. . To explain the Chicago riot, this evidence has to be found; and though such evidence is not abundant by any means, it does exist."--From the preface

    He outslugged Willie Mays, Hank Aaron, and Mickey Mantle when they were in their prime, but while they made repeated World Series appearances in the 1950s and 60s, Banks spent his entire career with the woebegone Chicago Cubs, who didn't win a pennant in his adult lifetime.Today, Banks is remembered best for his signature phrase, "Let's play two," which has entered the American lexicon and exemplifies the enthusiasm that endeared him to fans everywhere. But Banks's public display of good cheer was a mask that hid a deeply conflicted, melancholy, and often quite lonely man. Despite the poverty and racism he endured as a young man, he was among the star players of baseball's early days of integration who were reluctant to speak out about Civil Rights. Being known as one of the greatest players never to reach the World Series also took its toll. At one point, Banks even saw a psychiatrist to see if that would help. It didn't. Yet Banks smiled through it all, enduring the scorn of Cubs manager Leo Durocher as an aging superstar and never uttering a single complaint.Let's Play Two is based on numerous conversations with Banks and on interviews with more than a hundred of his family members, teammates, friends, and associates as well as oral histories, court records, and thousands of other documents and sources. Together, they explain how Banks was so different from the caricature he created for the public. The book tells of Banks's early life in segregated Dallas, his years in the Negro Leagues, and his difficult life after retirement; and features compelling portraits of Buck O'Neil, Philip K. Wrigley, the Bleacher Bums, the doomed pennant race of 1969, and much more from a long-lost baseball era.

    Three Weeks in October The Manhunt for the Serial Sniper(View amazon detail page)ASIN: B0044KZ458

    Daley famously defended his brutal crackdown on protesters at the 1968 Democratic convention. Profoundly divided racially, economically and socially, Chicago was indeed a microcosm of America, and for more than two decades Daley ruled it with an iron fist. The last of the big city bosses, Daley ran an unbeatable political machine that controlled over one million votes. From 1955 until his death in 1976, every decision of any importance -- from distributing patronage jobs to picking Congressional candidates -- went through his office. He was a major player in national politics as well: Kennedy and Johnson owed their presidencies to his control of the Illinois vote, and he made sure they never forgot it. In a city legendary for its corruption and backroom politics, Daley's power was unrivaled. Daley transformed Chicago -- then a dying city -- into a modern metropolis of skyscrapers, freeways and a thriving downtown. But he also made Chicago America's most segregated city. A man of profound prejudices and a deep authoritarian streak , he constructed the nation's largest and worst ghettos, sidestepped national civil rights laws, and successfully thwarted Martin Luther King's campaign to desegregate Northern cities.A quarter-century after his death, Daley's outsize presence continues to influence American urban life, and a reassessment of his career is long overdue. Now, veteran journalists Adam Cohen and Elizabeth Taylor present the definitive biography of Richard J. Daley, drawn from newly uncovered material and dozens of interviews with his contemporaries. In today's era of poll-tested, polished politicians, Daley's rough-and-tumble story is remarkable. From the working-class Irish neighborhood of his childhood, to his steady rise through Chicago's corrupt political hierarchy, to his role as national power broker, American Pharaoh is a riveting account of the life and times of one of the most important figures in twentieth-century domestic politics. In the tradition of Robert Caro's classic The Power Broker, this is a compelling life story of a towering individual whose complex legacy is still with us today.

    Stallings, recipient of the 1999 Richard Wilbur Award, uniquely juxtaposes poetic meditations on mythological themes with poems about the everyday occurances of contemporary life -- such as losing an umbrella or fishing with one's father. In doing so, Archaic Smile continually bridges the gap between these two distant but interrelated worlds with striking insights. James Dickey, having praised the author's accomplished critical skills, also points out that she has "the most indispensable quality that a poet must have: an original way of looking at things." A.R. Ammons aptly characterizes the power of her mythological poems in his comments on "Apollo Takes Charge of His Muses" which he chose for The Best American Poetry: "It delivers the ancient past into our present with such astonishing justness that I'm silenced with appreciation." Archaic Smile is a powerful debut collection by a provacative poet who has found strikingly original ways to personalize our myths and conjure the deep significances of our everyday life.

