Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

Urban Formalism radically reimagines what it meant to “read” a brave new urban world during the transformative middle decades of the nineteenth century. At a time when contemporaries in the twin capitals of modernity in the West, New York and Paris, were learning to make sense of unfamiliar surroundings, city peoples increasingly looked to the experiential patterns, or forms, from their everyday lives in an attempt to translate urban experience into something they could more easily comprehend. Urban Formalism interrogates both the risks and rewards of an interpretive practice that depended on the mutual relation between urbanism and formalism, at a moment when the subjective experience of the city had reached unprecedented levels of complexity. This book not only provides an original cultural history of forms. It posits a new form of urban history, comprising the representative rituals of interpretation that have helped give meaningful shape to metropolitan life.

The cartmen—unskilled workers who hauled goods on one horsecarts—were perhaps the most important labor group in early American cities. The forerunners of the Teamsters Union, these white-frocked laborers moved almost all of the nation’s possessions, touching the lives of virtually every American. New York City Cartmen, 1667–1850 tells the story of this vital group of laborers. Besides documenting the cartmen’s history, the book also demonstrates the tremendous impact of government intervention into the American economy via the creation of labor laws. The cartmen possessed a hard-nosed political awareness, and because they transported essential goods, they achieved a status in New York City far above their skills or financial worth. Civic support and discrimination helped the cartmen create a community all their own. The cartmen's culture and their relationship with New York's municipal government are the direct ancestors of the city's fabled taxicab drivers. But this book is about the city itself. It is a stirring street-level account of the growth of New York, growth made possible by the efforts of the cartmen and other unskilled laborers. Containing 23 black-and-white illustrations, New York City Cartmen is informative reading for social, urban, and labor historians.

Historian Nora Titone takes a fresh look at the strange and startling history of the Booth brothers, answering the question of why one became the nineteenth-century’s brightest, most beloved star, and the other became the most notorious assassin in American history. The scene of John Wilkes Booth shooting Abraham Lincoln in Ford’s Theatre is among the most vivid and indelible images in American history. The literal story of what happened on April 14, 1865, is familiar: Lincoln was killed by John Wilkes Booth, a lunatic enraged by the Union victory and the prospect of black citizenship. Yet who Booth really was—besides a killer—is less well known. The magnitude of his crime has obscured for generations a startling personal story that was integral to his motivation. My Thoughts Be Bloody, a sweeping family saga, revives an extraordinary figure whose name has been missing, until now, from the story of President Lincoln’s death. Edwin Booth, John Wilkes’s older brother by four years, was in his day the biggest star of the American stage. Without an account of Edwin Booth, author Nora Titone argues, the real story of Lincoln’s assassin has never been told. Using an array of private letters, diaries, and reminiscences of the Booth family, Titone has uncovered a hidden history that reveals the reasons why John Wilkes Booth became this country’s most notorious assassin. The details of the conspiracy to kill Lincoln have been well documented elsewhere. My Thoughts Be Bloody tells a new story, one that explains for the first time why Lincoln’s assassin decided to conspire against the president in the first place, and sets that decision in the context of a bitterly divided family—and nation. By the end of this riveting journey, readers will see Abraham Lincoln’s death less as the result of the war between the North and South and more as the climax of a dark struggle between two brothers who never wore the uniform of soldiers, except on stage.

Henkin explores the influential but little-noticed role reading played in New York City's public life between 1825 and 1865. The "ubiquitous urban texts"--from newspapers to paper money, from street signs to handbills--became both indispensable urban guides and apt symbols for a new kind of public life that emerged first in New York.

Honorable mention, 2007 Lewis Mumford Prize, American Society of City and Regional Planning The nineteenth century was the golden age of the horse. In urban America, the indispensable horse provided the power for not only vehicles that moved freight, transported passengers, and fought fires but also equipment in breweries, mills, foundries, and machine shops. Clay McShane and Joel A. Tarr, prominent scholars of American urban life, here explore the critical role that the horse played in the growing nineteenth-century metropolis. Using such diverse sources as veterinary manuals, stable periodicals, teamster magazines, city newspapers, and agricultural yearbooks, they examine how the horses were housed and fed and how workers bred, trained, marketed, and employed their four-legged assets. Not omitting the problems of waste removal and corpse disposal, they touch on the municipal challenges of maintaining a safe and productive living environment for both horses and people and the rise of organizations like the American Society for the Prevention of Cruelty to Animals. In addition to providing an insightful account of life and work in nineteenth-century urban America, The Horse in the City brings us to a richer understanding of how the animal fared in this unnatural and presumably uncomfortable setting.

From random sightings of the spectral (and spectacular) Rollerena, a fortyish male who would grace onlookers with his fairy godmother benedictions in a cloud of white fabric and rhinestones, to some of the haunts that Charles Dickens frequented during his visits to the city, author Clifford Browder leaves no stone unturned, or for that matter, subject untouched. Topics include (but are not limited to) alcoholics, abortionists, grave robbers, Occupy Wall Street, the Gay Pride Parade, peyote visions, sinners that New Yorkers will (or won't) put up with, and an artist who makes art of a blood-filled squirt gun and a blackened human toe. From the grotesque to the engrossing, No Place for Normal: New York celebrates the shocking, weird, unpredictable, yet utterly wonderful tapestry that makes New York unlike any other city in the world, and a place that so many are proud to call home.