The complex and fascinating life of Mark Twain, as told by a Pulitzer prizewinning biographer. Born in 1835, the man who would become America's first, and most influen tial, literary celebrity spent his childhood dreaming of piloting steamboats on the Mississippi. But when the Civil War interrupted his career on the river, the young Mark Twain went west and accepted a job. [Bokinfo]

Pulitzer Prize finalist Philip Dray shines a light on a little known group of men: the nation's first black members of Congress. These men played a critical role in pushing for much-needed reforms in the wake of a traumatic civil war, including public education for all children, equal rights, and protection from Klan violence. But they have been either neglected or maligned by most historians--their "glorious failure" chalked up to corruption and "ill-preparedness."--From publisher description.

From the moment the battle ended, Gettysburg was hailed as one of the greatest triumphs of the Union army. Celebrations erupted across the North as a grateful people cheered the victory. But Gabor Boritt turns our attention away from the rejoicing millions to the dark mood of the White House--where Lincoln cried in frustration as General Meade let the largest Confederate army escape safely into Virginia. Such unexpected portraits abound in Lincoln's Generals, as a team of distinguished historians probes beyond the popular anecdotes and conventional wisdom to offer a fascinating look at Lincoln's relationship with his commanders. In Lincoln's Generals, Boritt and his fellow contributors examine the interaction between the president and five key generals: McClellan, Hooker, Meade, Sherman, and Grant. In each chapter, the authors provide new insight into this mixed bag of officers and the president's tireless efforts to work with them. Even Lincoln's choice of generals was not as ill-starred as we think, writes Pulitzer Prize-winner Mark E. Neely, Jr.: compared to most Victorian-era heads of state, he had a fine record of selecting commanders (for example, the contemporary British gave us such bywords for incompetence as "the charge of the Light Brigade," while Napoleon III managed to lose the entire French army). But the president's relationship with his generals was never easy. In these pages, Stephen Sears underscores McClellan's perverse obstinancy as Lincoln tried everything to drive him ahead. Neely sheds new light on the president's relationship with Hooker, arguing that he was wrong to push the general to attack at Chancellorsville. Boritt writes about Lincoln's prickly relationship with the victor of Gettysburg, "old snapping turtle" George Meade. Michael Fellman reveals the political stress between the White House and William T. Sherman, a staunch conservative who did not want blacks in his army but who was crucial to the war effort. And John Y. Simon looks past the legendary camaraderie between Lincoln and Grant to reveal the tensions in their relationship. Perhaps no other episode has been more pivotal in the nation's history than the Civil War--and yet so much of these massive events turned on a few distinctive personalities. Lincoln's Generals is a brilliant portrait that takes us inside the individual relationships that shaped the course of our most costly war.

In this book, the distinguished historian Carl Schorske--author of the Pulitzer Prize-winning Fin-de-Siécle Vienna --draws together a series of essays that reveal the changing place of history in nineteenth-and twentieth-century cultures. In most intellectual and artistic fields, Schorske argues, twentieth-century Europeans and Americans have come to do their thinking without history. Modern art, modern architecture, modern music, modern science--all have defined themselves not as emerging from or even reacting against the past, but as detached from it in a new, autonomous cultural space. This is in stark contrast to the historicism of the nineteenth century, he argues, when ideas about the past pervaded most fields of thought from philosophy and politics to art, music, and literature. However, Schorske also shows that the nineteenth century's attachment to thinking with history and the modernist way of thinking without history are more than just antitheses. They are different ways of trying to address the problems of modernity, to give shape and meaning to European civilization in the era of industrial capitalism and mass politics. Schorske begins by reflecting on his own vocation as it was shaped by the historical changes he has seen sweep across political and academic culture. Then he offers a European sampler of ways in which nineteenth-century European intellectuals used conceptions of the past to address the problems of their day: the city as community and artifact; the function of art; social dislocation. Narrowing his focus to Fin-de-Siécle Vienna in a second group of essays, he analyzes the emergence of ahistorical modernism in that city. Against the background of Austria's persistent, conflicting Baroque and Enlightenment traditions, Schorske examines three Viennese pioneers of modernism--Adolf Loos, Gustav Mahler, and Sigmund Freud--as they sought new orientation in their fields. In a concluding essay, Schorske turns his attention to thinking about history. In the context of a postmodern culture, when other disciplines that had once abandoned history are discovering new uses for it, he reflects on the nature and limits of history for the study of culture. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. -- "Kirkus Reviews"

A Pulitzer Prize-winning poet presents a selection of the most innovative poetry of modern France in readable and accurate English translations, including the work of the symbolists, the dadaists, and the surrealists, accompanied by their French originals. Original.