According to the national mythology, the United States has long opened its doors to people from across the globe, providing a port in a storm and opportunity for any who seek it. Yet the history of immigration to the United States is far different. Even before the xenophobic reaction against European and Asian immigrants in the late nineteenth century, social and economic interest groups worked to manipulate immigration policy to serve their needs. In A Nation by Design, Aristide Zolberg explores American immigration policy from the colonial period to the present, discussing how it has been used as a tool of nation building.

A Nation by Design argues that the engineering of immigration policy has been prevalent since early American history. However, it has gone largely unnoticed since it took place primarily on the local and state levels, owing to constitutional limits on federal power during the slavery era. Zolberg profiles the vacillating currents of opinion on immigration throughout American history, examining separately the roles played by business interests, labor unions, ethnic lobbies, and nativist ideologues in shaping policy. He then examines how three different types of migration--legal migration, illegal migration to fill low-wage jobs, and asylum-seeking--are shaping contemporary arguments over immigration to the United States.

A Nation by Design is a thorough, authoritative account of American immigration history and the political and social factors that brought it about. With rich detail and impeccable scholarship, Zolberg's book shows how America has struggled to shape the immigration process to construct the kind of population it desires.

As Protestantism expanded across the Atlantic world in the seventeenth and eighteenth centuries, most evangelists were not white Anglo-Americans, as scholars have long assumed, but members of the same groups that missionaries were trying to convert. Native Apostles offers one of the most significant untold stories in the history of early modern religious encounters, marshalling wide-ranging research to shed light on the crucial role of Native Americans, Africans, and black slaves in Protestant missionary work. The result is a pioneering view of religion’s spread through the colonial world.

From New England to the Caribbean, the Carolinas to Africa, Iroquoia to India, Protestant missions relied on long-forgotten native evangelists, who often outnumbered their white counterparts. Their ability to tap into existing networks of kinship and translate between white missionaries and potential converts made them invaluable assets and potent middlemen. Though often poor and ostracized by both whites and their own people, these diverse evangelists worked to redefine Christianity and address the challenges of slavery, dispossession, and European settlement. Far from being advocates for empire, their position as cultural intermediaries gave native apostles unique opportunities to challenge colonialism, situate indigenous peoples within a longer history of Christian brotherhood, and harness scripture to secure a place for themselves and their followers.

Native Apostles shows that John Eliot, Eleazar Wheelock, and other well-known Anglo-American missionaries must now share the historical stage with the black and Indian evangelists named Hiacoomes, Good Peter, Philip Quaque, John Quamine, and many more.

The paleoecological history of the Americas is as complex as the region is broad: stretching from the Arctic Circle to Tierra del Fuego, the New World features some of the most extraordinary vegetation on the planet. But until now it has lacked a complete natural history. Alan Graham remedies that with A Natural History of the New World. With plants as his scientific muse, Graham traces the evolution of ecosystems, beginning in the Late Cretaceous period (about 100 million years ago) and ending in the present, charting their responses to changes in geology and climate.

            By highlighting plant communities’ roles in the environmental history of the Americas, Graham offers an overdue balance to natural histories that focus exclusively on animals. Plants are important in evolution’s splendid drama. Not only are they conspicuous and conveniently stationary components of the Earth’s ecosystems, but their extensive fossil record allows for a thorough reconstruction of the planet’s paleoenvironments. What’s more, plants provide oxygen, function as food and fuel, and provide habitat and shelter; in short, theirs is a history that can speak to many other areas of evolution.

A Natural History of the New World is an ambitious and unprecedented synthesis written by one of the world’s leading scholars of botany and geology. 

The first full account of Nazi spies in 1930s America and how they were exposed.

In the mid-1930s just as the United States was embarking on a policy of neutrality, Nazi Germany launched a program of espionage against the unwary nation. The Nazi Spy Ring in America tells the story of Hitler’s attempts to interfere in American affairs by spreading anti-Semitic propaganda, stealing military technology, and mapping US defenses.

This fast-paced history provides essential insight into the role of espionage in shaping American perceptions of Germany in the years leading up to US entry into World War II. Fascinating and thoroughly researched, The Nazi Spy Ring in America sheds light on a now-forgotten but significant episode in the history of international relations and the development of the FBI.

Using recently declassified documents, prize-winning historian Rhodri Jeffreys-Jones narrates this little-known chapter in US history. He shows how Germany’s foreign intelligence service, the Abwehr, was able to steal top secret US technology such as a prototype codebreaking machine and data about the latest fighter planes.

At the center of the story is Leon Turrou, the FBI agent who helped bring down the Nazi spy ring in a case that quickly transformed into a national sensation. The arrest and prosecution of four members of the ring was a high-profile case with all the trappings of fiction: fast cars, louche liaisons, a murder plot, a Manhattan socialite, and a ringleader codenamed Agent Sex. Part of the story of breaking the Nazi spy ring is also the rise and fall of Turrou, whose talent was matched only by his penchant for publicity, which eventually caused him to run afoul of J. Edgar Hoover's strict codes of conduct.

America is a nation making itself up as it goes along—a story of discovery and invention unfolding in speeches and images, letters and poetry, unprecedented feats of scholarship and imagination. In these myriad, multiform, endlessly changing expressions of the American experience, the authors and editors of this volume find a new American history.

In more than two hundred original essays, A New Literary History of America brings together the nation’s many voices. From the first conception of a New World in the sixteenth century to the latest re-envisioning of that world in cartoons, television, science fiction, and hip hop, the book gives us a new, kaleidoscopic view of what “Made in America” means. Literature, music, film, art, history, science, philosophy, political rhetoric—cultural creations of every kind appear in relation to each other, and to the time and place that give them shape.

