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Opening Chicagoscapes propels the reader into the breathtaking grandeur and warm humanity of one of the world's great cities, a metropolis both lavish with its pleasures and as hard as weathered steel, a prairie-bound Oz that demands commitment from those seeking its truths. Larry Kanfer and native Chicagoan Alaina Kanfer have captured authentic moments that invite the viewer into pocket universes achieved in collaboration between an acclaimed photographic artist and the living world. From the deep blues of Lake Michigan to imposing winter cityscapes, from awe-inspiring skyscrapers to corner hot dog joints, and from the lakefront chess obsessives to Maxwell Street's indefatigable vendors, Larry Kanfer brings the mesmerizing sensibility acclaimed in his collections Prairiescapes and On Firm Ground to illuminate the subtleties of mood and forces of nature that make Chicago a city unlike any other.

At the turn of the twentieth century, the United States was faced with a new and radically mixed population, one that included freed African Americans, former reservation Indians, and a burgeoning immigrant population.  In The Autobiography of Citizenship, Tova Cooper looks at how educators tried to impose unity on this divergent population, and how the new citizens in turn often resisted these efforts, reshaping mainstream U.S. culture and embracing their own view of what it means to be an American. The Autobiography of Citizenship traces how citizenship education programs began popping up all over the country, influenced by the progressive approach to hands-on learning popularized by John Dewey and his followers. Cooper offers an insightful account of these programs, enlivened with compelling readings of archival materials such as photos of students in the process of learning; autobiographical writing by both teachers and new citizens; and memoirs, photos, poems, and novels by authors such as W.E.B. Du Bois, Jane Addams, Charles Reznikoff, and Emma Goldman. Indeed, Cooper provides the first comparative, inside look at these citizenship programs, revealing that they varied wildly: at one end, assimilationist boarding schools required American Indian children to transform their dress, language, and beliefs, while at the other end the libertarian Modern School encouraged immigrant children to frolic naked in the countryside and learn about the world by walking, hiking, and following their whims. Here then is an engaging portrait of what it was like to be, and become, a U.S. citizen one hundred years ago, showing that what it means to be “American” is never static.

At the turn of the twentieth century, the United States was faced with a new and radically mixed population, one that included freed African Americans, former reservation Indians, and a burgeoning immigrant population.  In The Autobiography of Citizenship, Tova Cooper looks at how educators tried to impose unity on this divergent population, and how the new citizens in turn often resisted these efforts, reshaping mainstream U.S. culture and embracing their own view of what it means to be an American. The Autobiography of Citizenship traces how citizenship education programs began popping up all over the country, influenced by the progressive approach to hands-on learning popularized by John Dewey and his followers. Cooper offers an insightful account of these programs, enlivened with compelling readings of archival materials such as photos of students in the process of learning; autobiographical writing by both teachers and new citizens; and memoirs, photos, poems, and novels by authors such as W.E.B. Du Bois, Jane Addams, Charles Reznikoff, and Emma Goldman. Indeed, Cooper provides the first comparative, inside look at these citizenship programs, revealing that they varied wildly: at one end, assimilationist boarding schools required American Indian children to transform their dress, language, and beliefs, while at the other end the libertarian Modern School encouraged immigrant children to frolic naked in the countryside and learn about the world by walking, hiking, and following their whims. Here then is an engaging portrait of what it was like to be, and become, a U.S. citizen one hundred years ago, showing that what it means to be “American” is never static.

In a world of marquee names and big personalities, Jenny Anderson is a legend in her own right. As a celebrated Broadway photographer, she has worked with the most important performers in theatre and used the power of photography to tell the stories behind the stories: what happens backstage on a Broadway show. The In-Between: Intimate and Candid Moments of Broadway Stars has been years in the making. It is Anderson’s personal ode to the theatre community, including more than 100 of her photographs taken behind the scenes of the most iconic shows of the last decade: Hamilton, Wicked, The Lion King, Kinky Boots, Sweeney Todd, Waitress, Hadestown, Phantom of the Opera, and many, many more. With a foreword from Tony Nominee and Oscar Winner Ariana DeBose and rare photography of performers like Patti LuPone, Hugh Jackman, Chita Rivera, Jonathan Groff, and Gavin Creel, this gorgeous book gives Broadway fans a privileged glance behind the curtains of the world’s most prestigious theaters and the stars who grace their stages.

Jargon-busting text, illustrated with the author's own stunning images, explains the theory behind digital photography, along with a guide to the equipment and software needed to take outstanding images. The book explains the basics of exposure and good composition, file types, manipulating captured images using popular software, and applying special effects (such as split toning, simulating film grain, lith prints and using cyanotypes). A printing chapter discusses outputting and displaying images.

Shadow Boxers is a celebration of arguably the last great era of club boxing in New York. The world of real-life Rockys, a hard masculine world where any man had a chance to fight his way to fame, fortune and glory. In the late 1970s and early ‘80s John Cole spent over five years in New York’s and New Jersey’s seedy gyms and boxing venues, documenting characters with bashed-in noses and unshakeable dreams, an era that no longer exists but which Cole’s photographs capture for posterity.

Alma Caldwell’s diary provides the perspective of teenagers in 1913 and 1914. It begins in the summer of 1913 when activities for young people were abundant, reluctantly chronicles Alma's return to high school for a junior year, hurtles through the heartbreak of a chilling winter, and rockets full blast into the spring and early summer of 1914. The diary’s focus is on Alma and her new boyfriend, Emmet Thornton, and how their lives play out.Interspersed are clips from two newspapers, the Sulphur Springs Gazette (1862–1928) and the Commerce Journal (1891–present), and magazine clippings illustrating special moments in Alma’s life during the time of the diary.This is a teenager taking a pencil and writing of love, disappointment, secrets never to be revealed, and joy in an age compared to the present in terms of a young person’s changing social life— silent movies churned out like never before, Model T Fords that were being subject to new laws, frequent passenger train rides, and the heartbeat of US entertainment seen under a tent named the Chautauqua and Lyceum Courses.