The classic reference work that provides annually updated information on the countries of the world.

"Although there have been some other articles and books on the "Youngstown" case, this book remains definitive. The author handles a variety of materials exceedingly well, and shows great sensitivity not only to the legal issues involved, but to the political ones as well. It is a model case study."--Melvin I. Urofsky, Virginia Commonwealth University

In the early years of his performing career, Will Rogers was a vaudeville performer of limited prominence. Around the age of thirty-five, however, this Oklahoma cowboy philosopher shed his role as local stage entertainer and moved toward fame as a Broadway star and nationally beloved humorist. This documentary history, volume four in the definitive five-volume Papers of Will Rogers, reveals Rogers’s personal and professional transformation during what may have been the most productive period of his diverse career. Between 1915 and 1928—the years covered by this volume—Rogers developed his unique monologues of topical humor, sampled the relatively new medium of radio, and pursued a career in silent films. He also tried his voice in sound recordings, witnessed his work as a writer reach millions of readers of daily newspapers, became one of the most sought-after speakers on the dinner circuit, and embarked on a three-year tour of the nation’s lecture halls. In addition to Rogers’s personal correspondence with family members and friends, editors Steven K. Gragert and M. Jane Johansson present more than one hundred letters and telegrams to and from people Rogers touched both inside and outside public life, including prominent figures in politics, show business, literature, industry, government, publishing, and the arts. Much of this material, gleaned from private collections, interviews, manuscripts, and sound recordings, has never before been published.

Includes Part 1, Books, Group 1 (1946)

Soon after his appointment as chairman of the U.S. Atomic Energy Commission in 1950, Gordon E. Dean began an office diary composed primarily of notes from his telephone conversations. The diary contains Dean's accounts of the mobilization of atomic energy for the Korean War, the decision to conduct atmospheric nuclear weapons tests in the U.S., the development and testing of the first thermonuclear device, the decisions to erect vast plants for the production of atomic weapons, the Rosenberg atom spy case, and other critical issues. Originally published in 1987. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

In 1925, Essae Martha Culver, a California librarian, arrived in Louisiana to direct a three-year project funded by the Carnegie Corporation that aimed to introduce public libraries to rural populations. Culver purchased a round-trip ticket, but she never used the second half. Instead, she stayed in Louisiana the rest of her life, working tirelessly to see libraries established in every parish by 1969. In Spreading the Gospel of Books, Florence M. Jumonville chronicles the impressive, colorful history of Louisiana parish libraries and the State Library of Louisiana. She draws upon Culver’s journals and library reports, in addition to correspondence, scrapbooks, and State Library internal documents, and includes photos from five decades, many never before published. The campaign to persuade individual parishes to financially support a library of their own was a long, uphill pull through poverty and politics, flood and famine, discouragement and depression, war and bureaucracy, ignorance and prejudice. Culver credited success to the citizens, whose thirst for books and embrace of the idea of a library inspired perseverance. In time, Culver’s Louisiana plan served as an exemplar of library development elsewhere in the United States as well as abroad. Culver touched the lives of generations of Louisianians who have never heard her name. Spreading the Gospel of Books is her story, along with that of colleagues and supporters, of making the dream of library service come true for all.

In the years following World War I, the New Orleans French Quarter attracted artists and writers with its low rents, faded charm, and colorful street life. By the 1920s Jackson Square had become the center of a vibrant if short-lived bohemia. A young William Faulkner and his roommate William Spratling, an artist who taught at Tulane University, resided among the "artful and crafty ones of the French Quarter." In Dixie Bohemia John Shelton Reed introduces Faulkner's circle of friends -- ranging from the distinguished Sherwood Anderson to a gender-bending Mardi Gras costume designer -- and brings to life the people and places of New Orleans in the Jazz Age. Reed begins with Faulkner and Spratling's self-published homage to their fellow bohemians, "Sherwood Anderson and Other Famous Creoles." The book contained 43 sketches of New Orleans artists, by Spratling, with captions and a short introduction by Faulkner. The title served as a rather obscure joke: Sherwood was not a Creole and neither were most of the people featured. But with Reed's commentary, these profiles serve as an entry into the world of artists and writers that dined on Decatur Street, attended masked balls, and blatantly ignored the Prohibition Act. These men and women also helped to establish New Orleans institutions such as the Double Dealer literary magazine, the Arts and Crafts Club, and Le Petit Theatre. But unlike most bohemias, the one in New Orleans existed as a whites-only affair. Though some of the bohemians were relatively progressive, and many employed African American material in their own work, few of them knew or cared about what was going on across town among the city's black intellectuals and artists. The positive developments from this French Quarter renaissance, however, attracted attention and visitors, inspiring the historic preservation and commercial revitalization that turned the area into a tourist destination. Predictably, this gentrification drove out many of the working artists and writers who had helped revive the area. As Reed points out, one resident who identified herself as an "artist" on the 1920 federal census gave her occupation in 1930 as "saleslady, real estate," reflecting the decline of an active artistic class. A charming and insightful glimpse into an era, Dixie Bohemia describes the writers, artists, poseurs, and hangers-on in the New Orleans art scene of the 1920s and illuminates how this dazzling world faded as quickly as it began.