The meeting of minds is extraordinary as T. J. Clark writes on Jackson Pollock, Paul Muldoon on Carl Sandburg, Camille Paglia on Tennessee Williams, Sarah Vowell on Grant Wood’s American Gothic, Walter Mosley on hard-boiled detective fiction, Jonathan Lethem on Thomas Edison, Gerald Early on Tarzan, Bharati Mukherjee on The Scarlet Letter, Gish Jen on Catcher in the Rye, and Ishmael Reed on Huckleberry Finn. From Anne Bradstreet and John Winthrop to Philip Roth and Toni Morrison, from Alexander Graham Bell and Stephen Foster to Alcoholics Anonymous, Life, Chuck Berry, Alfred Hitchcock, and Ronald Reagan, this is America singing, celebrating itself, and becoming something altogether different, plural, singular, new.

After the Treaty of Paris ended the Seven Years’ War in 1763, British America stretched from Hudson Bay to the Florida Keys, from the Atlantic coast to the Mississippi River, and across new islands in the West Indies. To better rule these vast dominions, Britain set out to map its new territories with unprecedented rigor and precision. Max Edelson’s The New Map of Empire pictures the contested geography of the British Atlantic world and offers new explanations of the causes and consequences of Britain’s imperial ambitions in the generation before the American Revolution.

Under orders from King George III to reform the colonies, the Board of Trade dispatched surveyors to map far-flung frontiers, chart coastlines in the Gulf of St. Lawrence, sound Florida’s rivers, parcel tropical islands into plantation tracts, and mark boundaries with indigenous nations across the continental interior. Scaled to military standards of resolution, the maps they produced sought to capture the essential attributes of colonial spaces—their natural capacities for agriculture, navigation, and commerce—and give British officials the knowledge they needed to take command over colonization from across the Atlantic.

Britain’s vision of imperial control threatened to displace colonists as meaningful agents of empire and diminished what they viewed as their greatest historical accomplishment: settling the New World. As London’s mapmakers published these images of order in breathtaking American atlases, Continental and British forces were already engaged in a violent contest over who would control the real spaces they represented.

Accompanying Edelson’s innovative spatial history of British America are online visualizations of more than 250 original maps, plans, and charts.

News over the Wires tells the story of the development of the news wire service as a business operation strategically positioned between the telegraph industry and the press. This unique history of telegraphic news gathering and news flow evaluates the effect of the innovative technology on the evolution of the concept of news and journalistic practices. It also addresses problems of technological innovation and diffusion. Menahem Blondheim's main concern, however, is the development of oligopoly in business and the control revolution in American society. He traces the discovery of timely news as a commodity, presenting a lively and detailed account of the emergence of the New York Associated Press (AP) as the first private sector national monopoly in the United States and Western Union as the first industrial one.

The book assembles, in a narrative parade of compelling personalities and colorful episodes, a wide-ranging body of primary sources, many of them previously untapped. It reconstructs the career of AP's maverick manager, Daniel H. Craig, and highlights his achievements as one of the most creative and effective, if least appreciated, of America's great system builders. The Associated Press and Western Union provide a novel perspective on processes of modernization and national integration in America. News over the Wires demonstrates the significance of the monopolistic structure of the news business and its important impact on economic development, on the political process, and on social integration in general.

With great care and detail, Walker argues that African American freemasonry provides a critical theoretical lens for understanding the distinctive ways African Americans have constructed a radically democratic political imaginary through racial solidarity and political nationalism, forcing us to reconsider much more circumspectly the complex relationship between voluntary associations and democratic politics.

Mapping the discursive logics of the language of freemasonry as a metaphoric rendering of American democracy, this study interrogates the concrete forms of an associational culture, revealing how paradoxical aspects of freemasonry such as secrecy and public association inform the production of particular ideas and expressions of democracy in America.

In the late 1990s Angels in America,Tony Kushner’s epic play about homosexuality and AIDS in the Reagan era, toured the country, inspiring protests in a handful of cities while others received it warmly. Why do people fight over some works of art but not others? Not Here, Not Now, Not That! examines a wide range of controversies over films, books, paintings, sculptures, clothing, music, and television in dozens of cities across the country to find out what turns personal offense into public protest. 

What Steven J. Tepper discovers is that these protests are always deeply rooted in local concerns. Furthermore, they are essential to the process of working out our differences in a civil society. To explore the local nature of public protests in detail, Tepper analyzes cases in seventy-one cities, including an in-depth look at Atlanta in the late 1990s, finding that debates there over memorials, public artworks, books, and parades served as a way for Atlantans to develop a vision of the future at a time of rapid growth and change.

Eschewing simplistic narratives that reduce public protests to political maneuvering, Not Here, Not Now, Not That! at last provides the social context necessary to fully understand this fascinating phenomenon.

Coins are the one form of art to which every American is exposed, yet of art forms in the United States, coins have been the least respected and understood. This delightful volume, containing well over 400 illustrations, provides the first comprehensive aesthetic appreciation of the American series. Although frequently disparaged by the public, the series is unrivaled in aesthetic richness among modern coinages. It includes such masterpieces as the primitively beautiful coins of the struggling young republic, dignified Neoclassic designs which dominated the nineteenth century, and magnificent gold and silver commemorative medals designed by the leading sculptors of the early twentieth century.

The author traces the development of American coins through the 1960s, discussing their artistic merits, analyzing the influences of the popular arts upon their design, and tracing the inspirations of particular compositions and styles in the other arts, both European and American.