For Nora, the simple fact of her German citizenship bound her to the Holocaust and its unspeakable atrocities and left her without a sense of cultural belonging. Yet Nora knew little about her own family’s involvement in the war: though all four grandparents lived through the war, they never spoke of it.In her late thirties, after twelve years in the US, Krug realizes that living abroad has only intensified her need to ask the questions she didn’t dare to as a child and young adult. Returning to Germany, she visits archives, conducts research, and interviews family members, uncovering in the process the stories of her maternal grandfather, a driving teacher in Karlsruhe during the war, and her father’s brother Franz-Karl, who died as a teenage SS soldier in Italy. Her quest, spanning continents and generations, pieces together her family’s troubling story and reflects on what it means to be a German of her generation.

    This visual narrative of astonishing sensitivity brings to light an until-now-unpublished collection of hundreds of snapshots, portraits, and group photos taken in the most varied of contexts, both private and public.Taken when male partnerships were often illegal, the photos here were found at flea markets, in shoe boxes, family archives, old suitcases, and later online and at auctions. The collection now includes photos from all over the world: Australia, Bulgaria, Canada, Croatia, France, Germany, Japan, Greece, Latvia, the United States, the United Kingdom, Russia, and Serbia. The subjects were identified as couples by that unmistakable look in the eyes of two people in love - impossible to manufacture or hide. They were also recognized by body language - evidence as subtle as one hand barely grazing another - and by inscriptions, often coded.Included here are ambrotypes, daguerreotypes, glass negatives, tin types, cabinet cards, photo postcards, photo strips, photomatics, and snapshots - over 100 years of social history and the development of photography.In these delight-filled pages, couples in love tell their own story for the first time at a time when joy and hope - indeed human connectivity - are crucial lifelines to our better selves. Universal in reach and overwhelming in impact, Loving speaks to our spirit and resilience, our capacity for bliss, and our longing for the shared truths of love.

    And whilst widely-believed events pertaining to the victories and defeats of the South can be found widely throughout biographies, literature, TV and film, they are often far from accurate, or omit the truth altogether. One such gap between fact and fiction can be exemplified in the perception of the Confederacy’s president, Jefferson Davis. Many of his personal correspondences offer us an insight into the fundamental issues he suffered whilst forging relationships with his generals, for which the South’s move for independence undoubtedly suffered. Similarly, a cold, hard look at Stonewall Jackson soon exposes him as far less than the demigod that others would have us believe. Also misunderstood was the extent of the war west of the Appalachians. Largely ignored by historians until recently, the lack of appreciation for its scale does not make the level of its destruction any less real. William C. Davis’ collection of essays, written over twenty years, unveils the truth from underneath the façade of the history books and explores the impact of dispelling those myths on our understanding of the entire Confederate story. Praise for William C. Davis “A wonderful book, written by a man with full command of, and great love for, his subject. Davis grasps the war in its totality, decently and respectfully. He does not so much demolish myths as clarify and nuance them.” —Washington Times “Celebrated author William C. Davis here offers us stimulating essays full of provocative opinions. Will provoke plenty of healthy debate.” —Blue & Gray Magazine “A fine analysis of the way in which myth-making can distort history.” — Kirkus Reviews William C. Davis is an American historian and former Professor of History who specialises in the Civil War and Southern States. A prolific writer, he has written or edited more than forty works on the subject and is four-time winner of the Jefferson Davis Award.

    Tomes have been devoted to this subject. I choose instead to tell of my life as a Private, a grunt if you will, and how this life impacted on me.As a telephone lineman for the United States Marine Corps, I had the greatest opportunity to see more of the combat area than most participants. We traveled to the right flank, left flank, up front and to the rear areas to keep our telephone lines functioning and all our artillery and infantry in constant communications.A Japanese general stated "the American troops' ability to concentrate artillery fire on a given point was a tremendous advantage." As an artilleryman, I am proud we provided this edge. Our front line troops on numerous occasions told me our artillery barrage had "stopped the Japs cold." Our constant goal.I have often been asked, "How did you cope with death as an everyday fact?" I tell of losing eight buddies on one day on Guam. We acknowledged the loss then moved on. "What is past is past." We did not dwell on one or multiple losses. We simply moved on. Yesterday was an age away, this is today, we hope to see tomorrow. Perhaps cruel, but it retained our sanity. Those who stand and wait have not shared this burden.Lest you think I am portraying myself as some kind of hero -- let me remind you, they never asked me if I wanted to go on these combat landings to Bougainville, Guam, and Iwo Jima.I was not a hero, but I walked among heroes.

    Born in Virginia in 1826, Nelson ran away from home as a young teenager to escape a domineering father and to seek adventure in the west. He took odd jobs along with way working on farms, serving as a cabin boy on a Mississippi steamer, and becoming an apprentice with a group of traders traveling west from Missouri. After meeting a band of Sioux, he decided that the nomadic life of an Indian was the adventure he was looking for and got himself adopted into the tribe. Here he learned how to live off the land and acquired the skills of a Sioux warrior. His adopted father was the Chief Spotted Tail and his brother-in-law was Red Cloud—Chief of the Sioux Nation. As a young Sioux brave, Nelson participated in Indian raids and skirmishes. Later, he guided Brigham Young and the first group of Mormon pioneers into the Salt Lake Valley in 1847, worked as a military scout with William F. Cody (Buffalo Bill), fought in the Indian Wars, and served as a lawman in North Dakota. In his many escapades he often narrowly escaped death from bullets, arrows, and knives. Nelson’s story is a fascinating view of the early American west in all its glory. This pre-1923 publication has been converted from its original format for the Kindle and may contain an occasional defect from the original publication or from the conversion.

