Washington, DC — The War of 1812 and the Rise of the U.S. Navy (National Geographic Books; on sale March 27, 2012; hardcover; $30) is the U.S. Navy's official commemorative book of the 200th anniversary of the War of 1812. It presents a sweeping panorama of a defining moment in the American story and is a must-read for maritime aficionados and general history buffs. The book depicts the first true global conflict of a young and expanding nation and was produced by the Naval History and Heritage Command as an authoritative history of the naval War of 1812.

Renowned historian Douglas Brinkley states in his foreword that this is the most "intellectually engaging" book he has encountered on the War of 1812. With its spectacular illustrations — from privateer recruiting posters to prints depicting famous naval duels to frigate ship models chiseled out of bone by prisoners of war — "every page brings the War of 1812 vividly to life," he writes. The book, broken into chapters covering the periods 1812 to 1815, shares fresh historical recollections, personal reminiscences of the war and detailed histories through vibrant images and intimate stories.

The preface is provided by Secretary of the Navy Ray Mabus, and the afterword is written by Admiral Gary Roughead, chief of naval operations.

The U.S. Navy's commemoration of the bicentennial of the War of 1812 and the Star-Spangled Banner will comprise a series of public events in historically significant locations in partnership with OpSail. Highlights include visits by U.S. and foreign warships and tall ships, as well as air shows. Dates and locations:

• New Orleans: April 17-23
• Fort Lauderdale, Fla: April 25-30
• New York City: May 23-30
• Portland, Maine: Dates TBD
• Norfolk, Va: June 2-12
• Baltimore: June 13-19
• Boston: June 29-July 6
• New London, Conn: July 7-9

About the Authors

David A. Taylor is the author of the award-winning books "Soul of a People: The WPA Writers' Project Uncovers Depression America," "Ginseng, the Divine Root" and "Success: Stories," a fiction collection. His work has appeared in such publications as Smithsonian, The Washington Post, Village Voice, The American Scholar and Outside. Taylor has written and co-produced documentary films for PBS, the National Geographic Society, Discovery Channel and the Smithsonian Channel, including "Soul of a People," which was nominated for a 2010 Writers Guild award.

Mark Collins Jenkins, a former archivist at the National Geographic Society, has written on a wide range of historical topics. His books include "The Civil War: A Virtual History," "Vampire Forensics: Uncovering the Origins of an Enduring Legend," "The Book of Marvels: An Explorer's Miscellany," "Odysseys and Photographs: Four National Geographic Field Men" and "Worlds to Explore: Classic Tales of Travel and Adventure from National Geographic."

Douglas Brinkley is professor of history at Rice University and the author of a number of award-winning and bestselling books, including "The Mississippi and the Making of a Nation" (with Stephen Ambrose), "The World War II Memorial," "The Great Deluge" and "The Wilderness Warrior: Theodore Roosevelt and the Crusade for America." Six of his books have been selected as New York Times Notable Books of the Year. He is a regular commentator for CBS News and a contributing editor to Vanity Fair magazine.

America’s Privateer: Lynx and the War of 1812, J. Dennis Robinson. Lynx Educational Foundation, 184 pages, with 190 color photos, paintings and maps, oversize hardcover, $34.95.

One of the great things about tall ships is that you can’t go wrong with a good picture. Virtually all large sailing vessels are photogenic to a fault, particularly when all the sails are run out, and the boat is almost sliding across the water. Lynx is no exception. The new coffee-table book, America’s Privateer: Lynx and the War of 1812, published by the Newport Beach, Calif.-based Lynx Educational Foundation, takes maximum advantage of this camera-loving vessel, while author J. Dennis Robinson engages the reader with an interesting, if sometimes over-the-top story.

Launched in 2001, Lynx is a replica of type of highly-maneuverable topsail schooner with distinctive raking masts and a unique purpose: prey on British merchant vessels and warships on behalf of the U.S. government. The modern Lynx was inspired by a similar ship of the same name built near Baltimore during the War of 1812, and although her career lasted less than a year, her story, particularly her design, inspired maritime historian Howard Chapelle, which included a drawing of her in his landmark book, The Search for Speed Under Sail. Businessman and history buff Woodson K. Woods saw the drawing and decided he wanted a boat just like it.

The original Lynx sailed with a “letter of marque,” a license to attack enemy ships. During the War of 1812, the U.S. issued these licenses—a common practice among nations at the time—to expand the number of ships that could engage a powerful adversary, in this case, the Royal Navy. Investors would build a ship specifically designed for “privateering” in hopes of taking cargo or ships and selling them for a huge profit. Although patriotism certainly played a role in these “cruizes of opportunity,” a single prize could make a man (the investors at least) rich. Robinson makes a convincing case that privateers are an under-appreciated aspect of the War of 1812. But that doesn’t make the investors, captains, and crews admirable people. Privateers weren’t pirates, in the sense that they operated within the law. But their methods and ultimate motivation were hardly much different.

