The PCs, the i- phones, the i-pods, the tablet PCs all will be a constant reminder of the genuine and witty ways that Steve handled and fondled. He was always lost in a world of his own. He hugged the glory and the downfalls with equal aloofness. Not once were his beliefs shattered. Throughout his life, he struggled and dared to bring his dreams come true. His dreams had a silvery lining of consistency, persuasion and intention. He was unique in every way. The life threatening disease of cancer could not prevent him from working till his last breath, literally. Though stubborn and dominant by nature he stood as a magician in the field of technology. Here is a simple gesture to pay him respect and honour. A magnificent journey presented authentically.

    In this comprehensive study, Michael Gomez establishes tangible links between the African American community and its African origins and traces the process by which African populations exchanged their distinct ethnic identities for onedefined primarily by the conception of race. He examines transformations in the politics, social structures, and religions of slave populations through 1830, by which time the contours of a new African American identity had begun to emerge.After discussing specific ethnic groups in Africa, Gomez follows their movement to North America, where they tended to be amassed in recognizable concentrations within individual colonies (and, later, states). For this reason, he argues, it is possible to identify particular ethnic cultural influences and ensuing social formations that heretofore have been considered unrecoverable. Using sources pertaining to the African continentas well as runaway slave advertisements, ex-slave narratives, and folklore, Gomez reveals concrete and specific links between particular African populations and their North American progeny, thereby shedding new light on subsequent African American social formation.

    their vendettas, their armies of servitors, partisans and sycophants, their love affairs, scandals, and shortcomings, all were the stuff of an imperial routine."Stasz reveals new facts and insights into the fascinating lives of three generations of Vanderbilt women who dominated New York society from the middle of the eighteenth century through the twentieth. Of special interest are the discovery of unpublished letters and a pseudonymous lesbian novel that shed light on the complex character of the most currently famous Vanderbilt woman, Gloria Vanderbilt.

    Sublime and ridiculous, sentimental and searing, Christmas at The New Yorker is a gift of great writing and drawing by literary legends and laugh-out-loud cartoonists.Here are seasonal stories, poems, memoirs, and more, including such classics as John Cheever’s 1949 story “Christmas Is a Sad Season for the Poor,” about an elevator operator in a Park Avenue apartment building who experiences the fickle power of charity; John Updike’s “The Carol Sing,” in which a group of small-town carolers remember an exceptionally enthusiastic fellow singer (“How he would jubilate, how he would God-rest those merry gentlemen, how he would boom out when the male voices became King Wenceslas”); and Richard Ford’s acerbic and elegiac 1998 story “Crèche,” in which an unmarried Hollywood lawyer spends an unsettling holiday with her sister’s estranged husband and kids.Here, too, are S. J. Perelman’s 1936 “Waiting for Santy,” a playlet in the style of Clifford Odets labor drama (the setting: “The sweatshop of Santa Claus, North Pole”), and Vladimir Nabokov’s heartbreaking 1975 story “Christ-mas,” in which a father grieving for his lost son in a world “ghastly with sadness” sees a tiny miracle on Christmas Eve.And it wouldn’t be Christmas—or The New Yorker—without dozens of covers and cartoons by Addams, Arno, Chast, and others, or the mischievous verse of Roger Angell, Calvin Trillin, and Ogden Nash (“Do you know Mrs. Millard Fillmore Revere?/On her calendar, Christmas comes three hundred and sixty-five times a year”).From Jazz Age to New Age, E. B. White to Garrison Keillor, these works represent eighty years of wonderful keepsakes for Christmas, from The New Yorker to you.From the Hardcover edition.

    Nothing But Freedom probes the aftermath of emancipation in the south, the restructuring of society by which the former slaves gained, beyond their freedom, a new relation to the land they worked on, the men they worked for, and to the government they lived under.

