Tells the stories behind Baltimore's monuments. From the twentieth-century sculpture of the Inner Harbor's Baltimore Renaissance to the nineteenth-century splendor of Mount Vernon Place, this work invites us to see Baltimore in a fresh perspective.

Edgar Allan Poe wrote his great works while living in several cities on the East Coast of the United States, but Baltimore's claim to him is special. His ancestors settled in the burgeoning town on the Chesapeake during the 18th century, and it was in Baltimore that he found refuge when his foster family in Virginia shut him out. Most importantly, it was here that he was first paid for his literary work. If Baltimore discovered Poe, it also has the inglorious honor of being the place that destroyed him. On October 7, 1849, he died in this city, then known as "Mob Town." Edgar Allan Poe's Baltimore is the first book to explore the poet's life in this port city and in the quaint little house on Amity Street, where he once wrote.

This original anthology of noir fiction set in Maryland’s Charm City includes new stories by David Simon, Laura Lippman, Jim Fusilli, and more. As fans of the HBO series The Wire have known for years, Baltimore is home to a rich and diverse underworld that is matched by an equally rich and diverse literary tradition. This is the city where Dashiell Hammett worked as a Pinkerton agent. It’s also where Zelda Fitzgerald came for psychiatric treatment. In this sterling collection of noir fiction, some of Baltimore’s best authors “confront the full irony that is Charm City, a place where you can go from the leafy beauty of the North Side neighborhoods to the gutted ghettos of the West Side in less than twenty minutes, then find your way to the revamped Inner Harbor in another ten” (Laura Lippman, from the introduction). Baltimore Noir includes brand-new stories by David Simon, Laura Lippman, Tim Cockey, Rob Hiaasen, Robert Ward, Sujata Massey, Jack Bludis, Rafael Alvarez, Marcia Talley, Joseph Wallace, Lisa Respers France, Charlie Stella, Sarah Weinman, Dan Fesperman, Jim Fusilli, and Ben Neihart.

This sweeping study takes readers on a fascinating tour of Washington, D.C.’s monuments, statues, headstones, and memorials. James M. Goode canvasses more than 500 sculptural pieces, often overlooked by residents and visitors, and presents critical discussions and detailed histories of each work. The result is a graphic history of the cultural, political, and military contributions of America’s greatest leaders. Washington Sculpture revises and updates Goode’s classic 1974 book The Outdoor Sculpture of Washington, D.C., expanding its survey to include pieces found in nearby Maryland and Virginia, unusual cemetery sculpture, and monuments recently erected on the National Mall—the National WWII Memorial, the Korean War Veterans Memorial, the Vietnam Veterans Memorial, and the Franklin Delano Roosevelt Memorial. Chapters explore the city's fourteen neighborhoods as well as the Maryland and Virginia suburbs. Both a guide for visitors and a reference for serious historians, Washington Sculpture offers the most comprehensive examination of urban sculpture in the nation's capital.

There are many ways to show our devotion to an author besides reading his or her works. Graves make for popular pilgrimage sites, but far more popular are writers' house museums. What is it we hope to accomplish by trekking to the home of a dead author? We may go in search of the point of inspiration, eager to stand on the very spot where our favorite literary characters first came to life—and find ourselves instead in the house where the author himself was conceived, or where she drew her last breath. Perhaps it is a place through which our writer passed only briefly, or maybe it really was a longtime home—now thoroughly remade as a decorator's show-house. In A Skeptic's Guide to Writers' Houses Anne Trubek takes a vexed, often funny, and always thoughtful tour of a goodly number of house museums across the nation. In Key West she visits the shamelessly ersatz shrine to a hard-living Ernest Hemingway, while meditating on his lost Cuban farm and the sterile Idaho house in which he committed suicide. In Hannibal, Missouri, she walks the fuzzy line between fact and fiction, as she visits the home of the young Samuel Clemens—and the purported haunts of Tom Sawyer, Becky Thatcher, and Injun' Joe. She hits literary pay-dirt in Concord, Massachusetts, the nineteenth-century mecca that gave home to Hawthorne, Emerson, and Thoreau—and yet could not accommodate a surprisingly complex Louisa May Alcott. She takes us along the trail of residences that Edgar Allan Poe left behind in the wake of his many failures and to the burned-out shell of a California house with which Jack London staked his claim on posterity. In Dayton, Ohio, a charismatic guide brings Paul Laurence Dunbar to compelling life for those few visitors willing to listen; in Cleveland, Trubek finds a moving remembrance of Charles Chesnutt in a house that no longer stands. Why is it that we visit writers' houses? Although admittedly skeptical about the stories these buildings tell us about their former inhabitants, Anne Trubek carries us along as she falls at least a little bit in love with each stop on her itinerary and finds in each some truth about literature, history, and contemporary America.

Carsick is the New York Times bestselling chronicle of a cross-country hitchhiking journey with America's most beloved weirdo. John Waters is putting his life on the line. Armed with wit, a pencil-thin mustache, and a cardboard sign that reads "I'm Not Psycho," he hitchhikes across America from Baltimore to San Francisco, braving lonely roads and treacherous drivers. But who should we be more worried about, the delicate film director with genteel manners or the unsuspecting travelers transporting the Pope of Trash? Before he leaves for this bizarre adventure, Waters fantasizes about the best and worst possible scenarios: a friendly drug dealer hands over piles of cash to finance films with no questions asked, a demolition-derby driver makes a filthy sexual request in the middle of a race, a gun-toting drunk terrorizes and holds him hostage, and a Kansas vice squad entraps and throws him in jail. So what really happens when this cult legend sticks out his thumb and faces the open road? His real-life rides include a gentle eighty-one-year-old farmer who is convinced Waters is a hobo, an indie band on tour, and the perverse filmmaker's unexpected hero: a young, sandy-haired Republican in a Corvette. Laced with subversive humor and warm intelligence, Carsick is an unforgettable vacation with a wickedly funny companion—and a celebration of America's weird, astonishing, and generous citizenry.

The rapid expansion of the field of public history since the 1970s has led many to believe that it is a relatively new profession. In this book, Denise D. Meringolo shows that the roots of public history actually reach back to the nineteenth century, when the federal government entered into the work of collecting and preserving the nation's natural and cultural resources. Yet it was not until the emergence of the education-oriented National Park Service history program in the 1920s and 1930s that public history found an institutional home. Even then, tensions between administrators in Washington and practitioners on the ground at National Parks, monuments, and museums continued to redefine the scope and substance of the field. The process of definition persists to this day as public historians establish a growing presence in major universities throughout the United States and abroad. Book jacket.