When Sam Houston crossed the Red River for the first time in 1832, he termed Texas the "finest portion of the Globe that has ever blessed my vision." He soon made it his "abiding place" and became a lifelong traveller in his adopted country. By carriage and muleback his diplomatic, military, political, and personal activities took him over what is now the eastern half of the state—and he fell in love with every foot of it. With panoramic vision and broad descriptive power, he expressed his lasting affection for the country in everything he said and wrote.

Sue Flanagan, having read every available word by and about Houston and having followed the trail of every trip he made in Texas, here presents the Texas which Houston knew—through his picturesque language and through the camera's carefully focused lens. Her story provides continuity for Houston's activities and perspective for her photographs; it also provides an expression of Houston's views in his own forthright and emphatic manner.

But the essence of this book is its 113 photographs. The face of Texas east of San Antonio is pictured in all its varied features. With great patience and discernment, Sue Flanagan brought to bear all the skills of her artistic photography to capture the landscapes, buildings, and objects in the most revealing light and in the best atmospheric conditions for catching the appropriate mood. These spots in nature which Houston saw, these objects which he knew, these houses where he was entertained and where he lived—all are tangible reminders of "this colorful, cagey, and controversial man," this Texas hero whose life was a tragedy in divided loyalties.

With a thirty-year run of award-winning, critically acclaimed, and commercially successful plays, from Rosencrantz and Guildenstern Are Dead (1967) to The Invention of Love (1997), Tom Stoppard is arguably the preeminent playwright in Britain today. His popularity also extends to the United States, where his plays have won three Tony awards and his screenplay for Shakespeare in Love won the 1998 Academy Award for Best Original Screenplay.

John Fleming offers the first book-length assessment of Stoppard's work in nearly a decade. He takes an in-depth look at the three newest plays (Arcadia,Indian Ink, and The Invention of Love) and the recently revised versions of Travesties and Hapgood, as well as at four other major plays (Rosencrantz,Jumpers,Night and Day, and The Real Thing). Drawing on Stoppard's personal papers at the University of Texas Harry Ransom Humanities Research Center (HRHRC), Fleming also examines Stoppard's previously unknown play Galileo, as well as numerous unpublished scripts and variant texts of his published plays.

Fleming also mines Stoppard's papers for a fuller, more detailed overview of the evolution of his plays. By considering Stoppard's personal views (from both his correspondence and interviews) and by examining his career from his earliest scripts and productions through his most recent, this book provides all that is essential for understanding and appreciating one of the most complex and distinctive playwrights of our time.

Winner, John Brinckerhoff Jackson Prize, Association of American Geographers, 1997

Shadowed Ground explores how and why Americans have memorialized—or not—the sites of tragic and violent events spanning three centuries of history and every region of the country. For this revised edition, Kenneth Foote has written a new concluding chapter that looks at the evolving responses to recent acts of violence and terror, including the destruction of the Branch Davidian compound at Waco, Texas, the Oklahoma City bombing, the Columbine High School massacre, and the terrorist attacks of 9/11.

Marcia Calhoun Forecki has written an engrossing, personal account of her life with Charlie, an adorable, active, deaf seven-year-old. Speak to Me! is the story of an ordinary hearing person confronted with an overwhelming reality—the fact that her son is deaf. Forecki’s struggle as a single parent to care for her child, to find the “right” schools, and to establish communication with her son will strike a familiar chord in all hearing parents of deaf children. All readers, parents or not, will be touched by the mixture of pathos and humor in this well-written account.

The authors included in this volume—Ilarion, Klim Smoljatic, and Kirill of Turov—are remarkable for both their personal and literary achievements. Appointed in 1051 by Prince Jaroslav the Wise, Ilarion was the first of only two recorded “native” metropolitans of Kiev. His “Sermon on Law and Grace” constitutes the finest piece of eleventh-century Rus’ rhetorical literature. Klim Smoljatic, the second “native” metropolitan of Rus’ (from 1147), is the author of the controversial “Epistle to Foma,” which addresses the debate over the proper nature and limits of Christian learning. Finally, the twelfth-century monk Kirill of Turov is best known for his collection of allegorical lessons and some of the most accomplished sermons of Kievan Rus’. The volume contains the first complete translations of the “Epistle to Foma” and the lessons and sermons of Kirill, as well as an entirely new rendering of the “Sermon on Law and Grace.”

Simon Franklin prefaces the texts with a substantial introduction that places each of the three authors in their historical context and examines the literary qualities as well as textual complexities of these outstanding works of Rus’ literature.

This biography of Sam Houston goes beyond the romantic frontier life of the "buckskin hero from Tennessee" to examine seriously his role as an American statesman.

