The struggles and victories of the UAW form an important chapter in the story of American democracy. American Vanguard is the first and only history of the union available for both general and academic audiences. In this thorough and engaging narrative, John Barnard not only records the controversial issues tackled by the UAW, but also lends them immediacy through details about the workers and their environments, the leaders and the challenges that they faced outside and inside the organization, and the vision that guided many of these activists. Throughout, Barnard traces the UAW's two-fold goal: to create an industrial democracy in the workplace and to pursue a social-democratic agenda in the interest of the public at large. Part one explores the obstacles to the UAW's organization, including tensions between militant reformers and workers who feared for their jobs; ideological differences; racial and ethnic issues; and public attitudes toward unions. By the outbreak of World War II, however, the union had succeeded in redistributing power on the shop floor in its members' favor. Part two follows the union during Walter P. Reuther's presidency (1946-1970). During this time, pioneering contracts brought a new standard of living and income security to the workers, while an effort was made to move America toward a social democracy-which met with mixed results during the civil rights decade. Throughout, Barnard presents balanced interpretations grounded in evidence, while setting the UAW within the context of the history of the U.S. auto industry and national politics.

The epic history of African American women's pursuit of political power -- and how it transformed America. In the standard story, the suffrage crusade began in Seneca Falls in 1848 and ended with the ratification of the Nineteenth Amendment in 1920. But this overwhelmingly white women's movement did not win the vote for most black women. Securing their rights required a movement of their own. In Vanguard, acclaimed historian Martha S. Jones offers a new history of African American women's political lives in America. She recounts how they defied both racism and sexism to fight for the ballot, and how they wielded political power to secure the equality and dignity of all persons. From the earliest days of the republic to the passage of the 1965 Voting Rights Act and beyond, Jones excavates the lives and work of black women -- Maria Stewart, Frances Ellen Watkins Harper, Fannie Lou Hamer, and more -- who were the vanguard of women's rights, calling on America to realize its best ideals.

Some 250 works explore three distinct periods in American history when mainstream and outlier artists intersected, ushering in new paradigms based on inclusion, integration, and assimilation. The exhibition aligns work by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican with both historic folk art and works by self-taught artists ranging from Horace Pippin to Janet Sobel and Joseph Yoakum. It also examines a recent influx of radically expressive work made on the margins that redefined the boundaries of the mainstream art world, while challenging the very categories of "outsider" and "self-taught." Historicizing the shifting identity and role of this distinctly American version of modernism's "other," the exhibition probes assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. The exhibition is curated by Lynne Cooke, senior curator, special projects in modern art, National Gallery of Art.--Provided by publisher.

Virginia in the Vanguard continues the story begun in The Dynamic Dominion, detailing the resurgence of Virginia's Democratic Party in the 1980s and the Republicans' efforts to turn back the gains made by Chuck Robb and Douglas Wilder. It closes with Democrat Tim Kaine taking the governor's seat and former Republican and Democratic governors George Allen and Mark Warner poised to enter the 2008 presidential primaries.

At the start of the American Civil War, neither side had warships on the Mississippi River and in the first few months both sides scrambled to gather a flotilla, converting existing riverboats for naval use. These ships were transformed into powerful naval weapons despite a lack of resources, trained manpower and suitable vessels. The creation of a river fleet was a miracle of ingenuity, improvisation and logistics, particularly for the South. This title describes their design, development and operation throughout the American Civil War.

In a richly illustrated essay, curator and critic Antwaun Sargent addresses a radical transformation taking place in fashion, art, and the visual vocabulary around beauty and the body. In The New Black Vanguard, fifteen artist portfolios and a series of conversations feature the brightest contemporary fashion photographers. Their images and stories chart the history of inclusion (and exclusion) in the creation of the Black fashion image, while simultaneously proposing a brilliantly reenvisioned future.

By 1805 the 44-gun frigate was probably viewed as a failed experiment whilst the 38-gun frigate was viewed as the vessel of the future. Ten years later every navy was building 44-gun frigates and today it is viewed as the symbol of the Napoleonic-era cruiser. This remarkable transformation resulted from the performance of three ships – the Constitution, United States, and President – 44-gun frigates built for the United States Navy between 1794 and 1799. Their victories in the naval War of 1812, as well as their performance against the Barbary Pirates, caught the imagination of the world – and spurred all navies into re-examining the class.

"An examination of the far-right roots of mid-twentieth-century conservatism"--

In the nineteenth century, Latin America was home to the majority of the world's democratic republics. Many historians have dismissed these political experiments as corrupt pantomimes of governments of Western Europe and the United States. Challenging that perspective, James E. Sanders contends that Latin America in this period was a site of genuine political innovation and popular debate reflecting Latin Americans' visions of modernity. Drawing on archival sources in Mexico, Colombia, and Uruguay, Sanders traces the circulation of political discourse and democratic practice among urban elites, rural peasants, European immigrants, slaves, and freed blacks to show how and why ideas of liberty, democracy, and universalism gained widespread purchase across the region, mobilizing political consciousness and solidarity among diverse constituencies. In doing so, Sanders reframes the locus and meaning of political and cultural modernity.

In this first comprehensive study of Latin America's literary vanguards of the 1920s and 1930s, Vicky Unruh explores the movement's provocative and polemic nature. Latin American vanguardism—a precursor to the widely acclaimed work of contemporary Latin American writers—was stimulated by the European avant-garde movements of the World War I era. But as Unruh's wide-ranging study attests, the vanguards of Latin America—emerging from the continent's own historical circumstances—developed a very distinct character and voice. Through manifestos, experimental texts, and ribald public performance, the vanguardists' work intertwined art, culture, and the politics of the day to produce a powerful brand of aesthetic activism, one that sparked an entire rethinking of the meaning of art and culture throughout Latin America.