Few American newspapers, perhaps none, have matched the New York Herald Tribune in the crispness of its writing and editing, the bite of its commentators, the range of its coverage and the clarity of its typography. The “Trib”, as it was affectionately called, raised newspapering to an art form. It had an influence and importance out of all proportion to its circulation. During the Civil War, Abraham Lincoln went to great lengths to retain the support of its co-founder, Horace Greeley. President Eisenhower felt it was such an important institution and Republican organ that he helped broker its sale to its last owner, multimillionaire John Hay Whitney. The Trib’s spectacularly distinguished staffers and contributors included Karl Marx, Tom Wolfe, Walter Lippmann, Dorothy Thompson, Virgil Thomson, Eugenia Sheppard, Red Smith, Heywood Broun, Walter Kerr, Homer Bigart, and brothers Joseph and Stewart Alsop. At the close of World War II, the Herald Tribune, the marriage of two newspapers that had done more than any others to create modern daily journalism, was at its apex of power and prestige. Yet just twenty-one years later, its influence still palpable in every newsroom across the nation, the Trib was gone. This is the story The Paper, a 1986 finalist of the National Book Award for Nonfiction and winner of the George Polk Prize, tells. “Probably the best book ever written about an American newspaper. But it is more than that — a brilliant piece of social history that recounts in vivid and telling detail the changing conception of ‘news’ in America... The book is chockablock with marvelous yarns... And what a cast of characters Kluger has to work with... Some of the most vivid pages in The Paper are Kluger’s portraits of these arresting personalities.” — J. Anthony Lukas, The Boston Globe “Monumental... with a narrative sweep that is always absorbing and sometimes breathtaking... What invigorates this history is Mr. Kluger’s enthusiasm for his subject, which is apparent everywhere in the loving detail with which he tells the story... and in the liveliness of the prose with which he profiles some of the Tribune’s more unusual personalities.” — Christopher Lehmann-Haupt, The New York Times “Engrossing... if there is a better book about an American newspaper, I am unaware of it... It is loaded to the gunnels with newspaper anecdotes, but at its core The Paper is a book about the relationship between the press and the powerful, the press and the wealthy.” — Jonathan Yardley, Washington Post Book World “The romance of The Front Page, genteel anti-Semitism, the disaster of newspaper labor relations, and the rise and fall of newspaper fortunes. All are there in The Paper. It is irresistible.” — Anthony Lewis “Compelling... most delightfully so when Mr. Kluger is limning the words and deeds of the people who made The Paper crackle with vitality for more than a century... He does a remarkable job of bringing these people to life on the printed page.” — David Shaw, The New York Times Book Review “Remarkable... a fascinating account of a greatness that once was... This book will hold you in its narrative grip as you revel in a story of a grand venture and epic characters... Here the history of a newspaper is a graphic presentation of a nation’s life.” — Kirkus Reviews “Richard Kluger is uniquely qualified to tell this tale... He brings a novelist’s imagination to some vivid material.” — Paul Gray, Time Magazine “Fascinating from start to finish, the best book about American journalism since Swanberg’s Citizen Hearst. Huge and engrossing.” — Larry Lee, San Francisco Chronicle “A magnificently romantic history not only of the ill-fated New York Herald Tribune but of New York newspapering generally... peopled with unforgettable heroes and knaves.” — Robert Sherrill, Chicago Sun-Times

At the height of the Red Scare, Angela Calomiris was a paid FBI informant inside the American Communist Party. As a Greenwich Village photographer, Calomiris spied on the New York Photo League, pioneers in documentary photography. While local Party officials may have had their sus-picions about her sexuality, her apparent dedication to the cause won them over. When Calomiris testified for the prosecution at the 1949 Smith Act trial of the Party's National Board, her identity as an informant (but not as a lesbian) was revealed. Her testimony sent eleven party leaders to prison and decimated the ranks of the Communist Party in the US. Undercover Girl is both a new chapter in Cold War history and an intimate look at the relationship between the FBI and one of its paid inform-ants. Ambitious and sometimes ruthless, Calomiris defied convention in her quest for celebrity.

Despite Flannery O'Connor's brief life, her work, comprising novels, short stories, essays, and articles, has had a great impact on American literature and to some extent popular culture, of the twentieth and twenty-first centuries. Her writing has become well loved, well read, and often studied. This book reprints complete book reviews and excerpts from review essays on the works of Flannery O'Connor that appeared in newspapers and periodicals during the author's writing life (1945-64) and after her early death. The more than four hundred edited reviews are prefaced with a substantial Introduction that situates O'Connor within the critical milieu of post-war American letters and Southern literary tradition, and provides an overview of contemporary critical responses to her collected stories, novels, and occasional pieces. An important resource for scholars of O'Connor and of Southern literature generally, this volume reveals much about her early reception and the continuing relevance of her work.

