Traces the story of dancer-turned-magician's assistant Adelaide Herrmann, placing her achievements against a backdrop of period conventions about women in the arts and her determination to continue her work after the death of her husband.

A Holocaust survivor recounts her journey to her family's hometown of Šamorín, Slovakia, to exhume the bodies of her grandparents from a Jewish cemetery that would soon be flooded by a new dam on the Danube River, and take the bodies to Israel for reburial.

Renowned author Kati Marton tells how her journalist parents survived the Nazis in Budapest and were imprisoned by the Soviets.

Written as a character study, Young Hamilton, explores the first twenty-six years of Alexander Hamilton's life and is designed to reveal how Hamilton's early years shaped him into the statesman he became.

When Hamilton Jordan died of peritoneal mesothelioma in 2008, he left behind a mostly finished memoir, a book on which he had been working for the last decade. Jordan's daughter, Kathleen - with the help of her brothers and mother - took up the task of editing and completing the book. A Boy from Georgia - the result of this posthumous father-daughter collaboration - chronicles Hamilton Jordan's childhood in Albany, Georgia, charting his moral and intellectual development as he gradually discovers the complicated legacies of racism, religious intolerance, and southern politics, and affords his readers an intimate view of the state's wheelers and dealers. Jordan's middle-class childhood was bucolic in some ways and traumatizing in others. As Georgia politicians battled civil rights leaders, a young Hamilton straddled the uncomfortable line between the southern establishment to which he belonged and the movement in which he believed. Fortunate enough to grow up in a family that had considerable political clout within Georgia, Jordan went into politics to put his ideals to work. Eventually he became a key aide to Jimmy Carter and was the architect of Carter's stunning victory in the presidential campaign of 1976; Jordan later served as Carter's chief of staff. Clear eyed about the triumphs and tragedies of Jordan's beloved home state and region, A Boy from Georgia tells the childhood story of a remarkable life in a voice that is witty, vivid, and honest. -- from dust jacket.

Golo Mann, noted German historian and the third of Thomas Mann's children, tells the story of his childhood and youth ; the narrative spans the years from his birth in 1909 to 1933.

The first biography of Pericles in a century, written by a renowned scholar and teacher, offers a classical model for today's political leaders. Kagan reminds readers of the fragility of democracy and uses Pericles as an example of the kind of strong political leadership so urgently needed today.

Radclyffe Hall was born in 1884 in Bournemouth in a house of horrors called 'Sunny Lawn'. It was an unhappy childhood, until her father's death when Radclyffe inherited £200,000. She was 18. She leased a London house, dressed in chappish clothes, called herself Peter then John & wrote her first collection of verse. She was a political reactionary, a reformed Catholic, obsessive about work, hunted with 3 packs, got her pipes from Dunhill's, wore brocade smoking jackets & had her hair cropped. She thought real women were born to be wives & disliked doing any business with them. Her 1st love was Mabel Batten, known as Ladye, who reputedly had an affair with Edward VII. Radclyffe Hall is now most famous for THE WELL OF LONELINESS, written in 1928. A novel about 'congenital inverts' - lesbian love - the book was suppressed both here & the US & caused Radclyffe to be put on trial under the Obscene Publications Act. Brilliantly written, this biography is a fresh and irreverent insight into the lives of one of the most alluring and eccentric women of this century.

The last quarter century has been an extraordinary and turbulent period in the art world. It was a time of creative intensity during which a handful of artists, like Julian Schnabel, Jeff Koons, Keith Haring, and Jean-Michel Basquiat, managed, in their different ways, to cross over from the rarefied world of high art into popular culture. It was also a time when other promising careers and even whole movements, like Graffiti, spurted to life and then just as suddenly disappeared. During the astonishing boom years of the 1980s, the newly vigorous art market transformed the role of dealers and collectors to give them unprecedented power as tastemakers and the dangerous glamour of Hollywood power agents. And then came the bust. Writer Anthony Haden-Guest has moved within the art world, known the players, and reported on the scene for this entire span of time. True Colors draws on two decades of reporting to deliver an authoritative and deliciously inside account of the contemporary art world that will be the most talked-about book on art since The Shock of the New. Haden-Guest gives vivid portraits of the art world's key players and dramatizes the pivotal moments in the always evolving scene. Skillfully conveying a sense of the intricate geography of the art world, he tells of its clashes of ambition, its intrigues, its power plays. This is how artists survive, or don't survive. True Colors is filled with telling anecdotes and expertly told stories that cohere to give a sense of how the art world works, its current state, and where it may be going.

