Croswell Bowen: A WriterÆs Life, a DaughterÆs Portrait is the life story of a journalist who wrote his way through the major events of the mid-twentieth century. While tracing the trajectory of Croswell BowenÆs (1905û71) personal life, his daughter, Betsy Connor Bowen, follows the path left by her father as he wrote about the Wall Street crash of 1929, the Great Depression, World War II, the McCarthy era, the presidency of John F. Kennedy, and the Vietnam War. A riveting account of the life and times of an American journalist, Connor BowenÆs biography of Bowen is a daughterÆs quest to find her father through his work at the intersections of journalism, democracy, and liberalism. BowenÆs life and work were shaped by his conviction that finding the right stories and telling them with the right words could create a better world. He wrote about criminals, poverty, illness, discrimination, and other matters of social injustice. While writing to advance causes he believed in and lending a voice to the less fortunate, he struggled to maintain his marriage and provide for his family. Although he made mistakes in both his professional and personal life, Bowen celebrates his ability, even in failure, to maintain bold moral integrity.

The long-lost diary of a journalist at war

“Reminds readers that the history of lynching and racial violence in the United States is not a closed book, but an ever-relevant story.” —Criminal Law and Criminal Justice Books Before daybreak on February 17, 1947, twenty-four-year-old Willie Earle, an African American man arrested for the murder of a Greenville, South Carolina, taxi driver named T. W. Brown, was abducted from his jail cell by a mob, and then beaten, stabbed, and shot to death. An investigation produced thirty-one suspects, most of them cabbies seeking revenge for one of their own. The police and FBI obtained twenty-six confessions, but, after a nine-day trial in May that attracted national press attention, the defendants were acquitted by an all-white jury. In They Stole Him Out of Jail, William B. Gravely presents the most comprehensive account of the Earle lynching ever written, exploring it from background to aftermath and from multiple perspectives. Among his sources are contemporary press accounts (there was no trial transcript), extensive interviews and archival documents, and the “Greenville notebook” kept by Rebecca West, the well-known British writer who covered the trial for the New Yorker magazine. Gravely meticulously recreates the case’s details, analyzing the flaws in the investigation and prosecution that led in part to the acquittals. Vivid portraits emerge of key figures in the story, including both Earle and Brown, Solicitor Robert T. Ashmore, Governor Strom Thurmond, and West, whose article “Opera in Greenville” is masterful journalism but marred by errors owing to her short stay in the area. Gravely also probes problems with memory that resulted in varying interpretations of Willie Earle’s character and conflicting narratives about the lynching itself.

Named a Choice Outstanding Academic Title of the Year 2018 The Theatre of Eugene O'Neill offers a new comprehensive overview of O'Neill's career and plays in the context of the American theatre. Organised thematically, it considers his modernist intervention in the theatre, offers readers detailed analysis of the plays, and assesses the recent resurgence in his reputation and new approaches to staging his work. It includes a study of all his major plays-The Emperor Jones, The Hairy Ape, The Iceman Cometh, Long Day's Journey Into Night, A Moon for the Misbegotten and Desire Under the Elms-besides numerous other full length and one act dramas. Eugene O'Neill is generally credited with inventing modern American drama, in a time of cultural ferment and lively artistic and intellectual change. Yet O'Neill's theatrical instincts were always shaped by American stage traditions that were inextricable from his sense of himself and his own national culture. This study shows that his theatrical modernism represents not so much a break from these traditions as a reinvention of their scope and significance in the context of international stage modernism, offering an image of national culture and character that opens new possibilities for the stage while remaining rooted in its past. Kurt Eisen traces O'Neill's modernism throughout the dramatists's work: his attempts to break from the themes, plots, and moral conventions of the traditional melodramatic theatre; his experiments in stagecraft and theme, and their connection to traditional theatre and his European modernist contemporaries; the turn toward direct and indirect self-representation; and his critique of the family and of American 'pipe dreams' and the allure of success. The volume additionally features four contributed essays providing further critical perspectives on O'Neill's work, alongside a chronology of the writer's life and times.

This study attempts to trace Eugene O'Neill's theatrical contour from its origin to its end, by discussing each of his works in the approximate chronological order of composition. The book is thus a form of biography, although it pays no heed to those events of O'Neill's life that did not have direct bearing on his professional career. By virtue of O'Neill's central position in the drama of the modern world, this study also has become, within the limits its subject sets for it, a form of theatrical history. An appendix contains a complete factual record of important productions of O'Neill's plays. ISBN 0-19-504548-3 (pbk.): $12.95.