Philip Nel takes a fascinating look into the key aspects of Seuss's career - his poetry, politics, art, marketing, and place in the popular imagination." "Nel argues convincingly that Dr. Seuss is one of the most influential poets in America. His nonsense verse, like that of Lewis Carroll and Edward Lear, has changed language itself, giving us new words like "nerd." And Seuss's famously loopy artistic style - what Nel terms an "energetic cartoon surrealism" - has been equally important, inspiring artists like filmmaker Tim Burton and illustrator Lane Smith. --from back cover

Writers of the Black Chicago Renaissance comprehensively explores the contours and content of the Black Chicago Renaissance, a creative movement that emerged from the crucible of rigid segregation in Chicago's "Black Belt" from the 1930s through the 1960s. Heavily influenced by the Harlem Renaissance and the Chicago Renaissance of white writers, its participants were invested in political activism and social change as much as literature, art, and aesthetics. The revolutionary writing of this era produced some of the first great accolades for African American literature and set up much of the important writing that came to fruition in the Black Arts Movement. The volume covers a vast collection of subjects, including many important writers such as Richard Wright, Gwendolyn Brooks, and Lorraine Hansberry as well as cultural products such as black newspapers, music, and theater. The book includes individual entries by experts on each subject; a discography and filmography that highlight important writers, musicians, films, and cultural presentations; and an introduction that relates the Harlem Renaissance, the White Chicago Renaissance, the Black Chicago Renaissance, and the Black Arts Movement. Contributors are Robert Butler, Robert H. Cataliotti, Maryemma Graham, James C. Hall, James L. Hill, Michael Hill, Lovalerie King, Lawrence Jackson, Angelene Jamison-Hall, Keith Leonard, Lisbeth Lipari, Bill V. Mullen, Patrick Naick, William R. Nash, Charlene Regester, Kimberly Ruffin, Elizabeth Schultz, Joyce Hope Scott, James Smethurst, Kimberly M. Stanley, Kathryn Waddell Takara, Steven C. Tracy, Zoe Trodd, Alan Wald, Jamal Eric Watson, Donyel Hobbs Williams, Stephen Caldwell Wright, and Richard Yarborough.

The career of Constance Rourke (1885-1941) is one of the richest examples of the American writer's search for a "usable past." In this first full-length study of Rourke, Joan Shelley Rubin establishes the context for Rourke's defense of American culture -- the controversies that engaged her, the books that influenced her thinking, the premises that lay beneath her vocabulary. With the aid of Rourke's unpublished papers, the author explores her responses to issues that were compelling for her generation of intellectuals: the critique of America as materialistic and provincial; the demand for native traditions in the arts; the modern understanding of the nature of culture and myth; and the question of a critic's role in a democracy. Rourke's writings demonstrate that America did not suffer, as Van Wyck Brooks and others had maintained, from a damaging split between "high-brow" and "low-brow" but was rather a rich, unified culture in which the arts could thrive. Her classic American Humor (1931) and her biographies of Lotta Crabtree, Davy Crockett, Audubon, and Charles Sheeler celebrate the American as mythmaker. To foster what she called the "possession" of the national heritage, she used an evocative prose style accessible to a wide audience and depicted the frontier in more abstract terms than did other contempoaray scholars. Her commitment to social reform, acquired in her youth and strengthened at Vassar in the Progressive era, informed her sense of the function of criticism and guided her political activites in the 1930s. Drawing together Rourke's varied discussions of popular heroes, comic lore, literature, and art, Rubin illuminates the delicate balances and sometimes contradictory arguments underlying Rourke's description of America's cultural patterns. She also analyzes the way Rourke's encounters with the ideas of Van Wyck Brooks, Ruth Benedict, Jane Harrison, Bernard DeVoto, and Lewis Mumford shaped her view of America's achievements and possibilities. Rourke emerges not simply as a follower of Brooks or as a colleague of De Voto, nor even as an antiquarian or folklorist. Rather, she assumes her own unique and proper place -- as a pioneer who, more than anyone else of her day, boldly and eloquently showed Americans that they had the resources necessary for the future of both art and society. By placing Constance Rourke within the framework of a debate about the nature of American culture, the author makes a notable contribution to American intellectual history. Originally published in 1980. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

This book explores the imaginative construction of a cultural history of the media in a series of essays that draw on various artistic and intellectual narratives of Western societies and trace incidental encounters with the means of social communication in cultural and political settings.

The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)