Charles Fritz: 100 Paintings Illustrating the Journals of Lewis and Clark unites exquisite Western art with one of our nation's greatest epics. The result of a decade of comprehensive research and on-location painting, this expanded collection of 100 paintings depicts the triumphs and travails of the Corps of Discovery's two-and-a-half-year trek through unknown territory to the Pacific Ocean and back between 1804 and 1806. Although several members of the Corps of Discovery kept journals, an artist did not accompany the expedition. Unlike almost every expedition since, there had been no one to visually document the unique people, landscapes, animals, and plants never before seen by Americans living in the East. With artistry and a passion for historical accuracy, Charles Fritz, one of the nation's most respected Western artists, brings the Journals of Lewis and Clark to life, telling this remarkable American story visually-and for the first time allowing us to experience what the Corps saw on their historic journey.

This stunning collection of paintings by acclaimed artist Charles Fritz captures some of the most fascinating and historic moments in the epic Lewis and Clark Expedition. The paintings are presented in chronological order as the Corps of Discovery moved West in search of the Pacific Ocean and then returned home. The paintings are complemented both by quotes from the journals of Lewis and Clark and other members of the Corps and by fascinating historical vignettes that illustrate the Expedition's trials, tribulations, and triumphs.

«Reading Fritz, it becomes clear that disaster provides not only opportunities and communities but a changed sense of self that matters.» (Rebecca Solnit in "A Paradise built in Hell") The text in this report was written in 1961. This raises an obvious question of why it remained unpublished for 35 years? Also, why did the Disaster Research Center (DRC) decide to publish it at this time as part of its Historical and Comparative Disaster Series? To understand part of the reasoning behind the latter decision requires some understanding of the answer to the first question. Reconstructing the past is not always easy. However, as part of an oral history of the early workers in the disaster research field in the United States, we have for the last ten years been conducting interviews with those involved, as well as collecting many personal and organizational documents, including letters and other records. From such an array of relevant primary and secondary data, we think we have been able to ascertain what happened concerning the original manuscript prepared by Fritz. (From the Foreword by E. L. Quarantelli)

Miguel Antonio Otero served as the first Hispanic governor of the U.S. Territory of New Mexico, from 1897 to 1906. He was appointed to the office by President William McKinley. Long after his retirement from politics, Governor Otero wrote and published his memoirs in three volumes, a major contribution to New Mexico history. But he also published a biography in 1936 titled “The Real Billy the Kid.” His aim in that book, he proclaimed, was to write the Kid’s story “without embellishment, based entirely on actual fact.” Otero had known the outlaw briefly and also had known the man who killed Billy in 1881, Sheriff Pat Garrett. The author recalled Garrett saying he regretted having to slay Billy. Or, as he bluntly put it, “it was simply the case of who got in the first shot. I happened to be the lucky one.” By all accounts, Billy the Kid was much adored by New Mexico’s Hispanic population. Otero asserts that the Kid was considerate of the old, the young and the poor. And he was loyal to his friends. Further, Martin Cháves of Santa Fe stated: “Billy was a perfect gentleman with a noble heart. He never killed a native citizen of New Mexico in all his career, and he had plenty of courage.” Otero was especially admiring of Billy because as a boy in Silver City, “he had loved his mother devotedly.” Such praise must be viewed in the context of the times. Other people, of course, saw Billy as an arch-villain. MIGUEL ANTONIO OTERO rightly distinguished himself as a political leader in New Mexico where he raised a family and lived out his life as a champion of the people, but he is also highly recognized for his career as an author. He published his legendary “My Life on the Frontier, 1864-1882” in 1935, followed by “The Real Billy the Kid: With New Light on the Lincoln County War” in 1936, “My Life on the Frontier, 1882-1897” in 1939, and “My Nine Years as Governor of New Mexico Territory, 1897-1906” in 1940.

Once confined to the research laboratory, the genetic engineering of plants is now a big business that is changing the face of modern agriculture. Giant corporations are creating designer crops with strange powers-from cholesterol-reducing soybeans to plants that act as miniature drug factories, churning out everything from vaccines to insulin. They promise great benefits: better health for consumers, more productive agriculture-even an end to world hunger. But the vision has a dark side, one of profit-driven tampering with life and the possible destruction of entire ecosystems. In Lords of the Harvest, Daniel Charles takes us deep inside research labs, farm sheds, and corporate boardrooms to reveal the hidden story behind this agricultural revolution. He tells how a handful of scientists at Monsanto drove biotechnology from the lab into the field, and how the company's opponents are fighting back with every tool available to them, including the cynical manipulation of public fears. A dramatic account of boundless ambition, political intrigue, and the quest for knowledge, Lords of the Harvest is ultimately a story of idealism and of conflicting dreams about the shape of a better world.