    

    Frommer paints Shoeless Joe as a baseball natural ("Joe Jackson hit the ball harder than any man ever to play baseball"-Ty Cobb), an illiterate hick (his table untemsils consisted of knife and fingers), and an innocent man snared by the greatest scandal in baseball history.

    Senate an empty chamber; politicians have lamented that the institution is broken--yet the Senate was once capable of greatness. Senators of the 1960s and '70s overcame southern opposition to civil rights, passed Great Society legislation, and battled the executive branch on Vietnam, Watergate, and its abuses of power. The right's sweep of the 1980 elections shattered that Senate, leaving a diminished institution in its wake. Ira Shapiro spent 12 years working for Senators Gaylord Nelson, Abraham Ribicoff, Thomas Eagleton, Robert Byrd, and Jay Rockefeller. The Last Great Senate is his vivid portrait of the statesmen who helped steer America during the crisis years of the late 1970s, transcending partisanship and overcoming procedural roadblocks that have all but strangled the Senate since their departure. The Last Great Senate is necessary reading for all those who wonder how the Senate used to work and what happened to the world's greatest deliberative body.

    At the age of sixteen, she was sent to London to earn her living, where she found a live-in job as a scullery maid. Her day began at 5 a.m., cleaning grates and lighting fires, then she would scrub floors and polish the house - all for two shillings a week, one of which she had to send home to her mother. Things improved when she secured the position of lady's maid in a house in Belgravia, on five shillings a week. Anwyn was required to be a hairdresser, beautician, confidante and secretary. Reporting directly to the lady of the house, she was expected to cover up her mistress's affairs. Her time as a lady's maid was over when she was caught with a young aristocrat in her room and banished from the house, but Anwyn found further employment in a variety of houses, working above and below stairs. However, she found her niche in the jolly working-class atmosphere of the capital city's pubs. London between the wars and during the Blitz is richly evoked and, despite all her hardships, Anwyn never asks for the readers' sympathy.

    Had they known what a fickle muse Clio would prove to be, they might have been more anxious. The making of myths and legends, complete with a hagiology and demonology, is inherent in the process of evolution toward nationhood. Consequently, individual actors in the original drama have often been consigned by History to roles they did not actually play, and the most important of them have played shifting roles, being heroes in one generation and villains in the next. It is therefore not surprising that Alexander Hamilton—along with Washington, Jefferson, Adams, and Madison—has had his ups and downs at the hands of historians.

    Sullivan, the first modern heavyweight boxing champion of the world, a man who was the gold standard of American sport for more than a decade, and the first athlete to earn more than a million dollars. He had a big ego, big mouth, and bigger appetites. His womanizing, drunken escapades, and chronic police-blotter presence were godsends to a burgeoning newspaper industry. The larger-than-life boxer embodied the American Dream for late nineteenth-century immigrants as he rose from Boston’s Irish working class to become the most recognizable man in the nation. In the process, the “Boston Strong Boy” transformed boxing from outlawed bare-knuckle fighting into the gloved spectacle we know today.Strong Boy tells the story of America’s first sports superstar, a self-made man who personified the power and excesses of the Gilded Age. Everywhere John L. Sullivan went, his fists backed up his bravado. Sullivan’s epic brawls, such as his 75-round bout against Jake Kilrain, and his cross-country barnstorming tour in which he literally challenged all of America to a fight are recounted in vivid detail, as are his battles outside the ring with a troubled marriage, wild weight and fitness fluctuations, and raging alcoholism. Strong Boy gives readers ringside seats to the colorful tale of one of the country’s first Irish-American heroes and the birth of the American sports media and the country’s celebrity obsession with athletes.

