he argues, must recognize that it has a vital stake in working to assure this doesn't happen, for if China's political liberalization and economic growth collapse, the United States will suffer crippling consequences.In today's highly globalized world economy, so much of the economic health of the United States -- our low inflation, high profits, and cheap credit -- rests upon China's economic growth and its massive investment in the United States. A great deal has been said about the economic and military threat China poses. But rather than provoking China with the military hawkishness of recent years and resisting Chinese economic supremacy with the saber rattling of protectionist antitrade policies -- twenty such bills have been introduced in Congress in just the last year -- the United States must build a strong relationship that will foster China's transition from an antiquated Communist state beset with profound problems to a fully modern, enlightened, and open society. Doing so will require understanding and engagement, not enmity and suspicion.China's current economic model, Hutton explains, is unsustainable, premised as it is on the myriad contradictions and dysfunctions of an authoritarian state attempting to control an economy in its transition to capitalism. If the twenty-first century is to be the China century, the Chinese will have to embrace the features of modern Western nations that have spurred the political stability and economic power of the United States and Europe: the rule of law, an independent judiciary, freedom of the press, and authentic representative government that is accountable to the people. Whether or not China does so rests in large part on how well the United States manages the relationship and persuades the Chinese of the virtues of an open, enlightened democratic system. The danger is that fearmongering will intensify animosities, leading both countries down a path of peril.Turning conventional wisdom on its head, this brilliantly argued book is vital reading at a crucial juncture in world affairs.

    He demonstrates this system's success, beginning in the 1820s and 1830s, in confining sectional disputes safely within the political arena. With the breakdown of vital two-party competition in the 1850s, sectional issues increasingly took on ideological dimension, causing, Americans North and South to see in them dangerous threats to cherished republican institutions. No longer manageable within the arena of politics, sectional differences had to be resolved with in the arena of battle.The Political Crisis of the 1850s offers a clearly written account of politics (state and federal), sectionalism, race, and slavery from the 1820s through to the Civil War, brilliantly combining the behavioral and ideological approaches to political history.

    Seven of the sixty-four bombers that attacked a U-boat base that day never made it back to England. A fellow survivor, Homer Bigart of the New York Herald Tribune, asked Cronkite if he’d thought through a lede. “I think I’m going to say,” mused Cronkite, “that I’ve just returned from an assignment to hell.” During his esteemed career Walter Cronkite issued millions of words for public consumption, but he never wrote or uttered a truer phrase.Assignment to Hell tells the powerful and poignant story of the war against Hitler through the eyes of five intrepid reporters. Crisscrossing battlefields, they formed a journalistic band of brothers, repeatedly placing themselves in harm’s way to bring the war home for anxious American readers. Cronkite crashed into Holland on a glider with U.S. paratroopers. Rooney dodged mortar shells as he raced across the Rhine at Remagen. Behind enemy lines in Sicily, Bigart jumped into an amphibious commando raid that nearly ended in disaster. The New Yorker’s A. J. Liebling ducked sniper fire as Allied troops liberated his beloved Paris. The Associated Press’s Hal Boyle barely escaped SS storm troopers as he uncovered the massacre of U.S. soldiers during the Battle of the Bulge.Assignment to Hell is a stirring tribute to five of World War II’s greatest correspondents and to the brave men and women who fought on the front lines against fascism—their generation’s “assignment to hell.”

    Photos & cartoons.

    That day--chosen completely at random--turned out to be Sunday, December 28, 1986, by any conventional measure a most ordinary day. Weingarten spent the next six years proving that there is no such thing.That Sunday between Christmas and New Year's turned out to be filled with comedy, tragedy, implausible irony, cosmic comeuppances, kindness, cruelty, heroism, cowardice, genius, idiocy, prejudice, selflessness, coincidence, and startling moments of human connection, along with evocative foreshadowing of momentous events yet to come. Lives were lost. Lives were saved. Lives were altered in overwhelming ways. Many of these events never made it into the news; they were private dramas in the lives of private people. They were utterly compelling.One Day asks and answers the question of whether there is even such a thing as "ordinary" when we are talking about how we all lurch and stumble our way through the daily, daunting challenge of being human.