In 1923, Kansas governor Johnathan Davis traveled to Hutchinson to dedicate Emerson Careyas new rock salt mine whose shaft provided access to an ancient salt bed 650 feet under the earthas surface. The Carey Salt Mine, advertised as athe most modern in the world, a served as a companion to Careyas already-existing evaporation plants. Miners used the newest technology to blast and crush the mineral into gravel and haul it to the surface to provide rock salt for livestock, industries, and roads. Throughout the 20th century, thousands visited Careyas mining operations. Ever since the day Governor Davis presided over the opening ceremony, the Carey Salt Mine has served as a landmark for Hutchinson and helped shape its identity as athe Salt City.a

Redwood Cityas slogan, aClimate Best By Government Test, a describes the fair weather at San Mateo Countyas seat, which was established in 1851 as the bayside terminus for the peninsulaas lumber industry. Wharfs located along Redwood Creek formed the basis of the townas commercial district, and in the 20th century, the cityas port expanded with new industries, such as the Pacific-Portland Cement Company, the Morgan Oyster Company, and Leslie Salt. Meanwhile, Redwood Cityas downtown area hosted many civic events, numerous theaters, and the regionas largest retail district. In the 1950s, the city grew along Woodside Road and, soon thereafter, when Redwood Shores was added to its boundaries, expanded north. Today Redwood City has come full circle with a revitalized downtown and a beautifully restored courthouse square.

Before the advent of roads in western Washington, steamboats of the Mosquito Fleet swarmed all over Puget Sound. Sidewheelers, stern-wheelers, and propeller-driven, they ranged from the tiny 40-foot Marie to the huge 282-foot Yosemite, and from the famous Flyer to the unknown Leota. Floating stores like the Vaughn and shrimpers like the Violet sailed the same waters as the elegant Great Lakes lady, the Chippewa, and the homely Willie. A few, like the Bob Irving and Blue Star, died spectacularly or, like Major Tompkins, shipwrecked after a short time, while others began new lives as tugboats or auto ferries; some even survive today as excursion boats like the Virginia V. From 1853 to modern car ferries in the 1920s, this volume chronicles the heyday of steamboating--a unique segment of maritime history--from modest launch to sleek liner.

Located in the far northeastern edge of the city, Deanwood is one of Washington, D.C.'s oldest, consistently African American neighborhoods. Rooted in slave-based agriculture on white-owned land, the community began its transition from rural to urban development with the 1871 arrival of a branch of the Baltimore and Ohio Railroad along its western boundary. This period after the Civil War offered blacks the opportunity to become landowners. Since this time, many notable Washingtonians of various ethnicities have been residents and frequent visitors to the area. In the early 1920s, it was home to Suburban Gardens, the only permanent amusement park ever to be housed within the city limits. Many of Deanwood's families have lived in the community for generations, which makes it stable and close-knit.

This engaging pictorial history tells of the tall sailing ships that came to the Pacific Northwest beginning in the mid-1700s. Met by native Salish people, the ships brought Spanish, British, Russian, and American explorers, as well as settlers and entrepreneurs, to the region. Over the next two centuries, during boom and bust periods, these majestic vessels have continued to ply the waters of Puget Sound. Today the proud tall ships operate in a training and education rather than commercial context; however, the commitment to preserving and promoting their heritage remains strong within the region, as well as throughout the United States and around the globe. This groundbreaking book features 180 rare photographs and illustrations that chronicle the colorful history of tall ships on Puget Sound.

Located on the site of the original Sears Tower, the historic Sears, Roebuck and Company catalog plant is one of the nation's most unique landmarks. Representing American ingenuity at its best, Richard Sears and Julius Rosenwald combined technology, commerce, and social science with bricks and mortar to build "the World's Largest Store" on Chicago's West Side. Completed in 1906, the plant housed nearly every conceivable product of the time: clothing, jewelry, furniture, appliances, tools, and more. The complex employed 20,000 people, and merchandise orders were processed and delivered by rail -- within the same day. During the first two decades of the 20th century, almost half of America's families shopped the over 300 million catalogs published in that era. WLS (World's Largest Store) Radio broadcasted the Gene Autrey show from the top of the tower, and the first Sears retail store opened here on Homan Avenue and Arthington Street. In 1974, Sears moved to the current Sears Tower. Thanks to many individuals who fought to save these architecturally and historically important treasures, the administration building, the original Sears Tower, the catalog press-laboratory building, and the powerhouse remain today. There are currently plans for redeveloping these buildings into housing, office, and retail space. A new Homan Square Community Center stands on the site of the merchandise building.

Black Print Unbound explores the development of the Christian Recorder during and just after the American Civil War. As a study of the official African Methodist Episcopal Church newspaper (a periodical of national reach and scope among free African Americans), Black Print Unbound is thus at once a massive recovery effort of a publication by African Americans for African Americans, a consideration of the nexus of African Americanist inquiry and print culture studies, and an intervention in the study of literatures of the Civil War, faith communities, and periodicals. The book pairs a longitudinal sense of the Recorder's ideological, political, and aesthetic development with the fullest account available of how the physical paper moved from composition to real, traceable subscribers. It builds from this cultural and material history to recover and analyze diverse and often unknown texts published in the Recorder including letters, poems, and a serialized novel-texts that were crucial to the development of African American literature and culture and that challenge our senses of genre, authorship, and community. In this, Black Print Unbound offers a case study for understanding how African Americans inserted themselves in an often-hostile American print culture in the midst of the most complex conflict the young nation had yet seen, and it thus calls for a significant rewriting of our senses of African American-and so American-literary history.