Nine years before Abraham Lincoln was elected president, Story came into being. In 1851, Pres. Millard Fillmore granted a land patent to Dr. George Story for the creation of this little town. Tucked into a scenic spot near the Hoosier National Forest, 13 miles southeast of Nashville, Indiana, Story lies deep in the heart of historic Brown County. And Story is just one reason to visit Brown County, also known as "the Art Colony of the Midwest." Amid forests, rolling hills, and winding country roads, charming Nashville is home to more than 120 shops, art galleries, and artists' studios and neighbors two villages quaintly named Gnawbone and Bean Blossom. The beauty of Brown County has always attracted artists and history buffs. Wander back roads across covered bridges that have spanned sparkling streams for more than a century to retrace the paths taken by artists seeking to capture the county's beauty.

At 7:30 a.m. on June 16, 1944, George Junius Stinney Jr. was escorted by four guards to the death chamber. Wearing socks but no shoes, the 14-year-old Black boy walked with his Bible tucked under his arm. The guards strapped his slight, five-foot-one-inch frame into the electric chair. His small size made it difficult to affix the electrode to his right leg and the face mask, which was clearly too large, fell to the floor when the executioner flipped the switch. That day, George Stinney became, and today remains, the youngest person executed in the United States during the twentieth century.How was it possible, even in Jim Crow South Carolina, for a child to be convicted, sentenced to death, and executed based on circumstantial evidence in a trial that lasted only a few hours? Through extensive archival research and interviews with Stinney's contemporaries-men and women alive today who still carry distinctive memories of the events that rocked the small town of Alcolu and the entire state-Eli Faber pieces together the chain of events that led to this tragic injustice. The first book to fully explore the events leading to Stinney's death, The Child in the Electric Chair offers a compelling narrative with a meticulously researched analysis of the world in which Stinney lived-the era of lynching, segregation, and racist assumptions about Black Americans. Faber explains how a systemically racist system, paired with the personal ambitions of powerful individuals, turned a blind eye to human decency and one of the basic tenets of the American legal system that individuals are innocent until proven guilty. As society continues to grapple with the legacies of racial injustice, the story of George Stinney remains one that can teach us lessons about our collective past and present. By ably placing the Stinney case into a larger context, Faber reveals how this case is not just a travesty of justice locked in the era of the Jim Crow South but rather one that continues to resonate in our own time. A foreword is provided by Carol Berkin, Presidential Professor of History Emerita at Baruch College at the City University of New York and author of several books including Civil War Wives: The Lives and Times of Angelina Grimke Weld, Varina Howell Davis, and Julia Dent Grant.

Hemmed in by steep hills, Glen Park is defined by its quintessentially San Franciscan topography. Only 120 years ago this area, as well as neighboring Diamond Heights, was part of the Outside Lands, so
isolated that only farmers would settle here. Life revolved around Islais Creek, which ran through the canyon and provided water for the dairies. Then, in 1892, a German immigrant named Behrend Joost founded the citys first electric streetcar to shuttle residents to jobs downtown, and a neighborhood was born. As peak-roofed wooden cottages and houses began to fill in the valleys, the urban, homey, and decidedly livable Glen Park that we know today began to emerge.

In 1899, Carrie Chapman Catt, who succeeded Susan B. Anthony as head of the National American Women Suffrage Association, argued that it was the "duty" of U.S. women to help lift the inhabitants of its new island possessions up from "barbarism" to "civilization," a project that would presumably demonstrate the capacity of U.S. women for full citizenship and political rights. Catt, like many suffragists in her day, was well-versed in the language of empire, and infused the cause of suffrage with imperialist zeal in public debate. Unlike their predecessors, who were working for votes for women within the context of slavery and abolition, the next generation of suffragists argued their case against the backdrop of the U.S. expansionism into Indian and Mormon territory at home as well as overseas in the Philippines, Puerto Rico, and Hawaii. In this book, Allison L. Sneider carefully examines these simultaneous political movements--woman suffrage and American imperialism--as inextricably intertwined phenomena, instructively complicating the histories of both.

Ends of Assimilation compares sociological and Chicano/a (Mexican American) literary representations of assimilation. It argues that while Chicano/a literary works engage assimilation in complex, often contradictory ways, they manifest an underlying conviction in literature's productive power. At the same time, Chicano/a literature demonstrates assimilation sociology's inattention to its status as a representational discourse. As twentieth-century sociologists employ the term, assimilation reinscribes as fact the fiction of a unitary national culture, ignores the interlinking of race and gender in cultural formation, and valorizes upward economic mobility as a politically neutral index of success. The study unfolds chronologically, describing how the historical formation of Chicano/a literature confronts the specter of assimilation discourse. It tracks how the figurative, rhetorical, and lyrical power of Chicano/a literary works compels us to compare literary discourse with the self-authorizing empiricism of assimilation sociology. It also challenges presumptions of authenticity on the part of Chicano/a cultural nationalist works, arguing that Chicano/a literature must reckon with cultural dynamism and develop models of relational authenticity to counter essentialist discourses. The book advances these arguments through sustained close readings of canonical and noncanonical figures and gives an account of various moments in the history and institutional development of Chicano/a literature, such as the rise and fall of Quinto Sol Publications, asserting that Chicano/a writers, editors, and publishers have self-consciously sought to acquire and redistribute literary cultural capital.

Located in north-central Kentucky, Fort Knox is one of the army's major installations and is home to several commands, including the United States Army School and Center and the United States Army Recruiting Command. The fort's history dates to 1903, when a series of military maneuvers was held by the United States Army in West Point, Kentucky. When World War I required the establishment of additional military training facilities, Camp Knox was created. The post closed as a permanent installation in 1922, but it remained an active training center for army programs and, briefly, a national forest. On January 1, 1932, Camp Knox was made a permanent installation again and has since been known as Fort Knox. In 1940, the Armored Force was established, paving the way for the continuing evolution of armed warfare. The United States Bullion Depository chose its location because of its proximity to this post.

Maine has a rich supernatural history and ghost stories from the state are as varied as they are prolific. Freelance writer and reporter Tom Verde first became interested in such eerie occurrences while researching first-hand encounters with ghosts for a series of public radio programs. This book recounts some of the spine-tingling tales he uncovered in his research, including: *The dagger-wielding shade who terrorized a Portland couple *The murdered Indian who revisited Means's Tavern *Famed diva Lillian Nordica, whose voice still echoes through the Farmington auditorium named in her honor *The hostile spirit who tried to frighten the tenants out of an Orrington house *Even an entire phantom ship, bound eternally for Freeport These are not fictitious creations of literary imagination. People from all walks of life-including many who were positive they would never believe in ghosts-attest to these encounters.