Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.

    His works—among them Taliesin North, Taliesin West, Fallingwater, the Johnson Wax buildings, the Guggenheim Museum—earned him a good measure of his fame, but his flamboyant personal life earned him the rest. Here Brendan Gill, a personal friend of Wright and his family, gives us not only the fullest, fairest, and most entertaining account of Wright to date, but also strips away the many masks the architect tirelessly constructed to fascinate his admirers and mislead his detractors. Enriched by hitherto unpublished letters and 300 photographs and drawings, this definitive biography makes Wright, in all his creativity, crankiness, and zest, fairly leap from its pages.

    Her vivid visual vocabulary--sensuous flowers, bleached bones against red sky and earth--had a stunning, profound, and lasting influence on American art. O'Keeffe's personal mystique is as intriguing and enduring as her bold, brilliant canvases. Here is the first full account of her exceptional life-- from her girlhood and early days as a controversial art teacher, to her discovery by the pioneering photographer of the New York avant-garde, Alfred Stieglitz, to her seclusion in the New Mexico desert, where she lived until her death. And here is the story of a great romance between the extraordinary painter and her much older mentor, lover, and husband, Alfred Stieglitz. Renowned for her fierce independence, iron determination, and unique artistic vision, Georgia O'Keeffe is a twentieth-century legend who career spanned the history modern art in America.

    The next thing Conan knew, he was up to his neck in Van pirates, killer ape-men, Aquilonian nobility, an ancient blood cult, a Stygian sorcerer and the murderous tribes of the dread Coast of Bones.

    Steven Watson follows their diverse lives from childhood through their Factory years. He shows how this ever-changing mix of artists and poets, musicians and filmmakers, drag queens, society figures, and fashion models, all interacted at the Factory to create more than 500 films, the Velvet Underground, paintings and sculpture, and thousands of photographs. Between 1961 and 1964 Warhol produced his most iconic art: the Flower paintings, the Marilyns, the Campbell’s Soup Can paintings, and the Brillo Boxes. But it was his films—Sleep, Kiss, Empire, The Chelsea Girls, and Vinyl—that constituted his most prolific output in the mid-1960s, and with this book Watson points up the important and little-known interaction of the Factory with the New York avant-garde film world. Watson sets his story in the context of the revolutionary milieu of 1960s New York: the opening of Paul Young’s Paraphernalia, Truman Capote’s Black and White Ball, Max’s Kansas City, and the Beautiful People Party at the Factory, among many other events. Interspersed throughout are Watson’s trademark sociogram, more than 130 black-and-white photographs—some never before seen—and many sidebars of quotes and slang that help define the Warholian world. With Factory Made, Watson has focused on a moment that transformed the art and style of a generation.

    Mellon, the American colossus who bestrode the worlds of industry, government, and philanthropy, leaving his transformative stamp on each. Following a boyhood in nineteenth-century Pittsburgh, during which he learned from his Scotch-Irish immigrant father the lessons of self-sufficiency and accumulation of wealth, Andrew Mellon overcame painful shyness to become one of America’s greatest financiers. Across an unusually diverse range of enterprises, from banking to oil to aluminum manufacture, he would build a legendary personal fortune, tracking America’s course to global economic supremacy. Personal happiness, however, eluded him: his loveless marriage at forty-five to a British girl less than half his age ended in a scandalous divorce, and for all his best efforts, he would remain a stranger to his children. He had been bred to do one thing, and that he did with brilliant and innovative entrepreneurship. The Mellon way was to hold companies closely, including such iconic enterprises as Alcoa and Gulf Oil. Collecting art, a pursuit inspired by his close friend Henry Clay Frick, would become his only nonprofessional gratification. And by the end of his life, Mellon’s “pictures” would constitute one of the world’s foremost private collections.Mellon’s wealth and name allowed him to dominate Pennsylvania politics, and late in life he was invited to Washington. As treasury secretary under presidents Harding, Coolidge, and finally Hoover, he made the federal government run like a business—prefiguring the public official as CEO. But this man of straightforward conservative politics was no politician. He would be hailed as the architect of the Roaring Twenties, but, staying too long, would be blamed for the Great Depression, eventually to find himself a broken idol. The New Deal overthrew Andrew Mellon’s every fiscal assumption, starting with the imperative of balanced budgets. Indeed, he would become the emblem—and the scapegoat—for the Republican conviction and policy that the role of government is to help business create national wealth and jobs. At the age of seventy-nine, the former treasury secretary suffered the ultimate humiliation: prosecution by FDR’s government on charges of tax evasion. In the end Mellon would be exonerated, as he always trusted he would be, and throughout the trial, which lasted more than a year, he never abandoned what had become his last dream: to make a great gift to the American people. The National Gallery of Art remains his most tangible legacy, although he did not live to see its completion.The issues Andrew W. Mellon confronted—concerning government, business, influence, the individual and the public good—remain at the center of our national discourse to this day. Indeed, the positions he steadfastly held reemerged relatively intact with the Reagan revolution, having lain dormant since the New Deal. David Cannadine’s magisterial biography brings to life a towering, controversial figure, casting new light on our history and the evolution of our public values.

