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In 'Bunker Hill Los Angeles: Essence of Sunshine and Noir', historian Nathan Marsak tells the story of the Hill, from the district's inception in the mid-nineteenth century to its present day. Marsak commemorates the poets and writers, artists and activists, little guys and big guys, and of course, the many architects who built and rebuilt the community on the Hill - time after historic time. Any fan of American architecture will treasure Marsak's analysis of buildings that have crowned the Hill: the exuberance of Victorian shingle and spindlework, from Mission to Modern, from Queen Anne to Frank Gehry, Bunker Hill has been home to it all, the ever-changing built environment.
A compendium of historic crimes and strange occurrences in the Bunker Hill area of Los Angeles
My first collision with fame was hardly memorable. I was a busboy at Marx's Deli. The year was 1934. The place was Third and Hill, Los Angeles. I was twenty-one years old, living in a world bounded on the west by Bunker Hill, on the east by Los Angeles Street, on the south by Pershing Square, and on the north by Civic Center. I was a busboy nonpareil, with great verve and style for the profession, and though I was dreadfully underpaid (one dollar a day plus meals) I attracted considerable attention as I whirled from table to table, balancing a tray on one hand, and eliciting smiles from my customers. I had something else beside a waiter's skill to offer my patrons, for I was also a writer.
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When postwar movie directors went looking for a gritty location to shoot their psychological crime thrillers, they found Bunker Hill, a neighborhood of fading Victorians, flophouses, tough bars, stairways and dark alleys in downtown Los Angeles. Novelist Raymond Chandler had already been there exploring the real-life "mean streets" that his hardboiled detective, Philip Marlowe, prowled in the writer's exacting prose. But the biggest crime was going on behind the scenes, run by the city's power elite. And Hollywood just happened to capture it on film. Using nearly eighty photos, writer Jim Dawson enlarges the record of L.A. history with this grassroots investigation of a vanished place.
What lights the spark that ignites a revolution? What was it that, in 1775, provoked a group of merchants, farmers, artisans and mariners in the American colonies to unite and take up arms against the British government in pursuit of liberty? Nathaniel Philbrick, the acclaimed historian and bestselling author of In the Heart of the Sea and The Last Stand, shines new and brilliant light on the momentous beginnings of the American Revolution, and those individuals – familiar and unknown, and from both sides – who played such a vital part in the early days of the conflict that would culminate in the defining Battle of Bunker Hill. Written with passion and insight, even-handedness and the eloquence of a born storyteller, Bunker Hill brings to life the robust, chaotic and blisteringly real origins of America.
The literary image of Los Angeles has evolved since the 1880s from promotional literature that hyped the region as a New Eden to contemporary visions of the city as a perplexing, sometimes corrupt, even apocalyptic place that reflects all that is wrong with America. In Imagining Los Angeles, the first literary history of the city in more than fifty years, critic David Fine traces the history and mood of the place through the work of writers as diverse as Helen Hunt Jackson, Mary Austin, Norman Mailer, Raymond Chandler, Joan Didion, Carolyn See, and many others. His lively and engaging text focuses on the way these writers saw Los Angeles and used the image of the city as an element in their work, and on how that image has changed as the city itself became ever larger, more complex, and more socially and ethnically diverse. This is essential reading for anyone interested in the literature and changing image of Southern California.
Chronicles the events of the Battle of Bunker Hill and the beginning of the American Revolution, describing key figures from both sides, and how the battle's outcome influence British strategy throughout the course of the conflict.
An African-American man accused of rape by a humiliated girl. A vengeful father. A courageous attorney. A worshipful daughter. Think you know this story? Think again. Laura Lippman, the “extravagantly gifted” (Chicago Tribune) New York Times bestselling author, delivers “one of her best novels ” (Washington Post)—a modern twist on To Kill a Mockingbird. Scott Turow writes in the New York Times, “Wilde Lake is a real success.” Luisa “Lu” Brant is the newly elected state’s attorney representing suburban Maryland—including the famous planned community of Columbia, created to be a utopia of racial and economic equality. Prosecuting a controversial case involving a disturbed drifter accused of beating a woman to death, the fiercely ambitious Lu is determined to avoid the traps that have destroyed other competitive, successful women. She’s going to play it smart to win this case—and win big—cementing her political future. But her intensive preparation for trial unexpectedly dredges up painful recollections of another crime—the night when her brother, AJ, saved his best friend at the cost of another man’s life. Only eighteen, AJ was cleared by a grand jury. Justice was done. Or was it? Did the events of 1980 happen as she remembers them? She was only a child then. What details didn’t she know? As she plunges deeper into the past, Lu is forced to face a troubling reality. The legal system, the bedrock of her entire life, does not have all the answers. But what happens when she realizes that, for the first time, she doesn’t want to know the whole truth?