"Following the great success of Pioneers of the Possible, Angella Nazarian returns with an extraordinary sequel, Visionary Women. Featuring a foreword by Melanne Verveer, the director of the Georgetown Institute for Women, Peace and Security, this new title highlights twenty more innovative and forward-thinking women. From Malala Yousafzai as the youngest Nobel Prize laureate and Carmen Amaya beginning her remarkable dance career at age four to swimmer Diana Nyad breaking a world record at sixty-four and Doris Lessing still penning stories into her nineties, this inspiring volume will compel readers to reconnect with their own dreams and envision new goals to challenge themselves at any stage of life"--Publisher's description.

"Radical feminist author Andrea Dworkin was a caricature of the manhater in the popular imagination as well as a polarizing figure within the women's movement, infamous for her antipornography stance in the 1970s and 1980s. Now, more than a decade after her death, this timely collection of her writing showcases the prescience of her analyses: of the genocidal character of sexual violence; of the devastating nihilism of white male supremacy, and of the toll it takes--especially on those who resist. This rediscovery of Dworkin's work will serve as a flashpoint for crucial feminist conversations today. Why is the cost of speaking out against abuse and inequality still so high? Why is the problematic work of brilliant women forced into oblivion, when that of flawed great men is embraced? What can we learn from the bitter divisions and discarded ideas of previous generations?"--Page 4 of cover.

"'If we have the habit of freedom and the courage to write exactly as we think, ' as Woolf puts it in A Room of One's Own , writing like a woman simply means writing like what one actually is, in sickness and health, richer and poorer, belly and bowels, the consonants and the vowels too. We may have a general sense that women poets are more likely than men, at the present time, to write in detail about their bodies; to take power relationships as a theme; to want to speak with a strong rather than a subdued voice; are less likely to seek distance, more likely to seek intimacy, in poetic tone. But generalization would be foolish here. 'Woman poet, ' like 'American poet' or 'French poet' or 'Russian poet, ' allows--even insists on--diversity, while implying something valuable in common, some shared language and life, of tremendous importance to the poet and the poet's readers." --Alicia Ostriker

This is a moving, star-filled account of one of Hollywood’s true golden ages as told by a man in the middle of it all. Walter Mirisch’s company has produced some of the most entertaining and enduring classics in film history, including West Side Story , Some Like It Hot , In the Heat of the Night , and The Magnificent Seven . His work has led to 87 Academy Award nominations and 28 Oscars. Richly illustrated with rare photographs from his personal collection, I Thought We Were Making Movies, Not History reveals Mirisch’s own experience of Hollywood and tells the stories of the stars—emerging and established—who appeared in his films, including Natalie Wood, John Wayne, Peter Sellers, Sidney Poitier, Steve McQueen, Marilyn Monroe, and many others. With hard-won insight and gentle humor, Mirisch recounts how he witnessed the end of the studio system, the development of independent production, and the rise and fall of some of Hollywood’s most gifted (and notorious) cultural icons. A producer with a passion for creative excellence, he offers insights into his innovative filmmaking process, revealing a rare ingenuity for placating the demands of auteur directors, weak-kneed studio executives, and troubled screen sirens. From his early start as a movie theater usher to the presentation of such masterpieces as The Apartment , Fiddler on the Roof , and The Great Escape , Mirisch tells the inspiring life story of his climb to the highest echelon of the American film industry. This book assures Mirisch’s legacy—as Elmore Leonard puts it—as “one of the good guys.” Best Books for Special Interests, selected by the American Association of School Librarians, and Best Books for General Audiences, selected by the Public Library Association

