This is a new release of the original 1954 edition.

Maurice Saatchi is dead. He is standing in front of the Gates of Heaven. Arrival halls worse than Heathrow Airport. Queues. Overcrowding. A tidal wave of Paradise seekers. ID scans. Voice and facial recognition. X-ray examinations. Background checks. It all seems like a bad dream. His tests expose abnormalities. He is charged with multiple breaches of immigration law and detained pending a full jury trial. The verdict will reveal the biggest secret of all time: why some people go to Heaven and others to Hell. Do Not Resuscitate is a bold statement. Maurice Saatchi, a towering figure in the worlds of business and politics, frames his unsparing self-portrait with the conceit of a celestial trial in which his application to pass through the Gates of Heaven is heard before a jury featuring luminaries like Marilyn Monroe, Pablo Picasso, Chairman Mao, and Margaret Thatcher. In seeking admission to Heaven, Saatchi offers a defence like no other.

The only interview ever granted by the man generally assumed to have been B Traven, pseudonymous author of The Treasure of the Sierra Madre , The Death Ship and eight Mexican novels. Plus a postscript “My Second Thoughts about B. Traven, variously known as Ret Marut, Richard Maurhut, Berick Traven Torsvan and Hal Croves. An unknown Russian sailor adds to the mystery. “Second Thoughts” was my contribution to an international conference on the author at Penn State University in 1987. It was among the papers published by Pennsylvania State University Press in 1987.

pp. 47 Limited edition number 74/ 250 .Signed by the author and illustrator on limitation with a separate suite of 24 original etchings each signed by Moskowitz.

The fiction and reportage included in The Last Carousel, one of the final collections published during Nelson Algren's lifetime, was written on ships and in ports of call around the world, and includes accounts of brothels in Vietnam and Mexico, stories of the boxing ring, and reminiscences of Algren's beloved Chicago White Sox, among other subjects. In this collection, not just Algren's intensity but his diversity are revealed and celebrated.

A hilarious guide to masculinity and self-destruction. Fifty years have passed since the death of Ernest Hemingway, history's ultimate man, and young males today-obsessed with Facebook, Twitter, and Nintendo-know nothing about his legendary brand of rugged, alcoholic masculinity. They cannot skin a fish, dominate a battlefield, or transform majestic creatures of the Southern Hemisphere into piano keyboards.With chapters such as "For Whom the Beer Flows," "Death in the Afternoon... Lunch is Served," and "The Old Man and the See You in Hell," former Esquire editor Marty Beckerman demonstrates how millions of technology-addled eunuchs-brainwashed by PETA and Alcoholics Anonymous-can learn from Papa's glorious example: drunken, unshaven, meat-devouring, wife-divorcing, and suicide-committing.The Heming Way is a difficult path, and not for the weak, but truth is manlier than fiction.

Kahane, father of Olympia Press founder Maurice Girodias, recalls his life and his incredible publishing run in Paris from '31-39.

'Seated at a café table, in the syrupy warmth of out-of-season Nice, he reviewed his life and found it to be alarmingly empty.' George Bland had planned to spend his retirement in leisurely travel and modest entertainment with his friend Putnam. When Putnam dies George is left attempting to impose some purpose on the solitary end of his life. Then Katy Gibb appears as a temporary resident, perhaps even squatter, in a neighbouring apartment. Greedy, selfish, sometimes alluring, often manipulative, Katy exerts a strange influence on George, forcing him to recognize that his own careful, fastidious life has shown a distinct lack of passion and daring. As the realization takes hold, George must decide how much - or how little - he can do to transform the status quo .

Capturing a behind-the-scenes glimpse into the world of science fiction, this unique autobiography by Robert Silverberg shows how famous stories in this genre were conceived and written. Chronicling his career as one of the most important American science fiction writers of the 20th century, this account reveals how he rose to prominence as the pulp era was ending--and the genre was beginning to take on a more sophisticated tone--to eventually be named a Grand Master by the Science Fiction Writers of America. Stating that this will be his only autobiographical work, Silverberg's book includes rare photos, ephemera from his own archives, and a complete bibliography of his works, from novels and short story collections to nonfiction.

My Less Than Secret Life is the companion volume to Jonathan Ames's first memoirish endeavor, "the mildly perverted and wildly amusing" (Vanity Fair) What's Not to Love? This collection of the cult author's fiction and essays includes Ames's public diary, the bi-weekly columns he penned for the New York Press. The entries of this diary are a record of his mad adventures: his ill-fated debut as an amateur boxer fighting as ‘The Herring Wonder', a faltering liaison with a Cuban prostitute, his public outing of George Plimpton as a Jew, his discussion with Eve Ensler about his dear friend The Mangina, a renegade mission as a Jew into the heart of Waspy Maine, and other such harrowing escapades. Whether trying to round up a partner for an orgy, politely assisting in an animal sacrifice, or scamming tickets to the WWF's Royal Rumble for his son, Jonathan Ames proves himself a ballsier Everyman whose transgressions and compassionate meditations will satisfy the voyeur and encourage the halfhearted. But be warned. As Jonathan says, "I don't like to be a bad influence. It's bad enough that I have influence over myself." "...Ames has always been one of my favorite contemporary writers ... for his ... fearless commitment to the most demanding psychosexual comedies."—Rick Moody

