As a young Mexican immigrant, Gabriel Nadales grew up feeling alienated and distant from the American Dream that brought his parents to this country seeking a better life for themselves and their family. In high school, he was attracted to a left-wing ideology and soon found himself caught up in the anarchist subculture—attending punk-rock concerts, dressing up in garish outfits, and making t-shirts, flags, and zines to fund his activism. He learned about anarchist history and got involved in “direct actions,” including destructive acts of mayhem. Above all, he was angry: angry at cops, angry at Wall Street, angry at corporations that despoiled the environment, angry at America itself. It was only after being exposed to works by classical liberal economists—such as Milton Friedman and Thomas Sowell—that Nadales began to reconsider his assumptions about capitalism and American society. Eventually he left Antifa and became a conservative activist, advising youth groups on campuses around the country on how to deal with left-wing students, radical faculty, and openly hostile administrators.

Explores the restrictive myth of the strong black woman through interviews, revealing the emotional and physical toll this "performance" can have.

The songs, dances, jokes, parodies, spoofs, and skits of blackface groups such as the Virginia Minstrels and Buckley's Serenaders became wildly popular in antebellum America. Behind the Burnt Cork Mask not only explores the racist practices of these entertainers but considers their performances as troubled representations of ethnicity, class, gender, and culture in the nineteenth century. William J. Mahar's unprecedented archival study of playbills, newspapers, sketches, monologues, and music engages new sources previously not considered in twentieth-century scholarship. More than any other study of its kind, Behind the Burnt Cork Mask investigates the relationships between blackface comedy and other Western genres and traditions; between the music of minstrel shows and its European sources; and between "popular" and "elite" constructions of culture. By locating minstrel performances within their complex sites of production, Mahar offers a significant reassessment of the historiography of the field. Behind the Burnt Cork Mask promises to redefine the study of blackface minstrelsy, charting new directions for future inquiries by scholars in American studies, popular culture, and musicology.

High above the city, a young guardian searches for the enemy...and finds love. In a city rife with evil, masked protectors secretly watch over the inhabitants, keeping the citizens safe while hiding their own identity. One young Sentinel, however, violates her oath and loses her heart to the woman she is charged to protect. By day, Pagan Osborne is a shy security specialist working in the family business. By night, as a Sentinel, she fulfils a greater family legacy and battles the criminals who threaten Chastilian's peace. Erith Baylor, a fiery young woman with her own secrets to hide, is drawn to Pagan's quiet charm and silent strength. But with so many secrets between them, their attraction could break the ties of family and finally reveal the truth behind the mask.

In Behind the Gas Mask, Thomas Faith offers an institutional history of the Chemical Warfare Service, the department tasked with improving the Army's ability to use and defend against chemical weapons during and after World War One. Taking the CWS's story from the trenches to peacetime, he explores how the CWS's work on chemical warfare continued through the 1920s despite deep opposition to the weapons in both military and civilian circles. As Faith shows, the believers in chemical weapons staffing the CWS allied with supporters in the military, government, and private industry to lobby to add chemical warfare to the country's permanent arsenal. Their argument: poison gas represented an advanced and even humane tool in modern war, while its applications for pest control and crowd control made a chemical capacity relevant in peacetime. But conflict with those aligned against chemical warfare forced the CWS to fight for its institutional life--and ultimately led to the U.S. military's rejection of battlefield chemical weapons.

Joseph T. "Cap" Shaw enjoyed several distinguished careers-military man and champion fencer, among them-before he assumed the editorial chair of the most significant fiction magazine since The Strand gave the world the immortal Sherlock Holmes. Between 1926 and 1936, Shaw edited Black Mask magazine. The pioneering first stories of Carroll John Daly and Dashiell Hammett had just begun to appear in its pages. Shaw recognized in their hard-boiled treatment of the American crime story the potential for a new literary school. Working closely with his hand-picked writers, he pulled the magazine back from the brink of cancellation, and transformed the staid detective story into a vigorous and modern genre, discovering and championing important inheritors of this new tradition, among them, Raymond Chandler.But there is more to Joe Shaw than his editorial career. Here, in the first biography ever written of this editorial giant, his son relates the full fascinating story of the man behind the revolutionary editorial persona....

WINNER OF THE PULITZER PRIZE FOR BIOGRAPHY • ONE OF ESQUIRE’S BEST BIOGRAPHIES OF ALL TIME General Alex Dumas is a man almost unknown today, yet his story is strikingly familiar—because his son, the novelist Alexandre Dumas, used his larger-than-life feats as inspiration for such classics as The Count of Monte Cristo and The Three Musketeers. But, hidden behind General Dumas's swashbuckling adventures was an even more incredible secret: he was the son of a black slave—who rose higher in the white world than any man of his race would before our own time. Born in Saint-Domingue (now Haiti), Alex Dumas made his way to Paris, where he rose to command armies at the height of the Revolution—until he met an implacable enemy he could not defeat. The Black Count is simultaneously a riveting adventure story, a lushly textured evocation of 18th-century France, and a window into the modern world’s first multi-racial society. TIME magazine called The Black Count "one of those quintessentially human stories of strength and courage that sheds light on the historical moment that made it possible." But it is also a heartbreaking story of the enduring bonds of love between a father and son.