    It was an account of two days Hemingway spent in New York in 1949 on his way from Havana to Europe. This candid and affectionate profile was tremendously controversial at the time, to the great surprise of its author. Booklist said, "The piece immediately conveys to the reader the kind of man Hemingway was--hard-hitting, warm, and exuberantly alive." It remains the classic eyewitness account of the legendary writer, and it is reproduced here with the preface Lillian Ross prepared for an edition of Portrait in 1961.         Ernest Hemingway was born on July 21, 1899, and to celebrate the centenary of this event, Ms. Ross has written a second portrait of Hemingway for The New Yorker, detailing the friendship the two struck up after the completion of the first piece. It is included here in an amended form. Together, these two works establish the definitive sketch of one of America's greatest writers.

    Bohemians is the graphic history of this movement and its illustrious figures, recovering the utopian ideas behind millennial communities, and covering the rise of Greenwich Village, the multiracial and radical jazz world, and West Coast and Midwest bohemians, among other scenes.Drawn by an all-star cast of comics artists, including rising figures like Sabrina Jones, Lance Tooks, and Summer McClinton, alongside established artists like Peter Kuper and Spain Rodriguez, Bohemians is a broad and entertaining account of the rebel impulse in American cultural history.featuring work bySpain Rodriguez,Sharon Rudahl,Peter Kuper, Sabrina Jones, David Lasky, Afua Richardson,Lance Tooks,Milton Knight, and others.The ebook edition is expanded from the paperback edition, andincludes additional chapters on the swing music scene,La Bohemeandmidwest bohemians, as well as expanded material on the Greenwich Village intellectuals, Walt Whitman and Harlem jazz club Mintons Playhouse.

    As Grant shows, Garvey was a man of contradictions: a self-educated, poetry-writing aesthete and unabashed propagandist, an admirer of Lenin, and a dandy given to elaborate public displays. Above all, he was a shrewd promoter whose use of pageantry evoked a lost African civilization and fired the imagination of his followers. Negro With a Hat restores Garvey to his place as one of the founders of black nationalism and a key figure of the 20th century. "A searching, vivid, and (as the title suggests) complex account of Garvey's short but consequential life." --Steve Hahn, The New Republic "The story of Marcus Garvey, the charismatic and tireless black leader who had a meteoric rise and fall in the late 1910s and early '20s, makes for enthralling reading, and Garvey has found an engaging and objective biographer in Colin Grant.... Grant's book is not all politics, ideology, money and lawsuits. It is also an engrossing social history.... Negro With a Hat is an achievement on a scale Garvey might have appreciated." --New York Times Book Review "Dazzling, definitive biography of the controversial activist who led the 1920s 'Back to Africa' movement.... Grant's learned passion for his subject shimmers on every page. A riveting and well-wrought volume that places Garvey solidly in the pantheon of important 20th-century black leaders." --Kirkus Reviews (Starred Review) "This splendid book is certain to become the definitive biography. Garvey was a dreamer and a doer; Grant captures the fascination of both." --Publishers Weekly (Starred Review) "Grant's strength lies in his ability to re-create political moods and offer compelling sketches of colorful individuals and their organizations.... An engaging and readable introduction to a complicated and contentious historical actor who, in his time, possessed a unique capacity to inspiredevotion and hatred, adulation and fear." --Chicago Tribune "A monumental, nuanced and broadly sympathetic portrait." --Financial Times

    It was Hugh's thoughts of revenge for this abandonment that fueled his recovery and eventual tracking down of the young Bridger. James Bridger, known as Jim Bridger (1804 – 1881), was among the foremost mountain men, trappers, scouts and guides who explored and trapped the Western United States during the decades of 1820–1850, as well as mediating between native tribes and encroaching whites. From inside the book: The western plains and mountains brought forth thousands of men noted for their valor, bravery, daring, sagacity, woodcraft, frontiersmanship and skill in guiding wagon trains and military expeditions across the trackless prairie and barren desert and through snow capped mountain fastnesses on the way to the land of gold beyond the setting sun, or in trailing and bringing to bay the savage hordes that sternly fought the advances of civilization; but among those dauntless spirits there was one who stood head and shoulders above all others as the greatest scout, trapper and guide, the most skilled frontiersman, and the quietest, most modest and unassuming prairie man in all the west. That person was James Bridger, Major Bridger, or, as he was more commonly and familiarly known, "old Jim Bridger," the "grand old man of the Rockies." No history of the American western frontier would be complete without a sketch of the life of this remarkable man.

