Highly acclaimed author Neal Bascomb brings his peerless research and fast-paced narrative style to a young adult adaptation of one of his most successful adult books of all time, The Perfect Mile, an inspiring and moving story of three men racing to achieve the impossible -- the perfect four-minute mile. Scholastic Focus is the premier home of thoroughly researched, beautifully written, and thoughtfully designed works of narrative nonfiction aimed at middle-grade and young adult readers. These books help readers learn about the world in which they live and develop their critical thinking skills so that they may become dynamic citizens who are able to analyze and understand our past, participate in essential discussions about our present, and work to grow and build our future. There was a time when running the mile in four minutes was believed to be beyond the limits of human foot speed. In 1952, after suffering defeat at the Helsinki Olympics, three world-class runners each set out to break this barrier: Roger Bannister was a young English medical student who epitomized the ideal of the amateur; John Landy the privileged son of a genteel Australian family; and Wes Santee the swaggering American, a Kansas farm boy and natural athlete. Spanning three continents and defying the odds, these athletes' collective quest captivated the world. Neal Bascomb's bestselling adult account adapted for young readers delivers a breathtaking story of unlikely heroes and leaves us with a lasting portrait of the twilight years of the golden age of sport.

Not only was it the worst marathon in Olympic history, but you would be hard-pressed to find another event that was as scandalously bad as the 1904 marathon. This is no slight on (most of) the men who competed, because it would seem as if the race were bad by design: the organizer of the Games, James E. Sullivan, wasn't looking for the glory of competition and sportsmanship at his games, but rather evidence of white supremacy. Deprived of water, running under a blazing sun on dusty, hilly roads: it's a miracle that fourteen of the initial thirty-two competitors even completed the event. The story of this race and the athletes who took part is ludicrous, unedifying, and a terribly good time.

Aesops fable of the race between the Tortoise and the Hare is given a modern twist by Downard, who uses manipulated photographs of his farm animals to add some zaniness to the classic tale. Full color.

Capturing the determination and thrill of an era when technology made anything seem possible, this work tells the story of the death-defying New York-to-Paris Auto Race held in 1908. Photos.

Atlanta is often cited as a prime example of a progressive New South metropolis in which blacks and whites have forged "a city too busy to hate." But Ronald Bayor argues that the city continues to bear the indelible mark of racial bias. Offering the first

Race in 21st Century America tackles the problematic and emotionally laden idea of race in the United States; it brings together intellectuals and scholar activists who present critical and often conflicting appraisals of how race remains a central component of the nation's social landscape and political culture, and shows how Americans might begin to move beyond the strictures of race and racism.

Race and Vision in the Nineteenth-Century United States is a collection of twelve essays by cultural critics that exposes how fraught relations of identity and race appear through imaging technologies in architecture, scientific discourse, sculpture, photography, painting, music, theater, and, finally, the twenty-first century visual commentary of Kara Walker. Throughout these essays, the racial practices of the nineteenth century are juxtaposed with literary practices involving some of the most prominent writers about race and identity, such as Herman Melville and Harriet Beecher Stowe, as well as the technologies of performance including theater and music. Recent work in critical theories of vision, technology, and the production of ideas about racial discourse has emphasized the inextricability of photography with notions of race and American identity. The collected essays provide a vivid sense of how imagery about race appears in the formative period of the nineteenth-century United States.

Race, while drawn from the visual cues of human diversity, is an idea with a measurable past, an identifiable present, and an uncertain future. The concept of race has been at the center of both triumphs and tragedies in American history and has had a profound effect on the human experience. Race Unmasked revisits the origins of commonly held beliefs about the scientific nature of racial differences, examines the roots of the modern idea of race, and explains why race continues to generate controversy as a tool of classification even in our genomic age. Surveying the work of some of the twentieth century's most notable scientists, Race Unmasked reveals how genetics and related biological disciplines formed and preserved ideas of race and, at times, racism. A gripping history of science and scientists, Race Unmasked elucidates the limitations of a racial worldview and throws the contours of our current and evolving understanding of human diversity into sharp relief.

Amidst the violent racism prevalent at the turn of the twentieth century, African American cultural elites, struggling to articulate a positive black identity, developed a middle-class ideology of racial uplift. Insisting that they were truly representative of the race's potential, black elites espoused an ethos of self-help and service to the black masses and distinguished themselves from the black majority as agents of civilization; hence the phrase 'uplifting the race.' A central assumption of racial uplift ideology was that African Americans' material and moral progress would diminish white racism. But Kevin Gaines argues that, in its emphasis on class distinctions and patriarchal authority, racial uplift ideology was tied to pejorative notions of racial pathology and thus was limited as a force against white prejudice. Drawing on the work of W. E. B. Du Bois, Anna Julia Cooper, Alice Dunbar-Nelson, Hubert H. Harrison, and others, Gaines focuses on the intersections between race and gender in both racial uplift ideology and black nationalist thought, showing that the meaning of uplift was intensely contested even among those who shared its aims. Ultimately, elite conceptions of the ideology retreated from more democratic visions of uplift as social advancement, leaving a legacy that narrows our conceptions of rights, citizenship, and social justice.

"The problem of the twentieth century is the problem of the color-line," W. E. B. Du Bois wrote in 1903, and his words have proven sadly prophetic. As we enter the twenty-first century, the problem remains--and yet it, and the line that defines it, have shifted in subtle but significant ways. This brief book speaks powerfully to the question of how the circumstances of race and racism have changed in our time--and how these changes will affect our future. Foremost among the book's concerns are the contradictions and incoherence of a system that idealizes black celebrities in politics, popular culture, and sports even as it diminishes the average African-American citizen. The world of the assembly line, boxer Jack Johnson's career, and The Birth of a Nation come under Holt's scrutiny as he relates the malign progress of race and racism to the loss of industrial jobs and the rise of our modern consumer society. Understanding race as ideology, he describes the processes of consumerism and commodification that have transformed, but not necessarily improved, the place of black citizens in our society. As disturbing as it is enlightening, this timely work reveals the radical nature of change as it relates to race and its cultural phenomena. It offers conceptual tools and a new way to think and talk about racism as social reality.