On the night of April 14, 1865, John Wilkes Booth assassinated President Abraham Lincoln in what he envisioned part of a scheme to plunge the federal government into chaos and gain a reprieve for the struggling Confederacy. The plan failed. By April 26, Booth was killed resisting capture and eight of the nine conspirators eventually charged in Lincoln's murder were in custody. Their trial would become one of the most famous and most controversial in U.S. history.New president Andrew Johnson's executive order on May 1 directed that persons charged with Lincoln's murder stand trial before a military tribunal. The trial lasted more than fifty days, and 366 witnesses gave testimony. Benn Pitman, a recognized expert in phonography, an early form of shorthand, was awarded the government contract to produce a transcription of each day's testimony. Pitman made these transcripts available to the prosecution and the defense, as well as to select members of the press.Although three versions of the trial testimony were published, Pitman's edited collection was the most accessible. He skillfully winnowed the 4,300 pages of transcription into one volume, collated the testimony by defendant, indexed the testimony by name and date, and added summaries of the testimony.In The Trial, assassination scholars guide readers through all 421 pages of testimony, illuminating Pitman's record. By drawing together the evidence that resulted in the conspirators' convictions, The Trial leaves no doubt as to the events surrounding the assassination of Abraham Lincoln, making this book a fascinating account of the trial as well as an essential resource.

Women have been pivotal in the country music scene since its inception, as Charles K. Wolfe and James E. Akenson make clear in The Women of Country Music. Their groundbreaking volume presents the best current scholarship and writing on female country musicians. Beginning with the 1920s career of teenage guitar picker Roba Stanley, the contributors go on to discuss Polly Jenkins and Her Musical Plowboys, 50s honky-tonker Rose Lee Maphis, superstar Faith Hill, the relationship between Emmylou Harris and poet Bronwen Wallace, the Louisiana Hayride's Margaret Lewis Warwick, and more.

Richard M. Nixon remains an enigma even thirty years after his resignation. Of the many portraits of this complex man, none have been more intimate or revealing than this memoir from his personal physician, friend, and confidante of more than forty years, John C. Lungren, M.D. Dr. Lungren, with his son and co-author John C. Lungren Jr., portrays Nixon as a paradoxical man -- intense, compassionate, guarded, intelligent, resilient, deeply religious, enormously successful but ultimately tragic.Lungren describes his battle to restore the president's health after his resignation and reveals previously unknown details about Nixon's two intensive hospitalizations, his near fatal vascular collapse, and his depression. Lungren experienced firsthand Nixon's thoughts and feelings during the public scrutiny of federal prosecution for his role in the Watergate break-in. Accused of shielding his friend, Lungren himself came under fire; his private office was even burgled in an apparent attempt to copy Nixon's private medical records.Using previously unpublished sources, original correspondence, and private photographs, Healing Richard Nixon places Nixon in a new light. No future research or conclusions about Nixon -- the man or the president -- will be complete without consulting this fascinating memoir.

During the crucial period of 1917-1918, the United States superseded Great Britain as the premier power in the world. The differing strategic perspectives of London and Washington were central to the tensions and misunderstandings that separated the two dominant powers in 1918 and determined how these two countries would interact following the Armistice.David R. Woodward traces the projection of American military power to western Europe and analyzes in depth the strategic goals of the American political and military leadership in this first comprehensive study of Anglo-American relations in the land war in Europe. Based on extensive research in British and American archives, the study focuses on Woodrow Wilson and David Lloyd George, whose relationship was poisoned by the mutual suspicion and hostility generated by their disagreements over strategy and military policy.President Wilson sought to use his country's military effort in western Europe as a tool to gain acceptance for his "new diplomacy." The British, anxious over the Turko-German threat to Asia and their worsening manpower situation, sought to utilize American military intervention for their own political/military purposes.Woodward's use of unpublished sources provides new perspectives on war leadership, and his analysis of the British-American interaction serves as a case study of the inevitable tension between national self-interest and efforts at collective security, even among nations that share many cultural and political values.For historians and anyone interested in military history and World War I, Trial by Friendship fills a gap in the study of Anglo-American relations by providing a strong, well- written study on an area of American history that has received scant attention from scholars.

Special numbered leatherbound edition, signed by Dr. Clark!By the flip of a coin, Thomas Dionysius Clark became intertwined in the vast history of Kentucky. In 1928, Clark received scholarships to both the University of Cincinnati and to the University of Kentucky. Kentucky won the coin toss and the claim to one of the South's eminent historians.In 1990, when the Kentucky General Assembly honored Clark by declaring him Kentucky's Historian Laureate for life, Governor Brereton Jones described Clark as "Kentucky's greatest treasure." Historian, advocate, educator, preservationist, publisher, writer, mentor, friend, Kentuckian -- Dr. Clark has filled all these roles and more. Thomas D. Clark of Kentucky is a celebration of his life and careerby just a few of those who have felt his influence and shared his enthusiasm for his adopted home state of Kentucky.