Strategic Planning for Public Libraries is a complete planning toolkit. This book provides a framework that any library, whether it serves urban, suburban, or rural communities, can use as a basis for its strategic planning.

Supported by research conducted across more than 200 public library professionals and in-depth interviews with more than twenty library directors and leaders throughout the country, this book addresses some of the key areas of strategic planning that librarians care about most:

• Engaging the community
• Measuring progress against the plan
• Reaching non-users
• Creating a living document that can be continually updated
• How to conduct a community assessment
• Engaging staff

A lively report of travels in early nineteenth-century Texas and Louisiana and a fascinating account of the discovery, exploration, and settlement of those areas is presented in the work of this ebullient young French dramatist and journalist who traveled to Louisiana in 1837 and to Texas in 1839.

Frédéric Gaillardet, an alert and talented writer of the romantic school, was lured away for a decade from a successful career in Paris to satisfy his wanderlust and to seek inspiration on the American frontier. During that time he visited the American Southwest, and he talked with many personages there—men like Sam Houston, Mirabeau B. Lamar, and Achille Murat. His character sketches of these men add zest to the book, as do the facets of Gaillardet's own personality and life displayed in these pages.

Gaillardet's reports of his travels were published in various French-language newspapers of the time; a few were incorporated into the author's posthumous memoirs. His opinions, as recorded in his writings, exerted undeniable influence in the French decision to recognize Texas; one of his theses was that the Republic of Texas might become a curb, rather than a stepping stone, to an expanding United States. Despite Gaillardet's historical importance, however, none of these chapters has ever appeared before in English translation.

This collection was gathered from several sources: the Journal des Débats, the Constitutionnel, the Courrier des États-Unis, and Gaillardet's memoirs, entitled L'Aristocratie en Amérique.

The latter chapters concentrate on the career of a prominent Louisiana lawyer, politician, and diplomat, Pierre Soulé, whose much maligned name Gaillardet repeatedly and stoutly defended. A less favorable treatment of Soulé, contained in Fanny Calderón de la Barca's Attaché in Madrid, is reprinted in the appendix to aid the reader in judging the accuracy of Gaillardet's analysis of this arresting figure.

Copious footnotes to clarify the text have been added by the translator. His introduction presents a biographical sketch of Gaillardet, together with a careful analysis of the book, which has been translated lucidly and vividly.

The Sleeping Gypsy is an important collection of poems by an American writer who was only twenty-nine when awarded the coveted Prix de Rome in 1958. When George Garrett’s first collected verse, The Reverend Ghost and Other Poems, appeared in Scribner’s Poets of Today: IV, critics hailed the emergence of an authentic new talent of great promise. Babette Deutsch, writing in the New York Herald Tribune, said, “His poems are short, highly charged, and also, as he intended, clear. They move rapidly, without waste, exhibiting a lively skill and vigor in action.… His sensitive perceptivity makes his thoughtful insights more memorable.” Louise Bogan, writing in the New Yorker, said, “It is good to come upon [in Garrett’s work] an ordered brilliance and effects, long neglected, that link us to the ancient tradition of English ‘song.’”

Readers will find in The Sleeping Gypsy all of the qualities that distinguished Garrett’s earlier collection of verse—the pointed, incisive writing, the abhorrence of “pretty” poetic words, the harsh impact of language that is, at the same time, strangely musical. Many will feel that, in this later work, these qualities have been enhanced and that Garrett’s advancing maturity indicates strongly that his early promise will be richly fulfilled.

"This new edition ensures that the book will continue to be internationally acknowledged as the standard work on the development of modern architecture." -Walter Gropius

"A remarkable accomplishment. . . one of the most valuable reference books for students and professionals concerned with the reshaping of our environment. " -José Luis Sert

A milestone in modern thought, Space, Time and Architecture has been reissued many times since its first publication in 1941 and translated into half a dozen languages. In this revised edition of Sigfried Giedion’s classic work, major sections have been added and there are 81 new illustrations.

The chapters on leading contemporary architects have been greatly expanded. There is new material on the later development of Frank Lloyd Wright and the more recent buildings of Walter Gropius, particularly his American Embassy in Athens. In his discussion of Le Corbusier, Mr. Giedion provides detailed analyses of the Carpenter Center at Harvard University, Le Corbusier’s only building in the United States, and his Priory of La Tourette near Lyons. There is a section on his relations with his clients and an assessment of his influence on contemporary architecture, including a description of the Le Corbusier Center in Zurich (designed just before his death), which houses his works of art. The chapters on Mies van der Rohe and Alvar Aalto have been brought up to date with examples of their buildings in the sixties. There is an entirely new chapter on the Danish architect Jørn Utzon, whose work, as exemplified in his design for the Sydney Opera House, Mr. Giedion considers representative of post–World War II architectural concepts.