    From different counties in Ireland, Maggie Qualter and Richard Terrett both sail to America as young adults in 1870 after surviving Ireland’s Great Hunger as children. Maggie works as a maid for a wealthy family. Richard finds work in a tannery. After the death of the young wife he loves passionately, Richard marries Maggie with the help of a deceptive go-between who brews trouble in their marriage that never goes away. They raise three children in the midst of Irish American culture, the Catholic Church, and Richard’s battles for the workingman in the Knights of Labor. Their daughter Mary dreams of being a nun, while Josie seeks the freedom of big-city life in Boston. Neither reckons on the future she will face, Mary as a wife and mother of nine children and Josie as a single working woman. Tom escapes factory life by joining the Navy, manages to see the world in the midst of two wars, and comes home to marry his sweetheart and start a new life. Their stories are both remarkable and familiar to everyone whose ancestors made their way to and in America.The events in the Terretts’ lives are as they emerge from the public record. But their inner lives, their thoughts, their relationships, their words are imagined as a route to understanding these five complicated and fascinating people

    on non-violence, social policy, integration, black nationalism, the ethics of love and hope, and more.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    You will read about men who were political leaders and men who were activists and cultural tastemakers. These men have been lauded for generations for creating the most exciting and influential city in the world. But that's not the whole story.The Women Who Made New York reveals the untold stories of the phenomenal women who made New York City the cultural epicenter of the world. Many were revolutionaries and activists, like Zora Neale Hurston and Audre Lorde. Others were icons and iconoclasts, like Fran Lebowitz and Grace Jones. There were also women who led quieter private lives but were just as influential, such as Emily Warren Roebling, who completed the construction of the Brooklyn Bridge when her engineer husband became too ill to work. Paired with striking, contemporary illustrations by artist Hallie Heald, The Women Who Made New York offers a visual sensation -- one that reinvigorates not just New York City's history but its very identity.

    Building on this work and the study of space, social relations, gender, and power in the Old South, Stephanie Camp examines the everyday containment and movement of enslaved men and, especially, enslaved women. In her investigation of the movement of bodies, objects, and information, Camp extends our recognition of slave resistance into new arenas and reveals an important and hidden culture of opposition.Camp discusses the multiple dimensions to acts of resistance that might otherwise appear to be little more than fits of temper. She brings new depth to our understanding of the lives of enslaved women, whose bodies and homes were inevitably political arenas. Through Camp's insight, truancy becomes an act of pursuing personal privacy. Illegal parties (frolics) become an expression of bodily freedom. And bondwomen who acquired printed abolitionist materials and posted them on the walls of their slave cabins (even if they could not read them) become the subtle agitators who inspire more overt acts. The culture of opposition created by enslaved women's acts of everyday resistance helped foment and sustain the more visible resistance of men in their individual acts of running away and in the collective action of slave revolts. Ultimately, Camp argues, the Civil War years saw revolutionary change that had been in the making for decades.

    That bomb had more power than 20,000 tons of T.N.T. It had more than two thousand times the blast power of the British Grand Slam, which is the largest bomb ever yet used in the history of warfare".These fateful words of the President on August 6th, 1945, marked the first public announcement of the greatest scientific achievement in history. The atomic bomb, first tested in New Mexico on July 16, 1945, had just been used against a military target.On August 6th, 1945, at 8:15 A.M., Japanese time, a B-29 heavy bomber flying at high altitude dropped the first atomic bomb on Hiroshima. More than 4 square miles of the city were instantly and completely devastated. 66,000 people were killed, and 69,000 injured.On August 9th, three days later, at 11:02 A.M., another B-29 dropped the second bomb on the industrial section of the city of Nagasaki, totally destroying 1 1/2 square miles of the city, killing 39,000 persons, and injuring 25,000 more.On August 10, the day after the atomic bombing of Nagasaki, the Japanese government requested that it be permitted to surrender under the terms of the Potsdam declaration of July 26th which it had previously ignored.