This is a famous educational text by Gilbert J. Hunt presenting an account of the War of 1812 in the style of the King James Bible. It starts with President James Madison and the congressional declaration of war and then describes the Burning of Washington, the Battle of New Orleans, and the Treaty of Ghent.

Bill Carter, executive producer of CNN’s docuseries The Story of Late Night and host of the Behind the Desk: Story of Late Night podcast, details the chaotic transition of The Tonight Show from host Jay Leno to Conan O’Brien—and back again. In 2010, NBC’s CEO Jeff Zucker, had it all worked out when he moved Jay Leno from behind the desk at The Tonight Show, and handed the reins over to Conan O'Brien. But his decision was a spectacular failure. Ratings plummeted, affiliates were enraged—and when Zucker tried to put everything back the way it was, that plan backfired as well. No one is more uniquely suited to document the story of a late-night travesty than veteran media reporter and bestselling author, Bill Carter. In candid detail, he charts the vortex that sucked in not just Leno and O'Brien—but also Letterman, Stewart, Fallon, Kimmel, and Ferguson—as frantic agents and network executives tried to manage a tectonic shift in television’s most beloved institution.

War is a fact of human nature. As long as we exist, it exists. That's how the argument goes. But longtime Scientific American writer John Horgan disagrees. Applying the scientific method to war leads Horgan to a radical conclusion: biologically speaking, we are just as likely to be peaceful as violent. War is not preordained, and furthermore, it should be thought of as a solvable, scientific problem—like curing cancer. But war and cancer differ in at least one crucial way: whereas cancer is a stubborn aspect of nature, war is our creation. It’s our choice whether to unmake it or not. In this compact, methodical treatise, Horgan examines dozens of examples and counterexamples—discussing chimpanzees and bonobos, warring and peaceful indigenous people, the World War I and Vietnam, Margaret Mead and General Sherman—as he finds his way to war’s complicated origins. Horgan argues for a far-reaching paradigm shift with profound implications for policy students, ethicists, military men and women, teachers, philosophers, or really, any engaged citizen.

Salesman's dummy, containing prospectus (p. [1]-[39], 1st group), press notices about the work (p. 1-15), and blanks for names of subscribers; sample bindings mounted inside front and back covers. LC copy has been used as scrapbook with t.p. and first few pages of text obscured by mounted newspaper clippings.

In the thirty years after World War II, American intellectual and artistic life changed as dramatically as did the rest of society. Gone were the rebellious lions of modernism—Joyce, Picasso, Stravinsky—and nearing exhaustion were those who took up their mantle as abstract expressionism gave way to pop art, and the barren formalism associated with the so-called high modernists wilted before the hothouse cultural brew of the 1960s. According to conventional thinking, it was around this time that postmodernism with its characteristic skepticism and relativism was born. In Late Modernism, historian Robert Genter remaps the landscape of American modernism in the early decades of the Cold War, tracing the combative debate among artists, writers, and intellectuals over the nature of the aesthetic form in an age of mass politics and mass culture. Dispensing with traditional narratives that present this moment as marking the exhaustion of modernism, Genter argues instead that the 1950s were the apogee of the movement, as American practitioners—abstract expressionists, Beat poets, formalist critics, color-field painters, and critical theorists, among others—debated the relationship between form and content, tradition and innovation, aesthetics and politics. In this compelling work of intellectual and cultural history Genter presents an invigorated tradition of late modernism, centered on the work of Kenneth Burke, Ralph Ellison, C. Wright Mills, David Riesman, Jasper Johns, Norman Brown, and James Baldwin, a tradition that overcame the conservative and reactionary politics of competing modernist practitioners and paved the way for the postmodern turn of the 1960s.

The soldiers who occupied Germany after the Second World War were not only liberators: they also brought with them a new threat, as women throughout the country became victims of sexual violence. In this disturbing and carefully researched book, the historian Miriam Gebhardt reveals for the first time the scale of this human tragedy, which continued long after the hostilities had ended. Discussion in recent years of the rape of German women committed at the end of the war has focused almost exclusively on the crimes committed by Soviet soldiers, but Gebhardt shows that this picture is misleading. Crimes were committed as much by the Western Allies – American, French and British – as by the members of the Red Army. Nor was the suffering limited to the immediate aftermath of the war. Gebhardt powerfully recounts how raped women continued to be the victims of doctors, who arbitrarily granted or refused abortions, welfare workers, who put pregnant women in homes, and wider society, which even today prefers to ignore these crimes. Crimes Unspoken is the first historical account to expose the true extent of sexual violence in Germany at the end of the war, offering valuable new insight into a key period of 20th century history.