    With the Japanese deeply entrenched and determined to die rather than surrender, Robert Dick and his fellow soldiers quickly realized that theirs would be a war fought inch by bloody inch–and that their Sherman tanks would serve front and center. As driver, Dick had to maneuver his five-man crew in and out of dangerous and often deadly situations.Whether crawling up beaches, bogged down in the mud-soaked Leyte jungle, or exposed in the treacherous valleys of Okinawa, the Sherman was a favorite target. A land mine could blow off the tracks, leaving its crew marooned and helpless, and the nightmare of swarms of Japanese armed with satchel charges was all too real. But there was a war to be won, and Americans like Robert Dick did their jobs without fanfare, and without glory. This gripping account of tanker combat is a ringing testament to the awe-inspiring bravery of ordinary Americans.From the Paperback edition.

    You may have heard of a plot to rob Abraham Lincoln’s body from its grave site, but did you know that there was also attempts to steal Benjamin Harrison's and Andrew Jackson’s remains? The book also includes “Critical Death Information,” which prefaces each chapter, and a complete visitor’s guide to each grave site and death-related historical landmark. An “Almost Presidents” section includes chapters on John Hanson (first president under the Articles of Confederation), Sam Houston (former president of the Republic of Texas), David Rice Atchison (president for a day), and Jefferson Davis. Exhaustively researched, The President Is Dead! is richly layered with colorful facts and entertaining stories about how the presidents have passed. Skyhorse Publishing, as well as our Arcade imprint, are proud to publish a broad range of books for readers interested in history--books about World War II, the Third Reich, Hitler and his henchmen, the JFK assassination, conspiracies, the American Civil War, the American Revolution, gladiators, Vikings, ancient Rome, medieval times, the old West, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

    John Edmund Delezen felt a kinship with the people he was instructed to kill in Vietnam; they were all at the mercy of the land. His memoir begins when he enlisted in the Marine Corps and was sent to Vietnam in March of 1967. He volunteered for the Third Force Recon Company, whose job it was to locate and infiltrate enemy lines undetected and map their locations and learn details of their status. The duty was often painful both physically and mentally. He was stricken with malaria in November of 1967, wounded by a grenade in February of 1968 and hit by a bullet later that summer. He remained in Vietnam until December, 1968. Delezen writes of Vietnam as a man humbled by a mysterious country and horrified by acts of brutality. The land was his enemy as much as the Vietnamese soldiers. He vividly describes the three-canopy jungle with birds and monkeys overhead that could be heard but not seen, venomous snakes hiding in trees and relentless bugs that fed on men. He recalls stumbling onto a pit of rotting Vietnamese bodies left behind by American forces, and days when fierce hunger made a bag of plasma seem like an enticing meal. He writes of his fallen comrades and the images of war that still pervade his dreams. This book contains many photographs of American Marines and Vietnam as well as three maps.

    For most of the 19th century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting & sculpture, as well as the writings of such authors as Dickens & Longfellow--enjoyed both high cultural status & mass popularity. In the 19th century Americans (in addition to whatever specific ethnic, class & regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the 20th century this cultural eclecticism & openness became increasingly rare. Cultural space was more sharply defined, less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population & the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences & separate genres of expressive culture. The same transition occurred in concert halls, opera houses & museums. A growing chasm between 'serious' & 'popular', 'high' & 'low' culture came to dominate the expressive arts."If there is a tragedy in this development," Levine notes, "it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven & Verdi, whom they had enjoyed in various formats for much of the 19th century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value & importance of the popular art forms that were all around them. "Too many of those who considered themselves educated & cultured lost for a significant period--& many have still not regained--their ability to discriminate independently, to sort things out for themselves & understand that simply because a form of expressive culture was widely accessible & highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit."Note: first presented as The William E. Massey Sr. Lectures in the History of American Civilization in 1986,