Fall/Winter 2011 Malcolm Brunetti Kurlansky Bloom IPHIGENIA IN CARTOONING HANK GREENBERG THE ANATOMY FOREST HILLS 978-0-300-17099-3 978-0-300-13660-9 OF INFLUENCE 978-0-300-16746-7 $13.00 $25.00 978-0-300-16760-3 $25.00 $32.50 Ahmed Eagleton Greenough Larson A QUIET WHY MARX MY FARAWAY ONE AN EMPIRE OF ICE REVOLUTION WAS RIGHT 978-0-300-16630-9 978-0-300-15408-5 978-0-300-17095-5 978-0-300-16943-0 $39.95 $28.00 $30.00 $25.00 Swimme/Tucker Hopkinson Abrams/Primack McLynn JOURNEY OF THE EX LIBRIS THE NEW UNIVERSE CAPTAIN COOK UNIVERSE 978-0-300-17163-1 AND THE HUMAN 978-0-300-11421-8 978-0-300-17190-7 $15.00 FUTURE $35.00 $25.00 978-0-300-16508-1 $28.00 RECENT GENERAL INTEREST HIGHLIGHTS 1 General Interest General Interest 1 Your previous book, Beyond Glory, was about the great boxing matches between Joe Louis and Max Schmeling. How did you get from there to Little Rock, 1957? Actually, I began the two projects at roughly the same time. While in Little Rock to do a Clinton-related magazine story in 1999, I visited the museum across from Central High School. Like so many others, I well knew the picture of Elizabeth and Hazel from 1957. So I was Elizabeth and Hazel flabbergasted to see a poster there showing the two of them, now grown Two Women of Little Rock women, standing next to one another, smiling, apparently reconciled. How had that happened? It seemed inconceivable. So I began gathering David Margolick material on it. The two projects share a lot, in addition to their racial themes; each focuses on a discrete event—the first, a fight lasting about two minutes, the second, an exposure lasting probably a sixtieth of a Who were the two fifteen-year-old girls from second—to reveal an era. Little Rock—one black, one white—in one of Was it difficult to find Elizabeth and get her to speak with you? Photographed by Lawrence Schiller © 2011, All Rights Reserved. All 2011, © Schiller Lawrence by Photographed the most unforgettable photographs of the civil No, Elizabeth was in the same house she’d lived in the day the picture rights era? From what worlds did they come? was taken. I had expected her to be resistant but she wasn’t at all, A CONVERSATION particularly once we got going. Elizabeth has an enormous respect for What happened to them? How did the picture WITH history and the historical process. affect their lives? DAVID MARGOLICK And Hazel? Hazel was much more reluctant. Though she left school at seventeen, she’s read widely in the history of American race relations, and knew of The names Elizabeth Eckford and Hazel Bryan the historic alliance between blacks and Jews. For that reason, among Massery may not be well known, but the image of them others, she feared that Elizabeth and I would gang up on her. I made from September 1957 surely is: a black high school girl, a very poor impression on her in our first meeting, and as the fragile friendship she’d struck up with Elizabeth faltered, her position toward dressed in white, walking stoically in front of Little me hardened. It was only seven years later, after an early version of this Rock Central High School, and a white girl standing story appeared in Vanity Fair, that she relented. Then she opened up to directly behind her, face twisted in hate, screaming me, and I came to realize how remarkable a person she, too, is. racial epithets. This famous photograph captures the Did you have any idea that their personal stories would intersect in such full anguish of desegregation—in Little Rock and a fascinating way? throughout the South—and an epic moment in the I knew, from the poster, that they’d come together again. But only later civil rights movement. did I learn that five years or so after the picture was taken, Hazel had called Elizabeth to apologize. That was enormously significant to me, a In this gripping book, David Margolick tells the remark- key to her character. It said to me that for all the skepticism and hostility able story of two separate lives unexpectedly braided Hazel has encountered over the years, she in fact did the right thing in together. He explores how the haunting picture of “Elizabeth and Hazel is a story that the right way: early on, when no cameras were rolling. Elizabeth and Hazel came to be taken, its significance has been crying out to be told ever since two teenaged girls stumbled into The book took you twelve years to complete. Why so long? in the wider world, and why, for the next half-cen- history on a street in Little Rock, more Well, apart from the multitasking that all journalists must do these