Indianapolis, IN: Bobbs-Merrill, [1964]. First? Edition. First? Printing. 20 cm, 200, color illus., front DJ flap price clipped, some wear and tears to DJ. More

n.p. Associated Press, c. 1963. Quarto, 100, profusely illus., some soiling to a few pages, creasing at top of spine, edges of spine worn, boards slightly scuffed. More

Boston, MA: Houghton Mifflin, 1969. Third Printing. 656, illus., footnotes, appendices, index, some wear to DJ edges. More

Boston, MA: Houghton Mifflin Company, 1999. First Edition. First Printing. 194, illus. More

Boston, MA: Houghton Mifflin, 1986. First Printing. 24 cm, 449, index, DJ worn, soiled, chipped, and torn. More

New York: David McKay Company, Inc., 1969. Presumed first printing. Hardcover. x, 396, [2] pages. Illustrations. Some page and fore-edge soiling. DJ has some wear, soiling, tears and chips. The Author, Mary Gallagher, is uniquely situated to understand the real woman beneath the goddess figure that the world made of Jacqueline Kennedy, having been her personal secretary for eight years. She was privy to Mrs. Kennedy in her white house years as well as the years of her marriage before he took office. She was with her on that black day in Dallas. This is an intimate look at the real woman behind the legend. It is not a tell-all that betrays, but a peek at a woman who was the Queen of Camelot. Frances Spatz Ornstein Leighton (September 4, 1919 – April 6, 2007) was an American author best known for her ghostwriting of accounts of Washington, D.C., life. Leighton wrote or ghostwrote over 30 books, including My Thirty Years Backstairs at the White House (1961) and My Life with Jacqueline Kennedy (1969). She was born in Ohio and attended Ohio State University. Leighton soon moved to Washington, D.C., where she worked as a journalist for several publications, including The American Weekly. She ghostwrote her first memoir in 1957, of a chef for the President of the United States. After publishing several successful books, she became a very popular ghostwriter. More

New York: Sheridan Square Press, 1988. First Edition. Fourth Printing. 342, illus., endpaper maps, notes, index, slight wear to DJ, black dot on top edge. More

Washington, DC: The Brookings Institution, 1989. Revised Edition. First Printing. 236, wraps, footnotes, index, staple holes in front cover. More

Washington, DC: GPO, 1985. Wraps. 424 pages. Part II only, map, footnotes, appendix, notes on sources, index, some wear and soiling to covers and spine. xiii, [1], 424, [2] pages. Vol. 2 only. Wraps. Map. Footnotes. Appendix. Notes on Sources and Style. Index. Slight wear and soiling to covers. "This is a study of U.S. government policymaking during the 30 years of the Vietnam war, 1945-75, beginning with the 1945-1960 period. Although focusing on the course of events in Washington and between Washington and U.S. officials on the scene, it also depicts major events and trends in Vietnam to which the U.S. was responding, as well as the state of American public opinion and public activity directed at supporting or opposing the war."--Preface from Volume I. Volume 2 of a five-volume study prepared for the Committee on Foreign Relations of the U.S. Senate on the formulation of Vietnam policy during the Kennedy and Johnson administrations. This second volume begins with the inauguration of President John F. Kennedy, and continues through President Lyndon B. Johnson's first year in office. During these four years, the U.S. commitment was expanded, and the number of American military personnel in Vietnam rose from 800 to almost 20,000. More

New York: Sheridan Square Press, 1994. First Printing [Stated]. Trade paperback. ix, [1], 195, [5] pages. Footnotes. Bibliography. Endnotes. Index. Cover has slight wear and soiling. Donald Gibson was born and raised in the Philadelphia area. He served as a communications analyst in the United States Air Force during the 1960s. Don is a Professor of Sociology at the Greensburg campus of the University of Pittsburgh. He received his Ph.D. from the University of Delaware and taught on that campus as well as at Middlebury and Oberlin Colleges. Professor Gibson’s research on social power and on U.S. economic problems led him to writing on the administration of John F. Kennedy and related topics around the struggle between economic democracy and elitist oligarchy. More

Urbana, IL: University of Illinois Press, c2001. First Printing. 24 cm, 299, illus., discography, index, small scratch and sticker residue to DJ, ephemera laid in. More

Cleveland, OH: The World Publishing Company, 1964. First Edition [stated], presumed first printing. Hardcover. 319, [1] pages. Frontis illustration. Appendix. Bibliography. Index, DJ somewhat soiled and stained and some edge tears and wear. Harry Lewis Golden (May 6, 1902 – October 2, 1981) was an American writer and newspaper publisher. In 1941, he moved to Charlotte, where, as a reporter for the Charlotte Labor Journal and The Charlotte Observer, he wrote about and spoke out against racial segregation and the Jim Crow laws of the time. From 1942 to 1968, Golden published The Carolina Israelite as a forum, not just for his political views but also observations and reminiscences of his boyhood in New York's Lower East Side. He traveled widely: in 1960 to speak to Jews in West Germany and again to cover the 1961 trial of Adolf Eichmann in Israel for Life. He is referenced in the lyrics to Phil Ochs' song, "Love Me, I'm a Liberal": "You know, I've memorized Lerner and Golden." His satirical "The Vertical Negro Plan," involved removing the chairs from any to-be-integrated building, since Southern whites did not mind standing with blacks such as at bank tellers' windows, only sitting with them. Golden reportedly convinced a southern department store manager to put an "Out of Order" sign by the water fountain marked White; within three weeks all were drinking from the Colored-designated drinking fountain. Calvin Trillin devised the Harry Golden Rule, which states that "in present-day America it's very difficult, when commenting on events of the day, to invent something so bizarre that it might not actually come to pass while your piece is still on the presses." More