The professionals at the Betty Ford Center -- one of the world's leading & most trusted sources of treatment for addiction -- have provided thousands with the strength, support, & expertise that substance abusers need to get well. Now, the Center's former medical director shares that expertise in this remarkably honest & complete book, which answers vital questions that surround this difficult subject. Whether you are 10 years sober, a current or potential substance abuser, or you care about someone who is, this volume will help you better understand -- & fight -- the destructive powers of addiction.
This visual and textual study of lynchings that took place in California between 1850 and 1935 shows that race-based lynching in the United States reached far beyond the South.
The opening of the West after the Civil War drew a flood of Americans and immigrants to the frontier. Among the liveliest records of the westering of the 1870s is the series of prints collected for the first time in this book. Chronicling the West for Harper’s showcases 100 illustrations made for the weekly magazine by French artists Paul Frenzeny and Jules Tavernier on a cross-country assignment in 1873 and 1874. The pair—“Frenzeny & Tavernier,” as they signed their work—documented the newly accessible territories, their diverse inhabitants, and the changing frontier. Historian Claudine Chalmers focuses on the life and work of Frenzeny and Tavernier, who were accomplished and adventurous enough to succeed as “special artists,” the label Harper’s Weekly gave the illustrators it sent into the field. The job required imagination, courage, and adaptability, not to mention expert draftsmanship. Frenzeny, a skilled artist who accepted his adopted country’s many cultures, was also a superb horseman. Tavernier had been trained to work fast in a variety of media. Both men had the advantage of viewing America with fresh eyes. They began their artistic record in the East with An Emigrant Boarding-House in New York. Their journey ended in San Francisco, where they sketched the city’s bustling Chinatown and pastoral Marin County suburbs. Along with each illustration, the artists sent Harper’s a description; those captions are reproduced here. Frenzeny and Tavernier documented the frontier as it evolved. They depicted the hazards of travel and settlement, from fires to destitution, and presented disconcerting subject matter—such as the Sioux Sun Dance—in relentless detail. Their skill has made some of their drawings, among them The Strike in the Coal Mine, classics of American culture. With pencil and woodblock, Chalmers shows, these intrepid Frenchmen shaped public perceptions of the West for decades to come.
Russia's stealth invasion of Ukraine and its assault on the US elections in 2016 forced a reluctant West to grapple with the effects of hybrid war. While most citizens in the West are new to the problems of election hacking, state-sponsored disinformation campaigns, influence operations by foreign security services, and frozen conflicts, citizens of the frontline states between Russia and the European Union have been dealing with these issues for years. The Lands in Between: Russia vs. the West and the New Politics of Russia's Hybrid War contends that these "lands in between" hold powerful lessons for Western countries. For Western politics is becoming increasingly similar to the lands in between, where hybrid warfare has polarized parties and voters into two camps: those who support a Western vision of liberal democracy and those who support a Russian vision of nationalist authoritarianism. Paradoxically, while politics increasingly boils down to a zero sum "civilizational choice" between Russia and the West, those who rise to the pinnacle of the political system in the lands in between are often non-ideological power brokers who have found a way to profit from both sides, taking rewards from both Russia and the West. Increasingly, the political pathologies of these small, vulnerable, and backwards states in Europe are our problems too. In this deepening conflict, we are all lands in between.
Throughout his long and prolific career, Ray Stanford Strong (1905–2006) strove to capture the essence of the western American landscape. An accomplished painter who achieved national fame during the New Deal era, Strong is best known for his depiction of landscapes in California and Oregon, rendered in his signature plein air style. This beautiful volume, featuring more than 100 color and black-and-white illustrations, is the first comprehensive exploration of Strong’s life and artistry. Through family papers, archives, photographs, and a two-year series of interviews conducted with the artist personally, Mark Humpal traces Strong’s journey from his childhood on an Oregon berry farm to his artistically formative years in New York and San Francisco. After moving back to the West Coast, Strong produced important works for the WPA, executed major diorama projects for two world expositions, helped organize the Santa Barbara Art Institute, and served as teacher and mentor for a new generation of plein air artists. But, as Humpal emphasizes, Strong distinguished himself by resisting the drumbeat of the avant-garde. During an era when many artists were experimenting with abstract expressionism, Strong never relinquished his personal vision and adherence to a more traditional style. With his outgoing personality, he forged friendships and associations with such prominent artists as Frank Vincent DuMond, Maynard Dixon, Ansel Adams, Frank Lloyd Wright, and John Steinbeck. Ultimately, Strong had little concern for his place in the sweep of art history. The proficiency he achieved through years of formal and informal study allowed him to craft a personal style difficult to categorize but unique and engaging. By expanding our understanding and appreciation of Strong’s artistic contributions, this book offers a fitting tribute to one of America’s finest landscape artists.
Praise for the hardcover edition: Extremely practical and enjoyable. -- Publishers Weekly (starred review) [Will be] devoured by history or space enthusiasts from eight to eighty. -- VOYA The foreword grabbed me, and by the prologue I was hooked. -- The Science Teacher
Teddy Roosevelt once exclaimed, ''When I am in California, I am not in the West, I am west of the West,'' and in this book, Mark Arax sets out to explain just what TR meant. His is a compelling, sometimes ominous portrait of a place and its people who are often surviving on the edge, reliving history, and losing their way in the promised land: ''The Summer of the Death of Hilario Guzman'' is a deeply-felt portrait of an immigrant family from Oaxaca, followed through harrowing border crossings and raisin harvests; ''the Last Okie of Lamont,'' (the inspiration for the town featured in The Grapes of Wrath) has only one Okie left, who tells Arax his life story as he drives to a funeral to bury one more Dust Bowl migrant; and ''Highlands of Humboldt'' is a visit to the marijuana growing capital of the U.S., where the local bank collects a sizeable daily deposit of cash, most of which reeks of marijuana. Combining hard-hitting reporting and stellar writing, Arax captures both the atmosphere of social upheaval and the sense of being rooted in a community. Once you meet the people portrayed in this book, you won't forget them.
Hannah West—twelve-year-old adopted Chinese daughter of Maggie West and aspiring detective—is back on the scene in a third original adventure. Someone is kidnapping canines, and it’s got the dog-crazy denizens of funky Fremont—where Hannah and her mom have landed their latest house-sitting gig—all riled up. At first, Hannah’s in heaven in dog-filled Fremont, but when her dog-walking business marks her as a suspect in the dognappings, she knows that this is one case that she’s got to get to the bottom of—for her own sake, as well as for the sake of her canine companions!
NATIONAL BESTSELLER • “One of contemporary literature’s most revered essayists revives her raw records from a 1970s road trip across the American southwest ... her acute observations of the country’s culture and history feel particularly resonant today.” —Harper’s Bazaar Joan Didion, the bestselling, award-winning author of The Year of Magical Thinking and Let Me Tell You What I Mean, has always kept notebooks—of overheard dialogue, interviews, drafts of essays, copies of articles. Here are two extended excerpts from notebooks she kept in the 1970s; read together, they form a piercing view of the American political and cultural landscape. “Notes on the South” traces a road trip that she and her husband, John Gregory Dunne, took through Louisiana, Mississippi, and Alabama. Her acute observations about the small towns they pass through, her interviews with local figures, and their preoccupation with race, class, and heritage suggest a South largely unchanged today. “California Notes” began as an assignment from Rolling Stone on the Patty Hearst trial. Though Didion never wrote the piece, the time she spent watching the trial in San Francisco triggered thoughts about the West and her own upbringing in Sacramento. Here we not only see Didion’s signature irony and imagination in play, we’re also granted an illuminating glimpse into her mind and process.