In the heavily forested foothills of the Andes Mountains in Ecuador, a Shuar healer named Alejandro Tsakimp leads many lives. He is a peasant who sells cattle and lumber, a member of the Shuar Federation, a son and a brother, a husband and a father, a student and a worker, and, finally, a troubled shaman. Being a healer has long been both a burden and a resource, for the power to cure is also the power to kill, and shamans like Tsakimp are frequently in danger from accusations of witchcraft. But the situation of the Shuar today is especially perilous, and Tsakimp must constantly negotiate relations of power not only with rival shamans and his patients, but with the better-educated and richer officials of the Shuar Federation and his own siblings as well. In his own words, Alejandro Tsakimp tells of his lives and relationships, the practice of shamanism, and the many challenges and triumphs he has encountered since childhood. He was born at the time when Shuar were first confronting the impact of Ecuadorian colonialism, which had triggered devastating intertribal conflict over the production and trade of shrunken heads and intratribal feuding fueled by accusations of witchcraft. Tsakimp was first exposed to healing practices when he was cured in the womb by a shaman. Later he actively pursued this knowledge in the hopes of curing his father, another shaman, who was ill from witchcraft. His father's death in 1990 created conflict among his heirs, who were the first generation of Shuar to inherit property. Tsakimp's family fiercely competed for the property and eventually accused one another of witchcraft and parricide. Anthropologist Steven Rubenstein, who began working with Tsakimp in 1989, has skillfully edited Tsakimp's stories and provides essential background information. Ruben-stein argues that although these stories reveal tensions between individual and collective autonomy on the colonial frontier, they also resist simplistic dichotomies such as state versus indigene and modern versus traditional. Alejandro Tsakimp provides a revealing look at the relationship between anthropologist and shaman and an insightful glimpse into the complicated lives of South American Indians today.

The world's major religions-Judaism, Christianity, and Islam-find a common root in one man: Abraham. Yet Abraham looms so large in the realm of world religions that he has remained a ward of the Divine rather than a flesh-and-blood citizen of Humanity. In his monumental new book, David Rosenberg provides a long-overdue history of the patriarch; while revealing that the original story embedded in the Bible is actually our oldest historical biography. We also discover that the wandering ascetic of tradition cannot explain our deep-seated feelings for Abraham and his God. The road that Abraham traveled was marked by signs of civilization that we still recognize: libraries, museums, hotels, and houses of worship. He is a sophisticated, educated Sumerian; an artisan who became the first Jew. Moreover, through Rosenberg's audacious translation of the Abraham story from Genesis, we learn that many of the core tenets of the monotheistic tradition-the idea of God's covenant and the soul-are Sumerian in origin. Rosenberg first finds Abraham at his father's workshop in the cosmopolitan city of ancient Ur and follows his journey through what is today the Middle East. What kind of baggage-emotional, material, and spiritual-would Abraham have taken with him on his migration to a new land? Abraham does more than present a founding spiritual figure and his dynamic relationships with father, wife, and son. We witness this man as he transforms his heritage into an anxious embrace of religion with secular culture-the human condition in which we are still enfolded today.

The music and mayhem behind the seminal sounds of Nick Cave and the Bad Seeds, Models, The Go-Betweens, Hunters & Collectors, Cold Chisel, The Saints, The Cruel Sea and so many more 'The most obsessive, single-minded character I've ever seen, outside of the mirror' -Nick Cave 'I first met Nick Cave ... at Richmond Recorders in January. I appeared shoeless, red-eyed and late. As usual. The grand piano was overflowing with bits of metal, microphone stands, anything that wasn't nailed down. "That should sound interesting," I said. It was the start of a great love affair.' Maverick music producer-engineer Tony Cohen defined Australia's punk and rock sounds in the late '70s, '80s and '90s. His long and celebrated career took him from the studios of Melbourne and Sydney to West Berlin and London's Abbey Road, working with innumerable bands up until his death in 2017. In candid reflections, Tony shares details of his decades-long relationship with Nick Cave (The Boys Next Door, The Birthday Party, Nick Cave and the Bad Seeds) and provides behind-the-scenes access to recordings by Billy Thorpe and the Aztecs, Cat Stevens, Jim Keays, Lobby Loyde, The Ferrets, Split Enz, Laughing Clowns, Models, Magazine, The Reels, The Go-Betweens, Hunters & Collectors, Cold Chisel, Beasts of Bourbon, The Saints, X, Michael Hutchence, The Cruel Sea, TISM, Paul Kelly and so many more. Half Deaf, Completely Mad is a hilarious, tragic and triumphant memoir that reveals a chaotic genius who lived hard and LOUD.

Includes material on Leon Trotsky, Isadora Duncan, John Reed, Albert Einstein, Sigmund Freud, Vladimir Lenin, William Jennings Bryan, Emma Goldman, George Bernard Shaw, Theodore Roosevelt, J. Edgar Hoover, Tito, Benito Mussolini, Sinclair Lewis, Ernest Hemingway, Eleanor Roosevelt, and Ralph Nader.

"In this first biography of Woody Allen in over a decade, David Evanier discusses key movies, plays and prose as well as Allen's personal life. Evanier tackles the themes that Allen has spent a lifetime sorting through in art: morality, sexuality, Judaism, the eternal struggle of head and heart. Woody will be the definitive word on a major American talent as he begins his ninth decade, and his sixth decade of making movies"--