The notorious life and times of one of the wealthiest women in 19th-century America Born into grinding poverty, Eliza Jumel was raised in a brothel, indentured as a servant, and confined to a workhouse when her mother was in jail. Yet by the end of her life, "Madame Jumel" was one of the richest women in New York, with servants of her own and mansions in Manhattan and Saratoga Springs. During her remarkable life, she acquired a fortune from her first husband, a French merchant, and almost lost it to her second, the notorious vice president Aaron Burr. Divorcing Burr amid lurid charges of adultery, Jumel lived on triumphantly to the age of 90, astutely managing her property and public persona. After her death, while family members extolled her virtues, claimants to her estate painted a different picture: of a prostitute, the mother of George Washington's illegitimate son, and a wife who ruthlessly defrauded her husband and perhaps even plotted his death. With this book, author Margaret A. Oppenheimer draws from archival documents and court filings, many untouched since the 1800s, to tell the true and full story of Eliza Jumel.

At the Apartheid Museum in Johannesburg, South Africa, visitors confront the past upon arrival. They must decide whether to enter the museum through a door marked "whites" or another marked "non-whites." Inside, along with text, they encounter hanging nooses and other reminders of apartheid-era atrocities. In the United States, museum exhibitions about racial violence and segregation are mostly confined to black history museums, with national history museums sidelining such difficult material. Even the Smithsonian's National Museum of African American History and Culture is dedicated not to violent histories of racial domination but to a more generalized narrative about black identity and culture. The scale at which violent racial pasts have been incorporated into South African national historical narratives is lacking in the U.S. Desegregating the Past considers why this is the case, tracking the production and display of historical representations of racial pasts at museums in both countries and what it reveals about underlying social anxieties, unsettled emotions, and aspirations surrounding contemporary social fault lines around race. Robyn Autry consults museum archives, conducts interviews with staff, and recounts the public and private battles fought over the creation and content of history museums. Despite vast differences in the development of South African and U.S. society, Autry finds a common set of ideological, political, economic, and institutional dilemmas arising out of the selective reconstruction of the past. Museums have played a major role in shaping public memory, at times recognizing and at other times blurring the ongoing influence of historical crimes. The narratives museums produce to engage with difficult, violent histories expose present anxieties concerning identity, (mis)recognition, and ongoing conflict.

Winner of the 2015New York City Book Award The never-before-told story of the grid that ate Manhattan You either love it or hate it, but nothing says New York like the street grid of Manhattan. This is its story. Praise for City on a Grid "The best account to date of the process by which an odd amalgamation of democracy and capitalism got written into New York's physical DNA."--New York Times Book Review "Intriguing...breezy and highly readable."--Wall Street Journal "City on a Grid tells the too little-known tale of how and why Manhattan came to be the waffle-board city we know."--The New Yorker "[An] expert investigation into what made the city special."--Publishers Weekly "A fun, fascinating, and accessible read for those curious enough to delve into the origins of an amazing city."--New York Journal of Books "Koeppel is the very best sort of writer for this sort of history."--Roanoke Times

Originally published in hardcover in 1972, A Day No Pigs Would Die was one of the first young adult books, along with titles like The Outsiders and The Chocolate War. In it, author Robert Newton Peck weaves a story of a Vermont boyhood that is part fiction, part memoir. The result is a moving coming-of-age story that still resonates with teens today.

The beloved New York Times columnist "inspires women to embrace aging and look at it with a new sense of hope" in this lively, fascinating, eye-opening look at women and aging in America (Parade Magazine). "You're not getting older, you're getting better," or so promised the famous 1970's ad -- for women's hair dye. Americans have always had a complicated relationship with aging: embrace it, deny it, defer it -- and women have been on the front lines of the battle, willingly or not. In her lively social history of American women and aging, acclaimed New York Times columnist Gail Collins illustrates the ways in which age is an arbitrary concept that has swung back and forth over the centuries. From Plymouth Rock (when a woman was considered marriageable if "civil and under fifty years of age"), to a few generations later, when they were quietly retired to elderdom once they had passed the optimum age for reproduction, to recent decades when freedom from striving in the workplace and caretaking at home is often celebrated, to the first female nominee for president, American attitudes towards age have been a moving target. Gail Collins gives women reason to expect the best of their golden years.