Gold Medal (tie) in the 2022 Independent Publisher Book Awards (IPPYs) - History (U.S.) Category. A rich account of 1920s to 1950s New York City, starring an eclectic mix of icons like James Joyce, Margaret Sanger, and Alfred Kinsey—all led by an unsung hero of free expression and reproductive rights: Morris L. Ernst. At the turn of the twentieth century, the United States was experiencing an awakening. Victorian-era morality was being challenged by the introduction of sexual modernism and women's rights into popular culture, the arts, and science. Set during this first sexual revolution, when civil libertarian-minded lawyers overthrew the yoke of obscenity laws, Dirty Works focuses on a series of significant courtroom cases that were all represented by the same lawyer: Morris L. Ernst. Ernst's clients included a who's who of European and American literati and sexual activists, among them Margaret Sanger, James Joyce, and Alfred Kinsey. They, along with a colorful cast of burlesque-theater owners and bookstore clerks, had run afoul of stiff obscenity laws, and became actors in Ernst's legal theater that ultimately forced the law to recognize people's right to freely consume media. In this book, Brett Gary recovers the critically neglected Ernst as the most important legal defender of literary expression and reproductive rights by the mid-twentieth century. Each chapter centers on one or more key trials from Ernst's remarkable career battling censorship and obscenity laws, using them to tell a broader story of cultural changes and conflicts around sex, morality, and free speech ideals. Dirty Works sets the stage, legally and culturally, for the sexual revolution of the 1960s and beyond. In the latter half of the century, the courts had a powerful body of precedents, many owing to Ernst's courtroom successes, that recognized adult interests in sexuality, women's needs for reproductive control, and the legitimacy of sexual inquiry. The legacy of this important, but largely unrecognized, moment in American history must be reckoned with in our contentious present, as many of the issues Ernst and his colleagues defended are still under attack eight decades later.

A groundbreaking, urgent report from the front lines of "dirty work"—the work that society considers essential but morally compromised. Drone pilots who carry out targeted assassinations. Undocumented immigrants who man the “kill floors” of industrial slaughterhouses. Guards who patrol the wards of the United States’ most violent and abusive prisons. In Dirty Work, Eyal Press offers a paradigm-shifting view of the moral landscape of contemporary America through the stories of people who perform society’s most ethically troubling jobs. As Press shows, we are increasingly shielded and distanced from an array of morally questionable activities that other, less privileged people perform in our name. The COVID-19 pandemic has drawn unprecedented attention to essential workers, and to the health and safety risks to which workers in prisons and slaughterhouses are exposed. But Dirty Work examines a less familiar set of occupational hazards: psychological and emotional hardships such as stigma, shame, PTSD, and moral injury. These burdens fall disproportionately on low-income workers, undocumented immigrants, women, and people of color. Illuminating the moving, sometimes harrowing stories of the people doing society’s dirty work, and incisively examining the structures of power and complicity that shape their lives, Press reveals fundamental truths about the moral dimensions of work and the hidden costs of inequality in America.

Dirty Work is the story of two men, strangers—one white, the other black. Both were born and raised in Mississippi. Both fought in Vietnam. Both were gravely wounded. Now, twenty-two years later, the two men lie in adjacent beds in a VA hospital.Over the course of a day and a night, Walter James and Braiden Chaney talk of memories, of passions, of fate. With great vision, humor, and courage, Brown writes mostly about love in a story about the waste of war.

Women criminal defense attorneys routinely handle cases that would grossly offend the sensibilities of the ordinary woman or man. Often asked to use their gender as a strategy to strengthen the defense, they struggle with myriad moral and ideological conflicts inherent in representing men accused of such violent crimes against women as rape, domestic abuse, and child molestation. This groundbreaking work explores how women attorneys manage those conflicts, how they use ideologies in defense of their work, and how they cope with the emotional stress of their professional lives. Drawing on extensive interviews and ethnographic research, Cynthia Siemsen presents thirteen provocative case studies to illustrate the unique interplay between ideology and emotion in these women. Skillfully blending the words of criminal attorneys themselves with a solid theoretical framework, she explores the ways in which women's perspectives about their identities, roles, and emotions evolve through three distinct stages: early, mid-career, and seasoned attorney. Siemsen argues convincingly that the stresses of public defense work, including dealing with such burdens as California's stringently enforced three-strikes law, create much more conflict for women than intrinsic contradictions between feminist beliefs and professional ideologies. The longer a woman practices law, the author finds, the better she becomes at managing her emotions by strictly adhering to the constitutional ideal of protecting individual rights. An appendix, "Ambivalent Identities: Men of Color Who Prosecute Their 'Own,'" offers a comparative viewpoint of the experiences of African American male prosecutors. This insightful volume offers a unique lens through which to view the work lives of women criminal defense attorneys and sheds new light on how they resolve and survive the moral dilemmas and emotional stress of their jobs.

