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The late Frank Wendell Call is very much alive in these pages as he relates the fascinating tale of the rich, adventuresome existence he lived as a child in the Nevada desert along the Southern Pacific railroad line. In November 1928, Frank E. Call moved his young family from a comfortable home in Ogden, Utah to a tiny two-room shanty in an isolated railroad station in northeastern Nevada. He went to work as a gandydancer, a track laborer.

Meanwhile, Frank and Johanne Call's six lively children adapted to living alongside the tracks in primitive houses without electricity or indoor plumbing. The colorful narrative by the family's oldest child includes commentaries on railroading and the railroaders' language and describes social conditions and customs existing in tiny-town Nevada in the early twentieth century, from the viewpoint of the children themselves.

Born in Clear Lake, Wisconsin, in 1916, Gaylord grew up as immersed in his parents' political work and community service as he was in playing practical jokes and exploring the natural world surrounding his home town. Along the way he encountered experiences that would shape him in fundamental ways: as a man who stood up for what he believed in the face of opposition and yet who also understood how to treat his opponents with respect. Both traits would serve him well as he rose from law student to state senator to Wisconsin governor and finally to three terms as a United States Senator.

Nelson fought to treat all races equally and to condemn McCarthy-era paranoia, but his greatest contribution was to sound the alarm about another battle: the fight to save the natural world and the earth itself. It was his idea to use teach-ins to let people know that the environment needed their help. Thanks to him, more natural resources were conserved and new laws demanded clean air and water. Now, every year on April 22, people all over the world plant trees and pick up litter to celebrate Earth Day. The Earth and its inhabitants aren't safe yet, but Gaylord Nelson demonstrated that even one person can help to save the world.

Gentleman in the Shadows is a biography of Benjamin C. Evans Jr., a Central Intelligence Agency executive who operated at the top levels of the U.S. intelligence community during the darkest days of the Cold War. After serving as a covert case officer in revolutionary Havana, Cuba, and then managing The Asia Foundation, a sprawling CIA front organization, Evans was promoted to the CIA headquarters’ seventh floor, where the executive directorate team managed world-changing intelligence missions. A socially adept administrator, Evans was the CIA Executive Secretary for seven Directors of Central Intelligence under four presidential administrations. Evans was part of the tumultuous period that included America’s crusade to democratize Occupied Japan, the Korean War, nuclear standoffs with the Soviet Union, the anti-Castro counterrevolutionary movement that climaxed in the Bay of Pigs invasion, the Vietnam War, Watergate, and the Family Jewels furor after the CIA’s dirty secrets were revealed. Through his marriage, Evans was a member of America’s elite, which figured so prominently in the U.S. intelligence services. Born and raised in a prosperous family in Crawfordsville, Indiana, Evans was imbued with conservative Hoosier values that celebrated servant-leadership. Following his graduation from the U.S. Military Academy at West Point, Evans’s social savvy and encultured mores stood him in good stead in Occupied Japan, where he served as aide-de-camp to General Eugene Harrison, a decorated World War II intelligence officer and Occupation administrator. It was in Occupied Japan that Evans and the general’s stepdaughter, Jan King, fell in love, and later married. When President Harry Truman recognized he needed a foreign intelligence service, General Harrison was on the commission that established what came to be the CIA. Not too many years later, Harrison and his cohorts insured that his son-in-law Evans, by then a respected military intelligence officer, was offered a position in the agency.CIA families not uncommonly led double lives of sequestered thoughts, unasked questions, and intimate deception. An empathetic family man, Evans paid a psychological price for his emotionally isolated life in the clandestine service.Gentleman in the Shadows is a biography of Benjamin C. Evans Jr., a Central Intelligence Agency executive who operated at the top levels of the U.S. intelligence community during the darkest days of the Cold War. After serving as a covert case officer in revolutionary Havana, Cuba, and then managing The Asia Foundation, a sprawling CIA front organization, Evans was promoted to the CIA headquarters’ seventh floor, where the executive directorate team managed world-changing intelligence missions. A socially adept administrator, Evans was the CIA Executive Secretary for seven Directors of Central Intelligence under four presidential administrations. Evans was part of the tumultuous period that included America’s crusade to democratize Occupied Japan, the Korean War, nuclear standoffs with the Soviet Union, the anti-Castro counterrevolutionary movement that climaxed in the Bay of Pigs invasion, the Vietnam War, Watergate, and the Family Jewels furor after the CIA’s dirty secrets were revealed. Through his marriage, Evans was a member of America’s elite, which figured so prominently in the U.S. intelligence services. Born and raised in a prosperous family in Crawfordsville, Indiana, Evans was imbued with conservative Hoosier values that celebrated servant-leadership. Following his graduation from the U.S. Military Academy at West Point, Evans’s social savvy and encultured mores stood him in good stead in Occupied Japan, where he served as aide-de-camp to General Eugene Harrison, a decorated World War II intelligence officer and Occupation administrator. It was in Occupied Japan that Evans and the general’s stepdaughter, Jan King, fell in love, and later married. When President Harry Truman recognized he needed a foreign intelligence service, General Harrison was on the commission that established what came to be the CIA. Not too many years later, Harrison and his cohorts insured that his son-in-law Evans, by then a respected military intelligence officer, was offered a position in the agency.CIA families not uncommonly led double lives of sequestered thoughts, unasked questions, and intimate deception. An empathetic family man, Evans paid a psychological price for his emotionally isolated life in the clandestine service.

