The White Bridge coming soon.

The White Bridge, around January, From All Things That Matter Press.

Brace yourself for a topsy-turvy ride through the Jazz Age and beyond when the villains are the social planners and evil is a dance step away from the riveting times. The White Bridge is a parody about racism in America and its relationship to the worst imaginable evil—that of Nazi Germany and its warped final solution.
Like its predecessor, Ghost Runners, Rubenstein wants the dialogue to continue that accuses American corporate greed with complicity in the death of millions. The caricatures of some of the most influential people of the times—Margaret Sanger, Oliver Wendell Holmes, John D. Rockefeller, Jr., Henry Ford, Alfred Pritchard Sloan—the white dancing troupe, The Rockettes, are shown full-blown in their most venomous, satirical incarnations. Even the beloved Nordic Spruce, the symbol of a …white Christmas turns dark and dreary, and with Rubenstein’s pen, becomes despised. When sportsmen are the heroes of the times—Jesse Owens, Barney Ross, and women who must fight against the hands of male dominance—when doppelgängers are suddenly menacing and Groucho has another skin—when Oliver Hardy, even Al Capone and Jack Ruby seem more human than Woodrow Wilson, or the Ku Klux Klan, or the eugenicists who want a nativist’s dream—something white, becomes a blackened dream.
The White Bridge tells all—the Baby Farms, the vigilantes, the horror of lynching and forced sterilizations of undesirables. Not in Germany, but here, before Hitler, in places like Lynchburg, Virginia, or hospitals in Stockton, California.
Yet between the horrors of being, The White Bridge is also … a love story of twisted passions, of jilted lovers. Isn’t that what America is really all about? The passion of of its citizens seeking justice, the love for the bridegroom America, and the lies of unrequited love, confounding our hopes like star-crossed lovers who dared to dream in a hostile place.
A great woman reporter for The Chicago Daily News in over her head with the likes of Carl Sandburg and Ben Hecht, Ginger Lee fights for a place, goes where the story is—even dressing up as a black heroine in a joyride at the Chicago World’s Fair. Ginger Lee is compelled to solve a heinous crime. No stone is sacred or unturned, even George Washington’s. The solution lays bare the best and the worst of America, and has her coming up for air, carrying a Beretta, thinking about bullets and vengeance. But could a gentle lady pull the trigger, and where might she aim?
Often with hysterical, dark humor, Rubenstein's aim is blacker than a Marcus Pinckus Chassidic dress coat—dark is his unrelenting passion for the story to be re-told beyond the melodrama of the silent celluloid, radio, and sports nostalgia. History is a tale of unrequited love, dark passions, frustrations that implode with sadism and longings unfulfilled. It is a fractured fairy tale; he likes to say, like Rocky and Bullwinkle. The White Bridge—the crossing must be undertaken—a ride that aims to rock you scare you to the roots of America’s most cherished…foundation.