    Wittman, the founder of the FBI’s Art Crime Team, pulls back the curtain on his career for the first time.Rising from humble roots as the son of an antiques dealer, Wittman built a twenty-year career that was nothing short of extraordinary. He went undercover, usually unarmed, to catch art thieves, scammers, and black market traders in Paris and Philadelphia, Rio and Santa Fe, Miami and Madrid.In this memoir, Wittman relates the stories behind his recoveries of priceless art and antiquities: The golden armor of an ancient Peruvian warrior king. The Rodin sculpture that inspired the Impressionist movement. The headdress Geronimo wore at his final Pow-Wow. The rare Civil War battle flag carried into battle by one of the nation’s first African-American regiments.The breadth of Wittman’s exploits is unmatched: He traveled the world to rescue paintings by Rockwell and Rembrandt, Pissarro, Monet and Picasso, often working undercover overseas at the whim of foreign governments. Closer to home, he recovered an original copy of the Bill of Rights and cracked the scam that rocked the PBS series Antiques Roadshow.By the FBI’s accounting, Wittman saved hundreds of millions of dollars worth of art and antiquities. He says the statistic isn’t important. After all, who’s to say what is worth more --a Rembrandt self-portrait or an American flag carried into battle? They're both priceless.The art thieves and scammers Wittman caught run the gamut from rich to poor, smart to foolish, organized criminals to desperate loners.  The smuggler who brought him a looted 6th-century treasure turned out to be a high-ranking diplomat.  The appraiser who stole countless heirlooms from war heroes’ descendants was a slick, aristocratic con man.  The museum janitor who made off with locks of George Washington's hair just wanted to make a few extra bucks, figuring no one would miss what he’d filched.In his final case, Wittman called on every bit of knowledge and experience in his arsenal to take on his greatest challenge: working undercover to track the vicious criminals behind what might be the most audacious art theft of all.

    Only a select inner circle of women will know the cost of sharing a beloved man with history . . . and each will draw strength from the unique treasure given to them by a doomed queen. Seeing farm and family through each harsh New England season, Abigail Adams is sustained only by the fervent reunions stolen between John's journeys abroad. She will face the terror of an ocean crossing to join her husband in France--and write her own page in history. And there she will cross paths with kings, commoners--and young Sally Hemings. Just as Sally had grown from a clever child to a beautiful woman, so had her relationship with Thomas Jefferson grown from a friendship between slave and master to one entangled in the complexities of black and white, decorum and desire. It is a relationship that will leave Sally to face an agonizingly wrenching choice. Dolley Madison, too, must live with the repercussions of a forbidden love affair--although she will confront even greater trials as a President's wife. But Dolley will become one of the best-loved ladies of the White House--and leave an extraordinary legacy of her own. A lushly written novel that traces the marriages tested by the demands of love and loyalty, Patriot Hearts offers readers a dazzling glimpse behind the scenes of a revolution, from adversity and treachery to teatime strategies, as four magnificent women shape a nation's future.

    Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 brilliant female artists in text that's smart, feisty, educational, and an enjoyable read. Replete with beautiful reproductions of the artists' works and contemporary portraits of each artist by renowned illustrator Lisa Congdon, this is art history from 1600 to the present day for the modern art lover, reader, and feminist.

    A little cobbled street in a smoky mill town in the North of England has haunted me for the greater part of my life. It was inevitable that I should write about it and the people who lived on both sides of its "Invisible Wall." The narrow street where Harry Bernstein grew up, in a small English mill town, was seemingly unremarkable. It was identical to countless other streets in countless other working-class neighborhoods of the early 1900s, except for the "invisible wall" that ran down its center, dividing Jewish families on one side from Christian families on the other. Only a few feet of cobblestones separated Jews from Gentiles, but socially, it they were miles apart.On the eve of World War I, Harry's family struggles to make ends meet. His father earns little money at the Jewish tailoring shop and brings home even less, preferring to spend his wages drinking and gambling. Harry's mother, devoted to her children and fiercely resilient, survives on her dreams: new shoes that might secure Harry's admission to a fancy school; that her daughter might marry the local rabbi; that the entire family might one day be whisked off to the paradise of America.Then Harry's older sister, Lily, does the unthinkable: She falls in love with Arthur, a Christian boy from across the street. When Harry unwittingly discovers their secret affair, he must choose between the morals he's been taught all his life, his loyalty to his selfless mother, and what he knows to be true in his own heart.A wonderfully charming memoir written when the author was ninety-three, The Invisible Wall vibrantly brings to life an all-but-forgotten time and place. It is a moving tale of working-class life, and of the boundaries that can be overcome by love.

    Each Playaway comes with the digital content already pre-loaded on it and a battery to make it play. Simply plug in earbuds and enjoy. Each ultra-portable Playaway weighs only two ounces and comes packaged with earbuds and a standard AAA battery to allow for immediate listening. Every Playaway comes ready to shelve in drop-box friendly packaging, complete with title inserts and instructions. Playaway is being circulated in over 11,000 public, academic, military and government libraries with a 99% library customer satisfaction rate. With 70 respected publishing partners, a growing collection of over 1,500 titles across 30 genres is available. No Cassettes. No CD's. No downloads. Just Play.

    A group of generals not from one nation taking control in a palace coup, but from most nations taking control of most of the world in a coordinated lightning stroke. What's to stop them? In THE AQUITAINE PROGRESSION, one man...Joel Converse, a battle scarred veteran of Vietnam who in the course of business stumbles onto the plot. "This is Ludlum at his best...a thrilling international novel and love story." (Publishers Weekly)

    Now players can get an in-depth look at the items they have collected…and the fearsome powers they hold.From the shining towers of Silvermoon to the sulfurous Blackrock Mountain to the white stone castles of Stormwind, the Eastern Kingdoms are vast and full of wonder. Every corner of the majestic isle contains countless stories, treasures, and more than a few secrets that some would prefer stay buried. Follow Spymaster Mathias Shaw and Captain Flynn Fairwind on an expedition across the Eastern Kingdoms for king and country as they chronicle its history and catalog the weapons, armor, and powers untold that are scattered across this sprawling dominion. Penned by New York Times bestselling author and Blizzard Entertainment writer Christie Golden, Exploring Azeroth: The Eastern Kingdoms is your first step on a truly remarkable journey across the beloved lands of Azeroth

    Chock-full of historic and never-before-seen memorabilia (think: early sketches of Sub-Mariner and the Human Torch, Bullpen birthday cards, and a membership certificate for the Merry Marvel Marching Society), this vibrant chronicle contains over 30 plastic-encased archival gems that you can hold in your hand while reading about the artists, writers, and heroes who make up the Marvel Universe.Organized by decade, The Marvel Vault leads readers through every era by letting them hold such rare items as holiday cards, the welcome kit from the original Merry Marvel Marching Society, the program for the first comics convention, and even the first sketches for characters who went on to become beloved Marvel icons.Whether you've been collecting Sub-Mariner dime-books since the 1940s, or have just started to crack the pages of current Spidey sagas, you'll want to gear up for Marvel-ous adventures with this dynamic collection!