"Here is a singular story of survival, an earthly miracle wrought by family devotion, gardens, horses, guts. A compelling read."—Carolyn Heilbrun In July 1998, when Maxine Kumin's horse bolted at a carriage-driving clinic, she was not expected to live. Yet, less than a year later, her progress pronounced a miracle by her doctors, she was at work on this journal of her astonishing recovery. She tells of her time "inside the halo," the near-medieval device that kept her head immobile during weeks of intensive care and rehabilitation, of the lasting "rehab" friendships, and of the loving family who always believed she would heal. "[S]he resonates wisdom while announcing a triumph of body and soul."—Anne Roiphe, New York Times Book Review "Maxine Kumin brings the sensitivity and imagination of a poet to her extraordinary ordeal."—Richard Selzer, author of Mortal Lessons: Notes on the Art of Surgery "From a singular experience she has created a lesson that is universal, which, it seems to me, is the essence of being a poet."—Abraham Verghese, author of The Tennis Partner

The revelation that a long forgotten novel first published anonymously in 1834 is the work of Benjamin Disraeli and his sister Sarah is an exciting literary event. Newly discovered letters between brother and sister prove without doubt that it was written jointly by them. We do not have to look far for the reason for their secrecy. The vividly described election which forms the centrepiece of the story is clearly based on Disraeli's recent experiences as an unsuccessful candidate in two elections at High Wycombe. His political career had a long way to go and the last thing he wanted was to jeopardize it by revealing his motives in the past or his hopes for the future. The hero, Aubrey Bohun, has, like Disraeli, recently returned from mysterious travels in the East, but unlike him has his own castle and an income of £30,000 a year. Bohun obviously contains an element of wish fulfilment and allows the authors to incorporate in the novel elements of wish fulfilment and allows the authors to incorporate in the novel elements of a popular genre known in its day as 'silver fork' fiction – revelations of high life. Although there is much of this and of melodrama too, there is also some splendid social irony. Michael Foot says 'the volume is quite fit to takes its place in the true Disraeli canon and contains many gems which add fresh gleams to the portrait of Disraeli himself.' Two appendixes explain the literary detection that proved the book's authorship and the parallels between the politics of Aubrey Bohun and Disraeli.

"Lupoff writes with intelligence, humor, wisdom, and a zest for life. He had a lot of fun writing this book, and it shows; because of it, we have a lot of fun reading it."Joe Gores, author of Hammett Where Memory Hides is a guided tour through the life and career of mystery and science fiction's most versatile practitioner. Richard A. Lupoff has been a professional author for six decades, and a life-time fan of everything from pulp magazines to comic books, science fiction and mystery, and more. As the extensive bibliography (included in this book) demonstrates, Lupoff's credits run the gamut of fiction, nonfiction, mainstream publishing, and fan journals. In the 1960s, he penned All In Color For a Dime , a foundation-laying work for modern comic book fandom, and Edgar Rice Burroughs: Master of Adventure , a study of Tarzan's creator. The Comic Book Killer and Marblehead are among his best-known novels. His short story 12:01 PM , filmed twice in the 1990s, added a new sub-genre to science fiction and spawned a legion of imitators. In Where Memory Hides , Lupoff regales readers with triumphs and tribulations from his six-decade plus career. He also offers insights on writing, haggling with agents, and literary criticism of authors such as Dashiell Hammett, H.P. Lovecraft, Edgar Rice Burroughs, and many others. This autobiography is available in two editions -- a standard trade paperback edition, and a paperback collector's edition with color graphics throughout. "... (Lupoff's) books and stories, I can testify, having read a great many of them and published some myself, almost unfailingly display not only his intelligence and perceptivity, but also the grace and charm of his wit, the skill of his narrative technique, and the exemplary individuality of his ideas. That is to say, he's a damned good writer."Robert Silverberg, author of The Book of Skulls "... Although in his 80s, Lupoff still writes with the enthusiasm of a young fan ..." Publisher's Weekly

Much of A.M. Klein's finest prose is to be found in the mass of uncompleted work that he abandoned at the time of his breakdown, and that became accessible only when his papers were deposited in the National Archives. Notebooks offers a generous selection of this work, revealing previously unsuspected facets of Klein's character and artistry. The fiction, criticism, and memoirs collected here focus on Klein's exploration of the role of the artist. The works illuminate crucial periods of his career, especially the early 1940s, when he was transforming himself into a modernist, and the early 1950s, when he was struggling to overcome the misgivings about his art that were to lead to his final breakdown. The semi-autobiographical text which Klein referred to as 'Raw Material' and the unfinished novel of prison life entitled 'Stranger and Afraid' cast a new light on Klein's often frustrating relationship with the Montreal Jewish community. In 'Marginalia' he discusses poetic form and technique and makes observations on the nature of poetry, thereby providing insights into his own concerns as a writer. In 'The Golem,' a profoundly ambiguous treatment of the act of creation, a self-portrait emerges of a storyteller who has lost faith in the power and value of his story. The volume includes a critical introduction, that places the material in the context of Klein's other works, as well as textual and explanatory notes.