"An engrossing biography about the marital breakdown of a major literary figure, of particular interest for what it reveals about O'Neill's creative process, activities, and bohemian lifestyle at the time of his early successes and some of his most interesting experimental work. In addition, King's discussion of Boulton's efforts as a writer of pulp fiction in the early part of the 20th century reveals an interesting side of popular fiction writing at that time, and gives insight into the lifestyle of the liberated woman." ---Stephen Wilmer, Trinity College, Dublin Biographers of American playwright Eugene O'Neill have been quick to label his marriage to actress Carlotta Monterey as the defining relationship of his illustrious career. But in doing so, they overlook the woman whom Monterey replaced---Agnes Boulton, O'Neill's wife of over a decade and mother to two of his children. O'Neill and Boulton were wed in 1918---a time when she was a successful pulp novelist and he was still a little-known writer of one-act plays. During the decade of their marriage, he gained fame as a Broadway dramatist who rejected commercial compromise, while she mapped that contentious territory known as the literary marriage. His writing reflected her, and hers reflected him, as they tried to realize progressive ideas about what a marriage should be. But after O'Neill left the marriage, he and new love Carlotta Monterey worked diligently to put Boulton out of sight and mind---and most O'Neill biographers have been quick to follow suit. William Davies King has brought Agnes Boulton to light again, providing new perspectives on America's foremost dramatist, the dynamics of a literary marriage, and the story of a woman struggling to define herself in the early twentieth century. King shows how the configuration of O'Neill and Boulton's marriage helps unlock many of O'Neill's plays. Drawing on more than sixty of Boulton's published and unpublished writings, including her 1958 memoir, Part of a Long Story, and an extensive correspondence, King rescues Boulton from literary oblivion while offering the most radical revisionary reading of the work of Eugene O'Neill in a generation. William Davies King is Professor of Theater at the University of California, Santa Barbara, and author of several books, most recently Collections of Nothing, chosen by Amazon.com as one of the Best Books of 2008. Illustration: Eugene O'Neill, Shane O'Neill, and Agnes Boulton ca. 1923. Eugene O'Neill Collection, Beinecke Rare Book and Manuscript Library, Yale University.

Explores the murder of Mary Pinchot Meyer and her connected to President Kennedy Ideal book for fans of The Devil’s Chessboard by David Talbot, The Reporter Who Knew Too Much by Dorothy Kilgallen, Dr. Mary’s Monkey by Edward T. Haslam, and other JFK conspiracy books Updated edition of the true crime expose, including new evidence and government documents corroborating the conspiracy to assassinate JFK’s trusted ally and final true love The death of Mary Meyer left many Americans with questions. Who really killed her? Why did CIA counterintelligence chief James Angleton rush to find and confiscate her diary? Had she discovered the plan to assassinate her lover, President Kennedy, with the trail of information ending at the steps of the CIA? Was it only coincidence that she was killed less than three weeks after the release of the Warren Commission Report? Fans of The Murder of Mary Russell, JFK: A Vision for America, and other JFK books will love Mary’s Mosaic. Building and relying on years of interviews and painstaking research, author Peter Janney follows the key events and influences in Mary Pinchot Meyer’s life—her first meeting with Jack Kennedy; her support of her secret lover, President Kennedy, as he worked towards the pursuit of world peace and away from the Cold War; and her exploration of psychedelic drugs. Fifty years after the assassinations of President Kennedy and Mary Meyer, this book helps readers understand why both took place. Author Peter Janney fought for two years to obtain documents from the National Personnel Records Center and the US Army to complete this third edition. It includes a final chapter about the mystery man who could be the missing piece to learn the truth behind Meyer’s murder.

Includes Part 1, Number 1 & 2: Books and Pamphlets, Including Serials and Contributions to Periodicals (January - December)

William R. Brashear deals with tragedy, not as a dramatic literary genre, but as a basic way of experiencing the universe and of reacting to it. The writer of tragedy forces readers to confront much more than a tragic flaw in a single character; he forces them to confront the gorgon's head itself, the ultimate chaos of the universe. For him, Aristotle's intellectualization of tragedy distorted it for centuries because the tragic sense of life is experiential and intuitive rather than logical and syllogistic. In the later works of Schopenhauer, Nietzsche, and Spangler, Brashear finds the beginnings of the understanding of tragedy that developed in nineteenth- and twentieth-century literature. In careful considerations of such writers as Shakespeare, Tennyson, Conrad, Housman, Shaw, O'Neill, and Arthur Miller, Brashear refines his views of tragedy and tests their validity. The chapter on Tennyson supersedes and goes well beyond The Living Will, his earlier study of the poet. Brashear's discussions of individual writers reinforce each other and point to several important conclusions about the tragic vision and tragic art. Most significant among his conclusions is that tragedy is often taken to be more benign and positive than it really is and that if the tragic experience is essentially healthy and rewarding, it is so because it involves a confrontation that broadens, strengthens, and stabilizes and not because it suggests any ultimate solution to the human condition.

Bordered by the Hudson River and the Berkshire Mountains, Columbia County is part of the famously picturesque Hudson Valley region. But look beyond the rolling hills to discover the secrets of Columbia County. A mastodon tooth rolled down a farmer's hill in Claverack, changing the world's understanding of prehistoric times. President Martin Van Buren lost his wife, Hannah, in Kinderhook and hardly mentioned her again. Hudson's gallows were the scene of New York's last hanging, as hundreds of ticketholders looked on. Outcasts called "Pondshiners" hid in the hills of Taghkanic, and the only sign of their existence are the fantastic baskets they made. Join local author Allison Guertin Marchese as she explores these little-known stories of people and places, deeply woven into the history of Columbia County, New York.