    But on June 6, 1944, at Utah Beach, he learned more about war than he had gleaned from all the books he'd read combined. General Maxwell Taylor assigned Sergeant Nibley to educate the officers of the 101st Airborne about warfare. But it was the professor himself that received an education while fighting as a member of the most legendary unit of the United States Army. Most war memoirs come either from the bird's-eye view of the general or from the visceral but limited scope of the common soldier. Because of Nibley's unique situation, this book blends both perspectives. From the narrow view of a sergeant in a foxhole to the broader perspective of an intelligence specialist, his experience offers an intimate, realistic and articulate view of World War II.

    Around the turn of the 20th century, he founded the Photo-Secession, a progressive movement concerned with advancing the creative possibilities of photography, and by 1903 began publishing Camera Work, an avant-garde magazine devoted to voicing the ideas, both in images and words, of the Photo-Secession. Camera Work was the first photo journal whose focus was visual, rather than technical, and its illustrations were of the highest quality hand-pulled photogravure printed on Japanese tissue. This book brings together all photographs from the journal’s 50 issues.

    This is his dramatic story.

    

    

    He more or less invented modern politi­cal consulting and helped Richard Nixon, Ronald Reagan, and George H. W. Bush win their races for the White House. Then he reinvented himself as a master of cable television, first as the head of CNBC and, since 1996, as the creator and leader of Fox News, the most influential news network in the country. To liberals, Ailes is an evil genius who helped polarize the country by breaking the mainstream media’s long monopoly on what constitutes news. To conservatives, he’s a champion of free speech and fair reporting whose values and view of Amer­ica reflect their own. But no one doubts that Ailes has transformed journalism. Barack Obama once called him “the most powerful man in America”— and given that Fox News has changed the way millions understand the world, it may be true. Yet for all that fame and infamy, very few people know the real person behind the headlines. Journalist Zev Chafets received unprecedented access to Ailes and his family, friends, and Fox News colleagues. The result is a candid, compelling portrait of a fascinating man. We see Ailes in action at Fox News and hear him reflect on personal mat­ters he has never before discussed publicly. And we discover the heart of his sometimes surprising political beliefs: his profane piety and his unwav­ering belief in the values of his small-town Ohio boyhood. Ailes loves to fight, but he is a happy warrior who has somehow managed to charm and befriend many of the people he has defeated in political campaigns and television wars. Barbara Walters, Rachel Maddow, Jesse Jackson, the Kennedy clan— all are unexpected Ailes fans. Chafets also gives us an unprecedented look at the inner workings of Fox News and explores Ailes’s relationships with Bill O’Reilly, Sean Hannity, Megyn Kelly, Neil Cavuto, Chris Wallace, and the other stars he has nurtured. Ultimately, Ailes is neither villain nor hero but a man full of contradictions and surprises. As Chafets writes, “What will he do next? What stokes his competitive fires and occasional rages? How to reconcile his acts of exceptional loyalty and pri­vate generosity (even to rivals) with his impulse to present himself to the world as a ruthless leg breaker? What makes Roger run—and where, if anywhere, is the finish line? As Ailes himself might say: I report, you decide.”

    Written by an international team of experts, this definitive history of photography looks at every step of the field's dynamic evolution, period by period and movement by movement. Each key genre is chronologically presented within its social, economic, and political context, along with close analysis of specially selected works that best exemplify the characteristics of the period. With more than 500 gorgeous examples in black and white and color, the book explores in-depth virtually every aspect of the medium since its first public demonstration in 1839 to the latest innovations: from early portraits and the birth of photojournalism to travel photography and the mapping of the world; from the Pictorialists to the avant-garde; from celebrity and fashion to documentary and landscape. Along the way readers will learn why some photographs are considered iconic, and why the medium as an art form continues to challenge and enthrall us.

    Created in collaboration with Jeff Tweedy, Wilco, and Tony Margherita, this primarily visual book explores what Wilco does, how it does it, and where it all comes together. The band narrates the book in the form of long captions accompanying a variety of images: a Korean postcard, a Stratocaster, a backstage practice session, and so on. Along the way, central topics such as instruments, touring, and recording are covered both in general (i.e., what happens, physically, when a guitar string breaks) and specific to Wilco. Just as the band assembles its disparate talents and inspirations to make music, this book coheres in the end to reveal a 40 minute CD of original, unreleased songs. Just as Wilco experiments with music by turning convention on its head, this book is an utterly new take on the old genre of the rock 'n' roll book. The Wilco Book will look and read like a Wilco record sounds; it's a translation of the band's sensibility from sound into print.

    The photographs are accompanied by a selection of Curtis's texts.

    Including articles by photographers from Edward Weston to Jo Spence, as well as key thinkers like Roland Barthes, Victor Burgin and Susan Sontag, the essays trace the development of ideas about photography. Each themed section features an editor's introduction setting ideas and debates in their historical and theoretical context.Sections include: Reflections on Photography; Photographic Seeing; Coding and Rhetoric; Photography and the Postmodern; Photo-digital; Documentary and Photojournalism; The Photographic Gaze; Image and Identity; Institutions and Contexts.