A new essay, “Changing Notions of the City,” traces the evolution of the structure of the city throughout history and examines current attempts to deal with urban growth, as shown in the work of such architects as José Luis Sert, Kenzo Tange, and Fumihiko Maki. Mr. Sert’s Peabody Terrace is discussed as an example of the interlocking of the collective and individual spheres. Finally, the conclusion has been enlarged to include a survey of the limits of the organic in architecture.

The village of San José de Gracia is not mentioned in any history of Mexico, nor is it referred to in any of the annals of the state of Michoacán. It is not to be found at all on most maps, and almost none show its correct location. It is an unknown point in space, in time, and in the consciousness of the Mexican republic.

In Luis González's classic history of the world of San José, he turns his attention in every direction: toward what is lasting and what is ephemeral, everyday and unusual, material and spiritual. The story is, to some extent, the story of rural life anywhere, in any age; to some extent it is peculiar to the world of the peasant all through Mexico's history; and to some extent it can be said to be true only of San José.

The history of San José is also the history of the village as victim of the megalopolis, not only in Mexico but everywhere in our time. With the small community will be lost traditions and a sense of continuity that may prove irreplaceable and essential to human wellbeing. While Luis González does not suggest that he knows what the fate of San José will be, one feels that he knows all too well, and that his questions are only "How?" and "How soon?"

This book is a delightful and authoritative record of America's showboats from the first one, launched in 1831, to the last, ultimately tied up at a St. Louis dock.

It is also a record of the men and women who built and loved these floating theaters, of those who performed on their stages, and of the thousands who sat in their auditoriums.

And, lastly, it is a record of a genuine folk institution, as American as catfish, which for more than a century did much to relieve the social and cultural starvation of our vast river frontier.

For these showboats brought their rich cargoes of entertainment—genuine laughter, a glimpse of other worlds, a respite from the grinding hardship of the present, emotional relaxation—to valley farmers, isolated factory workers and miners, and backwoodsmen who otherwise would have lacked all such opportunities.

To the more privileged , the showboats brought pleasant reminder of a half-forgotten culture. They penetrated regions where churches and school had not gone, and where land theaters were for generations to be impossible. Like circuit preachers, they carried their message to the outer fringes of American civilization. In spite of many faults, it was a good message.

The frontier had created this institution to fill a genuine need, and it lasted only until other and better means of civilizing these regions could reach them—good roads, automobiles, motion pictures, schools, churches, newspapers, and theaters. But although the showboats have passed into history, they have left a rich legacy. As long as the Mississippi flows into the Gulf, their story will fire the imagination of Americans.

Showboating has become so legendary that few Americans know what this unique institution was really like. In Showboats, at long last, the true story emerges. It differs in many important respects from the motion picture and fictional versions to which Americans are accustomed, but it is not a whit the less glamorous.

Philip Graham has told his story with imagination, genuine insight, and complete devotion to facts. No one who is interested in America's past should fail to read it.

Superstitions are surprisingly enduring. From dodging black cats to crossing one’s fingers while making a wish to an aversion to staff meetings on Friday the thirteenth, it is remarkable how many superstitions remain intact—even in this age of rationalism and swift scientific advancement.

Richard M. Gummere, writing with characteristic warmth and humor, explores the attitudes toward the classics of seven prominent colonial Americans--Hugh Jones, Robert Calef, Michael Wigglesworth, Samuel Davies, Henry Melhior Muhlenberg, Benjamin Rush, and Thomas Paine.

A companion volume to the author's The American Colonial Mind and the Classical Tradition, this book provides separate, absorbing biographies of these "seven wise men." Each of them was essentially pragmatic and judged the value of the classics not only on the basis of their intrinsic worth but also for their relevance to contemporary problems.

Hugh Jones--who advocated a practical training for the youth of Colonial Virginia--and Benjamin Rush questioned particularly the value of the classics as a requisite part of the school curriculum, although granting their importance for college admission and professional careers. Thomas Paine, openly skeptical about the wisdom of studying Greek and Latin in the original, scattered references in translation throughout his writings, so that he often seems to be "a classicist malgré lui."

Higglesworth, Davies, and Muhlenberg regarded the ancient languages as aids tothe understanding of Christian theology and as basic preparation for both the minister and the layman. Wigglesworth, at home in both ancient and modern literature, peppered his sermons with Latin quotations, but took care to keep his interpolations strictly subservient to the Gospel.

Some academicians and religious leaders adapted or even misinterpreted the classics in order to find in them support for various moralistic positions. Robert Calef opposed this disingenuousness and debated vigorously with Cotton Mather the evils of the Salem witch trial convictions, whose virtue Mather sought to prove by citing classical myths and legends. Calef raised a seemingly lone voice in his plea for a Christian policy of forbearance and understanding.