Woods’ much nobler motivation for building the modern Lynx was educational; he envisioned a platform on which young people could discover the nation’s maritime history, specifically the history of the War of 1812. He asked designer Melbourne Smith, who also designed the brig Niagara and the schooner Californian, to create Lynx. Robinson takes great pains to show how Lynx was constructed by amazing craftsmen and women at Rockport Marine in Rockport, Maine. The story of towing the 99-ton Lynx across a bridge to its launch site is harrowing. And Robinson manages to reveal a little bit of Woods’ character, beyond his love of country. “[Woods] ‘blessed’ the project by tying red bunting in every corner of the boat shop to ward off witches and evil spirits,” Robinson writes.

A prolific writer of local history and editor of SeacoastNH.com, Robinson sometimes falls in the trap of many maritime writers: too much “salty talk” and an almost hagiographic treatment of life on the water. Although I have never gone to sea, it’s clear enough to me that even in the 21st century, it’s a dangerous, unpredictable, and sometimes ruinous way to make a living. That was certainly the case for the original Lynx. But America’s Privateer is valuable because its gorgeous layout, stunning imagery (some photos by Woods), and intelligent description of the historic and modern Lynx are sure to spark conversations wherever it’s found.

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When the subject of “unusual jobs” comes up, tall ship sailor should definitely make the list. So should “comic book artist.” It’s truly amazing when one person combines both, and that’s what Lucy Bellwood of Portland, Ore., has done. As a citizen in the U.S. and Great Britain, she styles herself at “America's one and only dual citizen tall ship-sailing cartoonist.” She’s the author of two volumes of a comic called “Baggywrinkles,” and she’s an experienced hand on the tall ship Lady Washington. She took some time to answer a few questions from Fyddeye.

How did you get interested in tall ships? When I was in high school in the southern California town of Ojai, I’d often dreamed of a practical way of going to sea. One day, I ran across a list of working replicas, and learned that many of them offered volunteer programs. Then I discovered that the brig Lady Washington would visit Ventura and I booked spots for a sail.

I can't really do justice to the excitement and exhilaration I experienced during those first three hours on board. Mostly I was fascinated by the crew -- their easy camaraderie, boundless enthusiasm, and dedicated competence were inspiring, to say the least. I hadn't a nautical bone in my body, but I'd always loved the feeling of working with others to create something bigger than the sum of its parts.

A few months later, I completed a two-week volunteer stint on Lady Washington. I was petrified, but I was also utterly aflame with the thrill of actually doing this thing I'd spent so much time reading about in books and seeing on screen. I returned twice for a stint in the San Juan Islands in Washington state (heavenly) and a vomit-filled transit from Aberdeen, Wash., to San Francisco. Later, after I returned from an eight-month trip outside the country, I signed on Lady Washington again. I suppose there's no hope for me now.

How did you get interested in comics as an artist? Rather like sailing, comics were a late-blooming passion for me. I grew up exceedingly passionate about drawing and writing, but didn't quite realize that I could put the two together until I entered college. After spending some time at Reed College, I took a summer course at the Center for Cartoon Studies in White River Junction, Vermont.

The five days I spent there were staggeringly inspirational, life-changing to the same degree that my first trip aboard the Lady Washington had been. The 35 workshop participants ate, slept, and breathed comics the entire course. My goal was to create an eight-page story, but I arrived with no clue as to what it would be about. I began doodling a mast and a few sails, and realized that the story of my first experiences on a tall ship would be excellent fodder for a small comic.

The 17th century chest attributed to Captain William Kidd has had a nomadic and storied history, almost as itinerant as its legendary former pirate owner. Now, it has found its way from the UK to a new home at the St. Augustine Pirate & Treasure Museum in St. Augustine, Fla.

The chest was acquired by museum founder Pat Croce from George Edmunds, a historian, collector and author of Kidd: The Search for His Treasure. The artifact is exhibited in the museum’s Captain’s Cabin alongside the 1699 ship’s log of Kidd’s final voyage to Execution Dock. “Finally, after a decade of pestering Mr. Edmunds to sell me Kidd’s Chest, the dream has come true!” Croce said.

Research conducted by Edmunds and another previous owner, Hubert Palmer, in the 19th century suggests the chest was once in Kidd’s possession. The beautifully crafted wooden chest features a brass plate around a worn keyhole inscribed with ‘Captain Kidd, Leith, Scotland’, and a 1668 King Charles II silver shilling. The interior of the wooden chest is lined with worn pages from a 17th century book. And it is rumored to have once had a false bottom that concealed sea charts and maps.

“This is really a priceless addition to our extensive collection of authentic pirate artifacts, especially since it’s from one of the most infamous pirates of all time,” said executive director Cindy Stavely.

Kidd’s Chest once belonged to brothers Guy and Hubert Palmer before WWII. Hubert Palmer, a collector and recognized authority on piracy, acquired the chest during his investigation of four charts found among Kidd’s belongings. After Palmer's death, the chest was held by barrister Anthony Howlett before it was gifted to Edmunds and then acquired by Croce after much perseverance. Croce met Edmunds through Phil Masters, who discovered Blackbeard's ship off the North Carolina coast in 1996.

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