When high jumper Alice Coachman won the high jump title at the 1941 national championships with "a spectacular leap," African American women had been participating in competitive sport for close to twenty-five years. Yet it would be another twenty years before they would experience something akin to the national fame and recognition that African American men had known since the 1930s, the days of Joe Louis and Jesse Owens. From the 1920s, when black women athletes were confined to competing within the black community, through the heady days of the late twentieth century when they ruled the world of women's track and field, African American women found sport opened the door to a better life. However, they also discovered that success meant challenging perceptions that many Americans--both black and white--held of them. Through the stories of six athletes--Coachman, Ora Washington, Althea Gibson, Wilma Rudloph, Wyomia Tyus, and Jackie Joyner-Kersee--Jennifer H. Lansbury deftly follows the emergence of black women athletes from the African American community; their confrontations with contemporary attitudes of race, class, and gender; and their encounters with the civil rights movement. Uncovering the various strategies the athletes use to beat back stereotypes, Lansbury explores the fullness of African American women's relationship with sport in the twentieth century.

The New York Times bestselling, “meticulously researched and absorbingly written” (The Washington Post) story of the trailblazers and the ordinary Americans on the front lines of the epic Apollo 11 moon mission. President John F. Kennedy astonished the world on May 25, 1961, when he announced to Congress that the United States should land a man on the Moon by 1970. No group was more surprised than the scientists and engineers at NASA, who suddenly had less than a decade to invent space travel. When Kennedy announced that goal, no one knew how to navigate to the Moon. No one knew how to build a rocket big enough to reach the Moon, or how to build a computer small enough (and powerful enough) to fly a spaceship there. No one knew what the surface of the Moon was like, or what astronauts could eat as they flew there. On the day of Kennedy’s historic speech, America had a total of fifteen minutes of spaceflight experience—with just five of those minutes outside the atmosphere. Russian dogs had more time in space than US astronauts. Over the next decade, more than 400,000 scientists, engineers, and factory workers would send twenty-four astronauts to the Moon. Each hour of space flight would require one million hours of work back on Earth to get America to the Moon on July 20, 1969. “A veteran space reporter with a vibrant touch—nearly every sentence has a fact, an insight, a colorful quote or part of a piquant anecdote” (The Wall Street Journal) and in One Giant Leap, Fishman has written the sweeping, definitive behind-the-scenes account of the furious race to complete one of mankind’s greatest achievements. It’s a story filled with surprises—from the item the astronauts almost forgot to take with them (the American flag), to the extraordinary impact Apollo would have back on Earth, and on the way we live today. From the research labs of MIT, where the eccentric and legendary pioneer Charles Draper created the tools to fly the Apollo spaceships, to the factories where dozens of women sewed spacesuits, parachutes, and even computer hardware by hand, Fishman captures the exceptional feats of these ordinary Americans. “It’s been 50 years since Neil Armstrong took that one small step. Fishman explains in dazzling form just how unbelievable it actually was” (Newsweek).

A NEW YORK TIMES NOTABLE BOOK A “thoroughly captivating biography” (The San Francisco Chronicle) of American icon Arthur Ashe—the Jackie Robinson of men’s tennis—a pioneering athlete who, after breaking the color barrier, went on to become an influential civil rights activist and public intellectual. Born in Richmond, Virginia, in 1943, by the age of eleven, Arthur Ashe was one of the state’s most talented black tennis players. He became the first African American to play for the US Davis Cup team in 1963, and two years later he won the NCAA singles championship. In 1968, he rose to a number one national ranking. Turning professional in 1969, he soon became one of the world’s most successful tennis stars, winning the Australian Open in 1970 and Wimbledon in 1975. After retiring in 1980, he served four years as the US Davis Cup captain and was inducted into the International Tennis Hall of Fame in 1985. In this “deep, detailed, thoughtful chronicle” (The New York Times Book Review), Raymond Arsenault chronicles Ashe’s rise to stardom on the court. But much of the book explores his off-court career as a human rights activist, philanthropist, broadcaster, writer, businessman, and celebrity. In the 1970s and 1980s, Ashe gained renown as an advocate for sportsmanship, education, racial equality, and the elimination of apartheid in South Africa. But from 1979 on, he was forced to deal with a serious heart condition that led to multiple surgeries and blood transfusions, one of which left him HIV-positive. After devoting the last ten months of his life to AIDS activism, Ashe died in February 1993 at the age of forty-nine, leaving an inspiring legacy of dignity, integrity, and active citizenship. Based on prodigious research, including more than one hundred interviews, Arthur Ashe puts Ashe in the context of both his time and the long struggle of African-American athletes seeking equal opportunity and respect, and “will serve as the standard work on Ashe for some time” (Library Journal, starred review).

Largely through trial and error, filmmakers have developed engaging techniques that capture our sensations, thoughts, and feelings. Philosophers and film theorists have thought deeply about the nature and impact of these techniques, yet few scientists have delved into empirical analyses of our movie experience-or what Arthur P. Shimamura has coined "psychocinematics." This edited volume introduces this exciting field by bringing together film theorists, philosophers, psychologists, and neuroscientists to consider the viability of a scientific approach to our movie experience.

It is the golden age of the steam locomotive. The transcontinental railroad has just been completed across America, and while Native American Indians are fighting for their survival in the western territories, scores of people are looking for entertainment. Trainwreckers is inspired by the true-life exploits of Casey Jones, Joseph S. Connolly, and William G. Crust. Trainwreckers captures the spirit of the defiant, reckless age of the steam engine. This is a fictional account of Red Eagle, Doc Leonard, and Rachael Weatherford as they travel around the country staging head-on train wrecks for groups of adventuresome, frenzied, thrill seeking spectators looking for entertainment. The year is 1890 and the Wild West is in full swing. When the crowds grow and more money flows, the Trainwreckers decide to stage the ultimate train crash, and only one person will survive. The great train crash takes on a national significance in the race for the presidency of the United States during the William Jennings Bryan presidential campaign in 1896 against the Republican Candidate and former Ohio governor William McKinley.

In a world that many find increasingly disorienting and frenetic, individuals in all walks of life, young and old, face life's strains, encounter its temptations, and yearn to fulfill its many possibilities. Reading Campbell Gillon is like walking into a cool, green oasis, away from the day's scorching heat. This superb collection addresses many of the great and moving themes of Christian faith: The Nature of God, The Revelation of Jesus Christ, and The Making of A Christian.