Transcripts from the trial of John Wilkes Booth’s co-conspirators, plus commentary:“Unquestionably the world-class expert on . . . Lincoln’s assassination.” ―Civil War News On the night of April 14, 1865, John Wilkes Booth assassinated President Abraham Lincoln in what he envisioned part of a scheme to plunge the federal government into chaos and gain a reprieve for the struggling Confederacy. The plan failed. By April 26, Booth was killed resisting capture and eight of the nine conspirators eventually charged in Lincoln's murder were in custody. Their trial would become one of the most famous and most controversial in US history. New president Andrew Johnson’s executive order on May 1 directed that persons charged with Lincoln’s murder stand trial before a military tribunal. The trial lasted more than fifty days, and 366 witnesses gave testimony. Benn Pitman, an expert in phonography—an early form of shorthand—was awarded a government contract to produce a transcription of each day’s testimony. Pitman made these transcripts available to the prosecution and defense, as well as select members of the press. Although three versions of the testimony were published, Pitman’s edited collection was the most accessible. He skillfully winnowed the 4,300 pages of transcription into one volume, collated the testimony by defendant, indexed it by name and date, and added summaries. In The Trial, assassination scholars guide readers through all 421 pages of testimony, illuminating Pitman’s record. By drawing together the evidence that resulted in the conspirators’ convictions, The Trial leaves no doubt as to the events surrounding the assassination of Abraham Lincoln, making this book a fascinating account of the trial as well as an essential resource. “Steers’s lineup is truly expert—readers will be able to distinguish between fact and fancy and come away with a far better understanding of Lincoln’s assassination.” —William Hanchett, author of The Lincoln Murder Conspiracies

The trial of O. J. Simpson was a sensation, avidly followed by millions of people, but it was also, in a sense, nothing new. One hundred years earlier the Lizzie Borden trial had held the nation in thrall. The names (and the crimes) may change, but the appeal is enduring—and why this is, how it works, and what it means are what Lawrence Friedman investigates in The Big Trial. What is it about these cases that captures the public imagination? Are the “headline trials” of our period different from those of a century or two ago? And what do we learn from them, about the nature of our society, past and present? To get a clearer picture, Friedman first identifies what certain headline trials have in common, then considers particular cases within each grouping. The political trial, for instance, embraces treason and spying, dissenters and radicals, and, to varying degrees, corruption and fraud. Celebrity trials involve the famous—whether victims, as in the case of Charles Manson, or defendants as disparate as Fatty Arbuckle and William Kennedy Smith—but certain high-profile cases, such as those Friedman categorizes as tabloid trials, can also create celebrities. The fascination of whodunit trials can be found in the mystery surrounding the case: Are we sure about O. J. Simpson? What about Claus von Bulow—tried, in another sensational case, for sending his wife into a coma.? An especially interesting type of case Friedman groups under the rubric worm in the bud. These are cases, such as that of Lizzie Borden, that seem to put society itself on trial; they raise fundamental social questions and often suggest hidden and secret pathologies. And finally, a small but important group of cases proceed from moral panic, the Salem witchcraft trials being the classic instance, though Friedman also considers recent examples. Though they might differ in significant ways, these types of trials also have important similarities. Most notably, they invariably raise questions about identity (Who is this defendant? A villain? An innocent unfairly accused?). And in this respect, The Big Trial shows us, the headline trial reflects a critical aspect of modern society. Reaching across the nineteenth and twentieth centuries to the latest outrage, from congressional hearings to lynching and vigilante justice to public punishment, from Dr. Sam Sheppard (the “fugitive”) to Jeffrey Dahmer (the “cannibal”), The Rosenbergs to Timothy McVeigh, the book presents a complex picture of headline trials as displays of power—moments of “didactic theater”" that demonstrate in one way or another whether a society is fair, whom it protects, and whose interest it serves.

NEW YORK TIMES BESTSELLER • “Driving, wild and hilarious” (The Washington Post), here is the incredible “memoir” of the legendary actor, gambler, raconteur, and Saturday Night Live veteran. When Norm Macdonald, one of the greatest stand-up comics of all time, was approached to write a celebrity memoir, he flatly refused, calling the genre “one step below instruction manuals.” Norm then promptly took a two-year hiatus from stand-up comedy to live on a farm in northern Canada. When he emerged he had under his arm a manuscript, a genre-smashing book about comedy, tragedy, love, loss, war, and redemption. When asked if this was the celebrity memoir, Norm replied, “Call it anything you damn like.”