""Even though women were not supposed to be on the front lines, on the front lines we were. Women were not supposed to be interned either, but it happened to us. People should know what we endured. People should know what we can endure."" -- Lt. Col. Madeline Ullom More than one hundred U.S. Army and Navy nurses were stationed in Guam and the Philippines at the beginning of World War II. After the Japanese attack on Pearl Harbor in December 1941, five navy nurses on Guam became the first American military women of World War II to be taken prisoner by the Japanese. More than seventy army nurses survived five months of combat conditions in the jungles of Bataan and Corregidor before being captured, only to endure more than three years in prison camps. When freedom came, the U.S. military ordered the nurses to sign agreements with the government not to discuss their horrific experiences. Evelyn Monahan and Rosemary Neidel-Greenlee have conducted numerous interviews with survivors and scoured archives for letters, diaries, and journals to uncover the heroism and sacrifices of these brave women.

From Ken Burns's documentaries to historical dramas such as Roots, from A&E's Biography series to CNN, television has become the primary source for historical information for tens of millions of Americans today. Why has television become such a respected authority? What falsehoods enter our collective memory as truths? How is one to know what is real and what is imagined -- or ignored -- by producers, directors, or writers?Gary Edgerton and Peter Rollins have collected a group of essays that answer these and many other questions. The contributors examine the full spectrum of historical genres, but also institutions such as the History Channel and production histories of such series as The Jack Benny Show, which ran for fifteen years. The authors explore the tensions between popular history and professional history, and the tendency of some academics to declare the past "off limits" to nonscholars. Several of them point to the tendency for television histories to embed current concerns and priorities within the past, as in such popular shows as Quantum Leap and Dr. Quinn, Medicine Woman. The result is an insightful portrayal of the power television possesses to influence our culture.

Among America's most unusual and successful weapons during the Cold War were Radio Free Europe and Radio Liberty. RFE-RL had its origins in a post-war America brimming with confidence and secure in its power. Unlike the Voice of America, which conveyed a distinctly American perspective on global events, RFE-RL served as surrogate home radio services and a vital alternative to the controlled, party-dominated domestic press in Eastern Europe. Over twenty stations featured programming tailored to individual countries. They reached millions of listeners ranging from industrial workers to dissident leaders such as Lech Walesa and Vaclav Havel.Broadcasting Freedom draws on rare archival material and offers a penetrating insider history of the radios that helped change the face of Europe. Arch Puddington reveals new information about the connections between RFE-RL and the CIA, which provided covert funding for the stations during the critical start-up years in the early 1950s. He relates in detail the efforts of Soviet and Eastern Bloc officials to thwart the stations; their tactics ranged from jamming attempts, assassinations of radio journalists, the infiltration of spies onto the radios' staffs, and the bombing of the radios' headquarters.Puddington addresses the controversies that engulfed the stations throughout the Cold War, most notably RFE broadcasts during the Hungarian Revolution that were described as inflammatory and irresponsible. He shows how RFE prevented the Communist authorities from establishing a monopoly on the dissemination of information in Poland and describes the crucial roles played by the stations as the Berlin Wall came down and the Soviet Union broke apart.Broadcasting Freedom is also a portrait of the Cold War in America. Puddington offers insights into the strategic thinking of the RFE-RL leadership and those in the highest circles of American government, including CIA directors, secretaries of state, and even presidents.

Victims of the Holocaust were faced with moral dilemmas for which no one could prepare. Yet many of the life-and-death situations forced upon them required immediate actions and nearly impossible choices. In Problems Unique to the Holocaust, today's leading Holocaust scholars examine the difficult questions surrounding this terrible chapter in world history. Is it ever legitimate to betray others to save yourself? If a group of Jews is hiding behind a wall and a baby begins to cry, should an adult smother the child to protect the safety of the others? How guilty are the bystanders who saw what was happening but did nothing to aid the victims of persecution? In addition to these questions, one contributor considers whether commentators can be objective in analyzing the Holocaust or if this is a topic to be left only to Jews. In the final essay, another scholar assesses the challenge of ethics in a post-Holocaust world. This singular collection of essays, which closes with a meditation on Daniel Goldhagen's controversial book Hitler's Willing Executioners, asks bold questions and encourages readers to look at the tragedy of the Holocaust in a new light.