German Ways of War deploys theories of space, mobility, and affect to investigate how war films realize their political projects. Analyzing films across the decades, from the 1910s to 2000s, German Ways of War addresses an important lacuna in media studies: while scholars have tended to focus on the similarities between cinematic looking and weaponized targeting -- between shooting a camera and discharging a gun – this book argues that war films negotiate spaces throughout that frame their violence in ways more revealing than their battle scenes. Beyond that well-known intersection of visuality and violence, German Ways of War explores how the genre frames violence within spatio-affective operations. The production of novel spaces and evocation of new affects transform war films, including the genre’s manipulation of mobility, landscape, territory, scales, and topological networks. Such effects amount to what author Jaimey Fisher terms the films’ “affective geographies” that interweave narrative-generated affects, spatial depictions, and political processes.
 

As Giant Steps opens, thirteen-year-old Bernie Epperson of Lafayette, Indiana, is wrestling with double standards placed on her compared with her brothers. Soon her cousin awakens her to all the unfair restrictions women face, and Bernie becomes a suffragette. Meanwhile, World War I begins. Her family is devastated when her brothers become soldiers, and Bernie must decide how to help the war effort and continue to fight for women’s rights. While this story is fictional, the details of the suffrage movement and the war efforts of ordinary Americans are true. Middle and high school students will relate to Bernie and her brothers’ dilemmas a century ago because they also face making decisions in a turbulent world while sifting through contradictory news and changing wisdom.

Christ’s nemesis Judas Iscariot remains a shadowy figure in the four canonical gospels, which give contradictory reasons for why this rogue disciple betrays Christ. But how would Judas himself explain his motives? 
 
In Glory, Italian modernist Giuseppe Berto’s final novel, Judas finally tells his side of the story. From his perspective, Jesus is the betrayer, a would-be political activist and social reformer who fails to live up to his promises. And by fulfilling his predestined role in the drama of Christ’s death and resurrection, Judas himself is partly responsible for humanity’s salvation, enabling them to be redeemed by Christ’s sacrifice. As the novel probes into the psychological motivations behind his rejection of Jesus’ authority, Judas emerges as a compelling conflicted character, a man who seeks to have agency even when he knows his actions are being scripted by a higher power. Through Judas’s searing tortured monologues, this late masterpiece from one of Italy’s greatest writers investigates deep questions about the nature of faith, rebellion, fate, and free will. 

 

 

In her anticipated second novel, Karla Holloway evokes the resilience of a family whose journey traces the river of America’s early twentieth century. The Mosby family, like other thousands, migrate from the loblolly-scented Carolinas north to the Harlem of their aspirations—with its promise of freedom and opportunities, sunlit boulevards, and elegant societies.

The family arrives as Harlem staggers under the flu pandemic that follows the First World War. DeLilah Mosby and her daughter, Selma, meet difficulties with backbone and resolve to make a home for themselves in the city, and Selma has a baby, Chloe. As the Great Depression creeps across the world at the close of the twenties, however, the farsighted see hard times coming.

The panic of the early thirties is embodied in the kidnapping and murder of the infant son of the nation’s dashing young aviator, Charles Lindbergh. A transfixed public follows the manhunt in the press and on the radio. Then Chloe goes missing—but her disappearance does not draw the same attention. Wry and perceptive Weldon Haynie Thomas, the city’s first “colored” policeman, takes the case.

The urgent investigation tests Thomas’s abilities to draw out the secrets Harlem harbors, untangling the color-coded connections and relationships that keep company with greed, ghosts, and grief. With nuanced characters, lush historical detail, and a lyrical voice, Gone Missing in Harlem affirms the restoring powers of home and family.

In July 2019, staff of the New Jersey State Museum visited a cramped and dusty storage locker in Hunterdon County. Inside was a treasure trove of more than one thousand glass plate negatives. Each negative preserved an image of New Jersey at the turn of the 20th century. They once belonged to a Trenton resident who had used the plates as tools for his chosen art form. His name was Grant Castner. His art was photography.
 
Castner’s glass plate negatives are a visual record of New Jersey’s social and cultural history. His many human subjects are rich and poor, young and old, Black and white. They are at work, at play, at home, and in the community. Castner also documented social change brought about by electricity, engineering, education, industry, and transportation. He captured the excitement of public amusements such as parades and fairs. He recorded the aftermath of floods, fires and other disasters. Castner also had a fondness for the outdoors. He used his camera to reflect on the beauty and tranquility that he found in the natural landscapes of New Jersey.
 
This book presents the collective work of Grant Castner, an amateur artist whose place in New Jersey history was, until now, completely unknown. His photographic negatives forever preserve pinpoint moments in the past. They are time machines to another era. Let this long lost archive transport you on a visual journey into a New Jersey of days gone by.