Reid writes that he is sending a copy of a letter of introduction that he has just given to a "confiding lady," which is included here. He asks if Winter would give her advice and assistance in the matter of having her plays place before suitable managers. The letter is on letterhead from Dorchester House, Park Lane, W. The copy to which Reid refers is addressed to Mrs. John R. Guelph and introduces her to William Winter. It is addressed to Mrs. Guelph at 19 Burton Avenue, Hasbrouck Heights, New Jersey, U.S.A. With accompanying envelope addressed to Winter at 17 Third Avenue, Fort Hill, New Brighton, Staten Island, U.S.A.

(1) Reid writes about a beautiful little stick, which was a great pleasure to receive. He suggests meeting during the evening sometime. On mourning paper from 451 Madison Avenue, dated February 16, 1889. (2) Typescript letter mentioning a note from Winter, which he will show to Mr. Mills. Reid would like to show Winter a lovely binding for the first Macmillan edition of Shakespeare's England, which Winter sent to Reid long ago. Addressed from 451 Madison Avenue, New York, dated November 5, 1896. (3) Typescript letter with autograph note regarding a visit home Reid is taking. He also refers to Poe and Whitman. On letterhead from Dorchester House, Park Lane W., London, dated August 14th, 1909. (2) and (3) have accompanying envelopes addressed to Winter at 17 Third Avenue, Fort Hill, New Brighton, S.I., N.Y.

"Paul Ortiz's lyrical and closely argued study introduces us to unknown generations of freedom fighters for whom organizing democratically became in every sense a way of life. Ortiz changes the very ways we think of Southern history as he shows in marvelous detail how Black Floridians came together to defend themselves in the face of terror, to bury their dead, to challenge Jim Crow, to vote, and to dream."—David R. Roediger, author of Colored White: Transcending the Racial Past “Emancipation Betrayed is a remarkable piece of work, a tightly argued, meticulously researched examination of the first statewide movement by African Americans for civil rights, a movement which since has been effectively erased from our collective memory. The book poses a profound challenge to our understanding of the limits and possibilities of African American resistance in the early twentieth century. This analysis of how a politically and economically marginalized community nurtures the capacity for struggle speaks as much to our time as to 1919.”—Charles Payne, author of I’ve Got the Light of Freedom

Reid writes that he is giving Winter a raise of five dollars a week. On letterhead from the New York tribune.

(1) Thanks Winter for his cordial welcome back and writes that he is very busy with work. Dated September 11, 1871. (2) Discusses an article on a Supreme court nominee (unnamed). Dated February 27, 1882. Both letters on letterhead from the New York tribune. Both addressed to "My dear Willie."

"Robert Motherwell was not just a great painter, he was a brilliant thinker. As the founding editor of The Documents of Twentieth-Century of Art, he decisively shaped our understanding of modernism. This new and expanded selection of Motherwell's criticism provides an essential guide to the art of the high modern period, both American and European."—Pepe Karmel, author of Picasso and the Invention of Cubism "In the past two decades Abstract Expressionism has become one of the most dynamic subjects in art history; sometimes the reading is so dense it is like swimming through peanut butter. But, cutting through to the essential questions that generated the movement, the writings of Robert Motherwell are a treasure. Written at the same time he was painting, Motherwell's texts make me feel like a witness to the philosophical curiosity that generated one of the most powerful art movements of the twentieth century."—Michael Auping, author of Abstract Expressionism: The Critical Developments “This book is essential reading for anyone thinking about the uneasy clash of modernism and postmodernism in postwar America; Motherwell’s writing played a decisive role and this volume is an admirably full account of it.”—Jonathan Fineberg, author of When We Were Young: New Perspectives on the Art of the Child

This study of the curriculum for girls from the beginning of this century brings a fresh perspective to New Zealand educational history. Following the early triumphs of gaining the vote (and the right to qualify for university degrees), progress in women's education was not always straightforward. Social attitudes and provisions for girls at state schools in the first quarter-century established patterns for later generations to inherit and modify. In some areas, such as science and mathematics, inequalities for Maori girls lingered. Using a wide range of resources, ruth Fry traces the origin and development of the curriculum for girls to 1975, International Women's year. Those who, in 1893, achieved success in their campaign for equal voting rights were also concerned about educational opportunities for women. NZCER is very pleased to reissue It's different for daughters to celebrate the Centenary of Women's Suffrage in New Zealand.

Advancing Digital Humanities moves beyond definition of this dynamic and fast growing field to show how its arguments, analyses, findings and theories are pioneering new directions in the humanities globally.