From his first time riding as a child, William Shatner has felt a deep love for horses. Whether seated in the saddle, communicating with them, or simply appreciating their beauty, his bond with these majestic animals is deep. For decades he has sought to share his joy—with children, veterans, those with disabilities, and many more—through his annual Hollywood Charity Horse Show. And here, he brings that same joy to his fans and readers. In Spirit of the Horse, the Star Trek and Boston Legal legend speaks from the heart about the remarkable effect horses have had on his life and on the lives of others. From his first horse, bought impulsively on the advice of a twelve-year-old, to his favorite horses, acquired after many years of learning what to look for, this book draws from Shatner’s own experience and pairs it with a wealth of classic horse stories, including unique retellings of the Pegasus myth and the feats of the most famous war horses throughout history. The result is a celebration that captures the unparalleled connection between humans and horses—and the power, courage, mindfulness, and healing that they can inspire in us. Many fans have heard about Shatner’s passion for horses; few have seen it revealed as completely as it is here.

A collection for equine enthusiasts An all-new collection of the best of the classics Editor was anchor of horse sports in ESPN Fresh, new series design A perfect gift for riders, writers, or literary buffs, Horse Stories is an essential collection of some of the most compelling stories ever written about America’s horses.

A common man living in uncommon times, in 1806, Plenny Oliver Cash was born into an established family of Virginia planters. After his abusive father gambled away his inheritances, the family would immigrate to Georgia in the 1820's. Losing his young wife and unborn child, Plenny would become estranged from his older brother and would begin an odyssey that would continue until Sherman's advance on Atlanta caused him to reunite with his brother and return to DeKalb County. During the ensuing years, even as he battled the demons within, he would become a sailor and railroad man. Later, he would remarry and father a family as he once again farmed the land. While not a soldier, he was a Union sympathizer who would be forced to take an active part in the war in support of the South. After the Yankee army rampaged through North Georgia and departed Atlanta, Plenny would become a leader in the fight against the Bummers that had flooded in on the coattails of the victorious Union army.

Reprint of the original, first published in 1867.

Slaves to Fashion is a pioneering cultural history of the black dandy, from his emergence in Enlightenment England to his contemporary incarnations in the cosmopolitan art worlds of London and New York. It is populated by sartorial impresarios such as Julius Soubise, a freed slave who sometimes wore diamond-buckled, red-heeled shoes as he circulated through the social scene of eighteenth-century London, and Yinka Shonibare, a prominent Afro-British artist who not only styles himself as a fop but also creates ironic commentaries on black dandyism in his work. Interpreting performances and representations of black dandyism in particular cultural settings and literary and visual texts, Monica L. Miller emphasizes the importance of sartorial style to black identity formation in the Atlantic diaspora. Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.