" Was Hitler a moral aberration or a man of his people? This topic has been hotly argued in recent years, and now Jay Gonen brings new answers to the debate using a psychohistorical perspective, contending that Hitler reflected the psyche of many Germans of his time. Like any charismatic leader, Hitler was an expert scanner of the Zeitgeist. He possessed an uncanny ability to read the masses correctly and guide them with ""new"" ideas that were merely reflections of what the people already believed. Gonen argues that Hitler's notions grew from the general fabric of German culture in the years following World War I. Basing his work in the role of ideologies in group psychology, Gonen exposes the psychological underpinnings of Nazi Germany's desire to expand its living space and exterminate Jews. Hitler responded to the nation's group fantasy of renewing a Holy Roman Empire of the German nation. He presented the utopian ideal of one large state, where the nation represented one extended family. In reality, however, he desired the triumph of automatism and totalitarian practices that would preempt family autonomy and private action. Such a regimented state would become a war machine, designed to breed infantile soldiers brainwashed for sacrifice. To achieve that aim, he unleashed barbaric forces whose utopian features were the very aspects of the state that made it most cruel.

More than any other writer, Raymond Chandler (1888-1959) is responsible for raising detective stories from the level of pulp fiction to literature. Chandler's hard-boiled private eye Philip Marlowe set the standard for rough, brooding heroes who managed to maintain a strong sense of moral conviction despite a cruel and indifferent world.Chandler's seven novels, including The Big Sleep (1939) and The Long Goodbye (1953), with their pessimism and grim realism, had a direct influence on the emergence of film noir. Chandler worked to give his crime novels the flavor of his adopted city, Los Angeles, which was still something of a frontier town, rife with corruption and lawlessness. In addition to novels, Chandler wrote short stories and penned the screenplays for several films, including Double Indemnity (1944) and Strangers on a Train (1951). His work with Billy Wilder and Alfred Hitchcock on these projects was fraught with the difficulties of collaboration between established directors and an author who disliked having to edit his writing on demand.Creatures of Darkness is the first major biocritical study of Chandler in twenty years. Gene Phillips explores Chandler's unpublished script for Lady in the Lake, examines the process of adaptation of the novel Strangers on a Train, discusses the merits of the unproduced screenplay for Playback, and compares Howard Hawks's director's cut of The Big Sleep with the version shown in theaters. Through interviews he conducted with Wilder, Hitchcock, Hawks, and Edward Dmytryk over the past several decades, Phillips provides deeper insight into Chandler's sometimes difficult personality.Chandler's wisecracking Marlowe has spawned a thousand imitations. Creatures of Darkness lucidly explains the author's dramatic impact on both the literary and cinematic worlds, demonstrating the immeasurable debt that both detective fiction and the neo-noir films of today owe to Chandler's stark vision.

For three decades, no American filmmaker has been as prolific -- or as paradoxical -- as Woody Allen. From Play It Again, Sam (1972) through Celebrity (1998) and Sweet and Lowdown (1999), Allen has produced an average of one film a year, yet in many of these films Allen reveals a progressively skeptical attitude toward both the value of art and the cultural contributions of artists.In examining Allen's filmmaking career, The Reluctant Film Art of Woody Allen demonstrates that his movies often question whether the projected illusions of magicians/artists benefit audience or artists. Other Allen films dramatize the opposed conviction that the consoling, life-redeeming illusions of art are the best solution humanity has devised to the existential dilemma of being a death-foreseeing animal. Peter Bailey demonstrates how Allen's films repeatedly revisit and reconfigure this tension between image and reality, art and life, fabrication and factuality, with each film reaching provisional resolutions that a subsequent movie will revise.Merging criticism and biography, Bailey identifies Allen's ambivalent views of the artistic enterprise as a key to understanding his entire filmmaking career. Because of its focus upon filmmaker Sandy Bates's conflict between entertaining audiences and confronting them with bleak human actualities, Stardust Memories is a central focus of the book. Bailey's examination of Allen's art/life dialectic also draws from the off screen drama of Allen's very public separation from Mia Farrow, and the book accordingly construes such post-scandal films as Bullets Over Broadway and Mighty Aphrodite as Allen's oblique cinematic responses to that tabloid tempest.By illuminating the thematic conflict at the heart of Allen's work, Bailey seeks not only to clarify the aesthetic designs of individual Allen films but to demonstrate how his oeuvre enacts an ongoing debate the screenwriter/director has been conducting with himself between creating cinematic narratives affirming the saving powers of the human imagination and making films acknowledging the irresolvably dark truths of the human condition.

