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As Donald Honig points out in his introduction, 'Every World Series in itself is a tale with beginning, middle, and end, and because there must be a winner, there must be a hero.' Tales of Babe Ruth, Honus Wagner, Grover Cleveland Alexander, Sandy Koufax, and Willie Mays are related by the star ...

As Donald Honig points out in his introduction, 'Every World Series in itself is a tale with beginning, middle, and end, and because there must be a winner, there must be a hero.' Tales of Babe Ruth, Honus Wagner, Grover Cleveland Alexander, Sandy Koufax, and Willie Mays are related by the star players who knew them. Those players recall vivid moments from their World Series games, stretching from 1912 to 1974.

The World of Ruth Draper: A Portrait of an Actress captures the life of the internationally acclaimed monologist and the familial, social, and theatrical worlds in which she lived from the late nineteenth century to the mid-1950s. Dorothy Warren draws on correspondence with family and friends ...

The World of Ruth Draper: A Portrait of an Actress captures the life of the internationally acclaimed monologist and the familial, social, and theatrical worlds in which she lived from the late nineteenth century to the mid-1950s. Dorothy Warren draws on correspondence with family and friends, theatrical reviews, personal interviews, and her own long relationship with Ruth Draper in crafting this biography.

Born in New York City in 1884, Ruth Draper began giving monologues at private parties and schools at the age of twenty-six and made her professional debut in 1920 at London's AEolian Hall. In charting the course of Draper's impressive career, Warren follows her performances on stages around the world, including private recitals for Sarah Bernhardt, Eleonora Duse, and the royal families of Britain, Spain, and Belgium. Warren also devotes a significant discussion to Draper's relationship with Lauro de Bosis, the Italian poet and political activist whose 1931 disappearance while dropping anti-Fascist pamphlets over Rome remains unexplained. Draper's long stage reign ended when she died in her sleep following a performance in New York City in December 1956.

Ruth Draper's specialty was the monologue, a dramatic composition for a single performer evoking other characters upon the stage. She had in her repertoire sixty dramatic sketches featuring fifty-two characters whom she performed, as well as 316 others whom she evoked during the course of the sketches. Some of her better-known sketches were Opening the Bazaar, Vive la France -- 1940, The Scottish Immigrant, The Actress, and In County Kerry.

Draper's unique quality was her ability to project an illusion, to evoke upon the stagethe characters with whom she conversed and interacted. Lynn Fontanne said of this faculty of Draper's: "There is the flavor of parlor magic in it -- something of conjuring". Bernard Levin, writing in the Times of London on Ap

Ruth Crawford Seeger (1901-1953) is frequently considered the most significant American female composer in this century. Joining Aaron Copland and Henry Cowell as a key member of the 1920s musical avant-garde, she went on to study with modernist theorist and future husband Charles Seeger, writing ...

Ruth Crawford Seeger (1901-1953) is frequently considered the most significant American female composer in this century. Joining Aaron Copland and Henry Cowell as a key member of the 1920s musical avant-garde, she went on to study with modernist theorist and future husband Charles Seeger, writing her masterpiece, String Quartet 1931, not long after. But her legacy extends far beyond the cutting edge of modern music. Collaborating with poet Carl Sandburg on folk song arrangements in the twenties, and with the famous folk-song collectors John and Alan Lomax in the 1930s, she emerged as a central figure in the American folk music revival, issuing several important books of transcriptions and arrangements and pioneering the use of American folk songs in children's music education. Radicalized by the Depression, she spent much of the ensuing two decades working aggressively for social change with her husband and stepson, the folksinger Pete Seeger. This engrossing new biography emphasizes the choices Crawford Seeger made in her roles as composer, activist, teacher, wife and mother. The first woman to win a Guggenheim Foundation Fellowship in music composition, Crawford Seeger nearly gave up writing music as the demands of family, politics, and the folk song movement intervened. It was only at the very end of her life, with cancer sapping her strength, that she returned to composing. Written with unique insight and compassion, this book offers the definitive treatment of a fascinating twentieth-century figure.