Covenant House occupies a prominent place among American charitable institutions. For more than thirty years, it has provided shelter and care for homeless youth as a faith-based social service organization. Founded in 1968 by the Rev. Bruce Ritter, Covenant House began its life as a modest ministry of availability to the poor in New York City, inspired by Franciscan traditions and by the expansive vision of Vatican II. By 1990 Covenant House had grown into a $90 million enterprise. Its innovative programs assisted homeless and runaway youth throughout cities in North and Central America. Conservative politicians, philanthropic foundations, and average citizens considered it a model for faith-based social service initiatives. Suddenly and unexpectedly, however, the organization suffered through a major scandal, as Father Ritter faced charges involving sexual abuse and financial misconduct. The institution quickly became fodder for tabloid journalists and hovered on the edge of ruin. How did such a respected organization, in the words of an iconic New York Post headline, "fall from grace"? Peter J. Wosh explores this question, along with a variety of other compelling issues, as he relates the history of Covenant House. His intricately woven history considers changing perceptions of youth homelessness, the pervasive influence of mass media, and the unique dynamics of faith-based organizations. Drawing extensively on oral histories and rich archival collections, this meticulous and compelling work charts the path of Covenant House from its humble beginnings to its meteoric ascent, through the scandals and crises of the early 1990s, to its eventual reemergence as a strong and respectable charity.

Graffiti writing was born in the streets of Philadelphia in the late 1960s. But it was in New York in the early 1970s that it became a full-fledged urban art, gradually taking over the landscape of the city, from its walls to its subway cars. In these years when this art form was emerging, graffiti pioneers laid its foundations through the constant game they played with the twenty-six letters of the alphabet, which they distorted and highlighted in the tags that they painted on walls. In the first section of this book, Woshe recounts the incredible story of the birth of this culture. He then offers us a detailed examination of the twenty-six letters of the alphabet, their structure and the ways in which graffiti writers have made them evolve. This study is enriched with a wealth of illustrations and examples of the customizations that artists add to their letters. At the end of the volume, ten of the international scene's most talented graffiti creators answer Woshe's questions about matters that include their practice, their relationship with letters and their backgrounds. Interviews to: BATES (Copenhague, Denmark); DARCO (Paris, France); DEMS (Elche, Spain); GESER (Connecticut USA); JURNE (Oakland, CA, USA); LOKISS (Paris, France); SERCH (Zwolle, The Netherlands); SWET (Copenhague, Denmark); SYE (New Yor, NY, USA); ZOER (Grasse, France). This is a writing manual, an inspiring collection of ideas and a beautiful book on the world of graffiti, but above all it is a declaration of love for this culture that mixes urban performance and mastery of letters. It includes a map of New York with the sites where the most important graffiti are located.

Civil war, the completion of transcontinental railroads, rapid urbanization and industrialization, the rise of managerial capitalism, and new entanglements abroad rent the fabric of life in nineteenth-century America. Through all the turmoil, the American Bible Society thrived. This engaging book tells how a modest antebellum reform agency responded to cataclysmic social change and grew to be a nonprofit corporate bureaucracy that managed, among other projects, what was one of the largest publishing houses in the United States.