tury, neither woman has ever escaped from its long days, the story turned out to be endlessly rich. I interviewed dozens of than a half-century ago. Once again, people, some repeatedly, including seven of the other eight of the Little shadow. He recounts Elizabeth’s struggle to overcome Margolick, one of our best reporters, Rock Nine. I shudder to think how many times I questioned Elizabeth; the trauma of her hate-filled school experience, and reveals his remarkable gift for uncovering whenever I told her I was almost certainly done she laughed, because Hazel’s long efforts to atone for a fateful, horrible mis- intimate disputes that illuminate an she knew there would be more questions. Hazel also put up with a lot take. The book follows the painful journey of the two epoch.”—Diane McWhorter, Pulitzer of me. as they progress from apology to forgiveness to recon- Prize–winning author of Carry Me Home: Can you tell us something about your most recent trip to Little Rock? ciliation and, amazingly, to friendship. This friendship Birmingham, Alabama; The Climactic Though my reporting was pretty much finished, I accompanied foundered, then collapsed—perhaps inevitably—over Battle of the Civil Rights Revolution my friend Larry Schiller as he took portraits of the two women. We the same fissures and misunderstandings that continue thought it essential to capture how two faces that are seared into the to permeate American race relations more than half national memory had evolved with time and experience. Two of those a century after the unforgettable photograph at Little photographs appear on the jacket of my book. Being with Elizabeth and Hazel one last time, and recording them once more for history, was Rock. And yet, as Margolick explains, a bond between very moving. Elizabeth and Hazel, silent but complex, endures. September History/Biography DAVid MargOlicK is contributing editor, Vanity Fair, and a fre- Cloth 978-0-300-14193-1 $26.00 quent contributor to the New York Times Book Review. Also available as an eBook. 1 1 256 pp. 6 ⁄8 x 9 ⁄4 33 b/w illus. World 2 General Interest Your previous book, Beyond Glory, was about the great boxing matches between Joe Louis and Max Schmeling. How did you get from there to Little Rock, 1957? Actually, I began the two projects at roughly the same time. While in Little Rock to do a Clinton-related magazine story in 1999, I visited the museum across from Central High School. Like so many others, I well knew the picture of Elizabeth and Hazel from 1957. So I was Elizabeth and Hazel fl abbergasted to see a poster there showing the two of them, now grown Two Women of Little Rock women, standing next to one another, smiling, apparently reconciled. How had that happened? It seemed inconceivable. So I began gathering David Margolick material on it. The two projects share a lot, in addition to their racial themes; each focuses on a discrete event—the fi rst, a fi ght lasting about two minutes, the second, an exposure lasting probably a sixtieth of a Who were the two fi fteen-year-old girls from second—to reveal an era. Little Rock—one black, one white—in one of Was it diffi cult to fi nd Elizabeth and get her to speak with you? Photographed by Lawrence Schiller © 2011, All Rights Reserved. All 2011, © Schiller Lawrence by Photographed the most unforgettable photographs of the civil No, Elizabeth was in the same house she’d lived in the day the picture rights era? From what worlds did they come? was taken. I had expected her to be resistant but she wasn’t at all, A CONVERSATION particularly once we got going. Elizabeth has an enormous respect for What happened to them? How did the picture WITH history and the historical process. affect their lives? DAVID MARGOLICK And Hazel? Hazel was much more reluctant. Though she left school at seventeen, she’s read widely in the history of American race relations, and knew of The names Elizabeth Eckford and Hazel Bryan the historic alliance between blacks and Jews. For that reason, among Massery may not be well known, but the image of them others, she feared that Elizabeth and I would gang up on her. I made from September 1957 surely is: a black high school girl, a very poor impression on her in our fi rst meeting, and as the fragile friendship she’d struck up with Elizabeth faltered, her position toward dressed in white, walking stoically in front of Little me hardened. It was only seven years later, after an early version of this Rock Central High School, and a white girl standing story appeared in Vanity Fair, that she relented.