Erich von Stroheim (1885-1957) was one of the giants in American film history. Stubborn, arrogant, and colorful, he saw himself as a cinema artist, which led to conflicts with producers and studio executives who complained about the inflated budgets and extraordinary length of his films. Stroheim achieved great notoriety and success, but he was so uncompromising that he turned his triumph into failure. He was banned from ever directing again and spent his remaining years as an actor.Stroheim's life has been wreathed in myths, many of his own devising. Arthur Lennig scoured European and American archives for details concerning the life of the actor and director, and he counters several long-accepted claims. Stroheim's tales of military experience are almost completely fictitious; the "von" in his name was an affectation adopted at Ellis Island in 1909; and, counter to his own claim, he did not participate in the production of The Birth of a Nation in 1914. Wherever Stroheim lived, he was an outsider: a Jew in Vienna, an Austrian in southern California, an American in France. This contributed to an almost pathological need to embellish and obscure his past; yet, it also may have been the key to his genius both behind and in front of the camera. As an actor,Stroheim threw himself into his portrayals of evil men, relishing his epithet, ""The Man You Love to Hate."" As a director, he immersed himself in every facet of production, including script writing and costume design. In 1923 he created his masterpiece Greed, infamous for its eight-hour running time. Stroheim returned to acting, saving some of his finest performances for La Grande Illusion (1937) and Billy Wilder's Sunset Boulevard (1950), a role he hated, probably because it was too similar to the story of his own life.

For most Americans, George Washington is more of a legend than a man -- a face on our currency or an austere figure standing in a rowboat crossing the icy Delaware River. He was equally revered in his own time. At the helm of a country born of idealism and revolution, Washington reluctantly played the role of demigod that the new nation required -- a role reconciling the rhetoric of democracy with the ritual of monarchy. Washington quickly understood that every decision he made as president would be analyzed, criticized, and emulated. "There is scarcely any part of my conduct which may not hereafter be drawn into precedent," he said. In his own words, Washington describes himself as a poor orator and an uncomfortable leader, a man more at ease in his private gardens than at the center of America's trust and adoration. Plagued by doubts about his education and abilities, Washington developed self-discipline that to others seemed superhuman.Washington on Washington offers a fresh and human perspective on this enigmatic figure in American history. Drawing on diary entries, journals, letters, and authentic interviews, Paul M. Zall presents the autobiography that Washington never lived to write, revealing new insights into his character, both personal and political.

The South -- an inspiration for songwriters, a source of styles, and the birthplace of many of the nation's greatest musicians -- plays a defining role in American musical history. It is impossible to think of American music of the past century without such southern-derived forms as ragtime, jazz, blues, country, bluegrass, gospel, rhythm and blues, Cajun, zydeco, Tejano, rock'n'roll, and even rap. Musicians and listeners around the world have made these vibrant styles their own. Southern Music/American Music is the first book to investigate the facets of American music from the South and the many popular forms that emerged from it. In this substantially revised and updated edition, Bill C. Malone and David Stricklin bring this classic work into the twenty-first century, including new material on recent phenomena such as the huge success of the soundtrack to O Brother, Where Art Thou? and the renewed popularity of Southern music, as well as important new artists Lucinda Williams, Alejandro Escovedo, and the Dixie Chicks, among others. Extensive bibliographic notes and a new suggested listening guide complete this essential study.

Elizabeth Simpson Inchbald (1753--1821) was one of the leading literary figures of the late eighteenth century -- an actress, a successful playwright and editor of several collections of plays, a popular novelist, and a drama critic. Considered a beautiful, independent woman, Inchbald was much involved in the theatrical, literary, and publishing life of London.Elizabeth Simpson ran away from home at age eighteen to seek fame as an actress in London and quickly married Joseph Inchbald, an actor twice her age. They toured the stage together until his sudden death in 1779. She made her London stage debut a year later, and her writing debut came in 1784 with the play The Mogul Tale; Or, The Descent of the Balloon. Over the next two decades she wrote or adapted twenty-one plays: comedies, farces, and works from French and German, including the version of Kotzebue's Lovers' Vows, later used in Jane Austen's Mansfield Park. Inchbald's acclaimed first novel, A Simple Story, prefigured the work of later women writers such as Austen.Using material from Inchbald's own pocket books detailing her daily life (she destroyed most of her letters and journals late in her life at the advice of her Catholic confessor) as well as a wealth of other sources, Annibel Jenkins tells for the first time not only the full story of Mrs. Inchbald's life but also provides a fascinating look at the society and politics, both public and private, of London in the late eighteenth and early nineteenth centuries.