Apart from a handful of exotic--and almost completely unreliable--tales surrounding his life, Richard Potter is almost unknown today. Two hundred years ago, however, he was the most popular entertainer in America--the first showman, in fact, to win truly nationwide fame. Working as a magician and ventriloquist, he personified for an entire generation what a popular performer was and made an invaluable contribution to establishing popular entertainment as a major part of American life. His story is all the more remarkable in that Richard Potter was also a black man. This was an era when few African Americans became highly successful, much less famous. As the son of a slave, Potter was fortunate to have opportunities at all. At home in Boston, he was widely recognized as black, but elsewhere in America audiences entertained themselves with romantic speculations about his "Hindu" ancestry (a perception encouraged by his act and costumes). Richard Potter’s performances were enjoyed by an enormous public, but his life off stage has always remained hidden and unknown. Now, for the first time, John A. Hodgson tells the remarkable, compelling--and ultimately heartbreaking--story of Potter’s life, a tale of professional success and celebrity counterbalanced by racial vulnerability in an increasingly hostile world. It is a story of race relations, too, and of remarkable, highly influential black gentlemanliness and respectability: as the unsung precursor of Frederick Douglass, Richard Potter demonstrated to an entire generation of Americans that a black man, no less than a white man, could exemplify the best qualities of humanity. The apparently trivial "popular entertainment" status of his work has long blinded historians to his significance and even to his presence. Now at last we can recognize him as a seminal figure in American history.

Miss Potter brings to life the story of artist and author Beatrix Potter and her quest for success and independence in Victorian England. The story is set at the turn of the 20th Century when the famous author first penned her ultimate classic The Tale of Peter Rabbit. An epic of the era, Miss Potter is a story of love, sorrow and triumph. It's about striving for ones own goals and finding happiness along the way. Beatrix's most famous characters are brought to life revealing how the imaginary world of her stories was inspired by her real life and the people and the places in it.

Existing studies of the Potter family tend to see Richard Potter through the lens of his most famous daughter, the socialist Beatrice Webb, or through Beatrice and her eight siblings, all girls. In this book, their father, whose business activities sustained the family’s upper-middle-class lifestyle and social position, is the subject of study in his own right. He was a new kind of businessman, a corporate capitalist, who operated on an international stage. This book looks inside the principal companies in which Potter was the chairman (the Great Western and Canadian Grand Trunk railways and the Gloucester Wagon Company) to assess his business acumen and his relationships with other leading business figures including Daniel Gooch, Edward Watkin and William Price. It also examines in detail Potter’s relationships with his wife and daughters, describing how he drew them into some of his key business decisions, and how he recognised the individuality of his daughters, encouraging them to read and think outside conventional boundaries, and to engage with famous intellectuals, most notably Herbert Spencer his life-long friend, who were part of the family circle, so shaping their lives as distinctive and strong adults. Beatrice had no doubt that he played a key part in shaping her professional life.

"Paul Graham curates a subtle thesis and revitalising manifesto for photography. The dynamic and diverse work gathered here advocates an unashamed, but not uncomplicated, dedication to the brilliant tangle of reality. Without being tempted by the artifice of the studio or the restrictive demands of conventional documentary, these artists tell open-ended stories that shift, warp, and branch, attuned unfailingly to life-as-it-is. Included are Gregory Halpern's Californian waking dream ZZYZX; Vanessa Winship's peripatetic exercise in empathy she dances on Jackson; the human assemblages of Curran Hatleberg's Lost Coast; Stanley Wolukau-Wanambwa's rich and multitudinous One Wall a Web; the mortality-tinged America of Richard Choi's What Remains; RaMell Ross' visionary documentary work South County; the collaborative project Index G by Emanuele Bruti & Piergiorgio Casotti; and Kristine Potter's disorientating exploration of the American landscape and masculinity in Manifest. All these works are brought together in harmony and enlightening dissonance, as Graham teases out a new photographic form"--Publisher's description.

In this groundbreaking book, Richard Potter, an academic and a mystic, sets forth a revolutionary thesis: to evolve personally, spiritually, and globally, we need a new concept of spirituality that is not tied to culturally specific beliefs and practices. The time has come for a spirituality of consciousness. By focusing on consciousness instead of dogma, it becomes possible to realize the core truths of world religions without being bound to outdated beliefs and customs that no longer serve humanity. Learn core consciousness-expanding practices including meditation, breathwork, sound work, and retreats. Explore ways to open your heart, achieve self mastery, evaluate spiritual teachers, and attain spiritual freedom, all steps on the path to greater contentment, clarity, compassion, and a profound sense of inner peace. Take a spiritual adventure beyond the bounds of time and place with one of today's most original spiritual thinkers.

"The definitive job, and I can't imagine what else there is to say about him."—Walter Lippman "This is an appraisal without apology. If its judgments are uncompromising, they are also given without rancor, indeed with an air of almost sympathetic curiosity about the phenomenon that was McCarthy. . . . It is no surprise that [Rovere's] book is a vividly written, sophisticated recreation of a political episode whose manic qualities already begin to seem unbelievable."—Anthony Lewis