Chicago in the Roaring Twenties was a city of immigrants, mobsters, and flappers with one shared passion: the Chicago Cubs. It all began when the chewing-gum tycoon William Wrigley decided to build the world’s greatest ball club in the nation’s Second City. In this Jazz Age center, the maverick Wrigley exploited the revolutionary technology of broadcasting to attract eager throngs of women to his renovated ballpark. Mr. Wrigley’s Ball Club transports us to this heady era of baseball history and introduces the team at its crazy heart—an amalgam of rakes, pranksters, schemers, and choirboys who take center stage in memorable successes, equally memorable disasters, and shadowy intrigue. Readers take front-row seats to meet Grover Cleveland Alexander, Rogers Hornsby, Joe McCarthy, Lewis “Hack” Wilson, Gabby Hartnett. The cast of characters also includes their colorful if less-extolled teammates and the Cubs’ nemesis, Babe Ruth, who terminates the ambitions of Mr. Wrigley’s ball club with one emphatic swing.
A richly imagined and stunningly inventive literary masterpiece of love, art, and betrayal, exploring the genesis of evil, the unforeseen consequences of love, and the ultimate unreliability of storytelling itself. Paris in the 1920s shimmers with excitement, dissipation, and freedom. It is a place of intoxicating ambition, passion, art, and discontent, where louche jazz venues like the Chameleon Club draw expats, artists, libertines, and parvenus looking to indulge their true selves. It is at the Chameleon where the striking Lou Villars, an extraordinary athlete and scandalous cross-dressing lesbian, finds refuge among the club’s loyal denizens, including the rising Hungarian photographer Gabor Tsenyi, the socialite and art patron Baroness Lily de Rossignol; and the caustic American writer Lionel Maine. As the years pass, their fortunes—and the world itself—evolve. Lou falls desperately in love and finds success as a race car driver. Gabor builds his reputation with startlingly vivid and imaginative photographs, including a haunting portrait of Lou and her lover, which will resonate through all their lives. As the exuberant twenties give way to darker times, Lou experiences another metamorphosis—sparked by tumultuous events—that will warp her earnest desire for love and approval into something far more.
In the summer of 1932, at the beginning of the turbulent decade that would remake America, baseball fans were treated to one of the most thrilling seasons in the history of the sport. As the nation drifted deeper into the Great Depression and reeled from social unrest, baseball was a diversion for a troubled country—and yet the world of baseball was marked by the same edginess that pervaded the national scene. On-the-field fights were as common as double plays. Amid the National League pennant race, Cubs’ shortstop Billy Jurges was shot by showgirl Violet Popovich in a Chicago hotel room. When the regular season ended, the Cubs and Yankees clashed in what would be Babe Ruth’s last appearance in the fall classic. After the Cubs lost the first two games in New York, the series resumed in Chicago at Wrigley Field, with Democratic presidential candidate Franklin Roosevelt cheering for the visiting Yankees from the box seats behind the Yankees’ dugout. In the top of the fifth inning the game took a historic turn. As Ruth was jeered mercilessly by Cubs players and fans, he gestured toward the outfield and then blasted a long home run. After Ruth circled the bases, Roosevelt exclaimed, “Unbelievable!” Ruth’s homer set off one of baseball’s longest-running and most intense debates: did Ruth, in fact, call his famous home run? Rich with historical context and detail, The Called Shot dramatizes the excitement of a baseball season during one of America’s most chaotic summers.
Examination of the relation between visual artists and the American communist movement in the first half of the twentieth century, from the rise in prestige of the party during the Great Depression to its decline in the 1950s. Account of how left-wing artists responded to the party's various policy shifts: the communist party exerted a powerful force in American culture.
Despite its rough-and-tumble image, Chicago has long been identified as a city where books take center stage. In fact, a volume by A. J. Liebling gave the Second City its nickname. Upton Sinclair’s The Jungle arose from the midwestern capital’s most infamous industry. The great Chicago Fire led to the founding of the Chicago Public Library. The city has fostered writers such as Nelson Algren, Saul Bellow, and Gwendolyn Brooks. Chicago’s literary magazines The Little Review and Poetry introduced the world to Eliot, Hemingway, Joyce, and Pound. The city’s robust commercial printing industry supported a flourishing culture of the book. With this beautifully produced collection, Chicago’s rich literary tradition finally gets its due. Chicago by the Book profiles 101 landmark publications about Chicago from the past 170 years that have helped define the city and its image. Each title—carefully selected by the Caxton Club, a venerable Chicago bibliophilic organization—is the focus of an illustrated essay by a leading scholar, writer, or bibliophile. Arranged chronologically to show the history of both the city and its books, the essays can be read in order from Mrs. John H. Kinzie’s 1844 Narrative of the Massacre of Chicago to Sara Paretsky’s 2015 crime novel Brush Back. Or one can dip in and out, savoring reflections on the arts, sports, crime, race relations, urban planning, politics, and even Mrs. O’Leary’s legendary cow. The selections do not shy from the underside of the city, recognizing that its grit and graft have as much a place in the written imagination as soaring odes and boosterism. As Neil Harris observes in his introduction, “Even when Chicagoans celebrate their hearth and home, they do so while acknowledging deep-seated flaws.” At the same time, this collection heartily reminds us all of what makes Chicago, as Norman Mailer called it, the “great American city.” With essays from, among others, Ira Berkow, Thomas Dyja, Ann Durkin Keating, Alex Kotlowitz, Toni Preckwinkle, Frank Rich, Don Share, Carl Smith, Regina Taylor, Garry Wills, and William Julius Wilson; and featuring works by Saul Bellow, Gwendolyn Brooks, Sandra Cisneros, Clarence Darrow, Erik Larson, David Mamet, Studs Terkel, Ida B. Wells-Barnett, Frank Lloyd Wright, and many more.
