For Elisabeth Roudinesco, a historian of psychoanalysis and one of France's leading intellectuals, Canguilhem, Sartre, Foucault, Althusser, Deleuze, and Derrida represent a "great generation" of French philosophers who accomplished remarkable work and lived incredible lives. These troubled and innovative thinkers endured World War II and the cultural and political revolution of the 1960s, and their cultural horizon was dominated by Marxism and psychoanalysis, though they were by no means strict adherents to the doctrines of Marx and Freud. Roudinesco knew many of these intellectuals personally, and she weaves an account of their thought through lived experience and reminiscences. Canguilhem, for example, was a distinguished philosopher of science who had a great influence on Foucault's exploration of sanity and madness-themes Althusser lived in a notorious personal drama. And in dramatizing the life of Freud for the screen, Sartre fundamentally altered his own philosophical approach to psychoanalysis. Roudinesco launches a passionate defense of Canguilhem, Sartre, Foucault, Althusser, Deleuze, and Derrida against the "new philosophers" of the late 1970s and 1980s, who denounced the work-and sometimes the private lives-of this great generation. Roudinesco refutes attempts to tar them, as well as the Marxist and left-wing tradition in general, with the brush of Soviet-style communism. In Freudian theory and the philosophy of radical commitment, she sees a bulwark against the kind of manipulative, pill-prescribing, and normalizing psychology that aims to turn individuals into mindless consumers. Intense, clever, and persuasive, Philosophy in Turbulent Times captivates with the dynamism of French thought in the twentieth century.

The epitome of the modernist engineer-architect-artist, El Lissitzky is one of the most influential and genuinely experimental artists of the early twentieth century. Equally prolific as a painter, designer, architect and photographer, he connected countries and cultures as a leading ambassador between the Soviet and European avant-gardes of the 1920s, promoting Suprematist and Constructivist art in the West and European abstract movements in Russia. For El Lissitzky, art was conceived not as a personal expression and production of objects, but rather as a collective and social activity. Working with Malevich, he developed the new visual language of Suprematism, which he applied not only to painting, but also to print and book works, architectural and theater projects, ceramics, educational theory and propaganda. Fusing this array of media, his three-dimensional work "Proun Room" used the actual space of a room to merge painting, sculptural installation and architecture; similarly, with his students he adorned the trams and buildings of Vitebsk with Suprematist triangles and squares, and used his "Proun" motifs to design costumes and machinery for the stage (most famously for the 1920 Futurist opera, Victory over the Sun ). This volume provides a comprehensive view of Lissitzky's influential career. Eliezer (Lazar) Markovich Lissitzky, El Lissitzky (1890-1941) was one of the most experimental and controversial artists to work with the Russian and European avant-garde during the early twentieth century. After 1917, during the first communist period, El Lissitzky served as a cultural ambassador, promoting Russian art and Soviet ideas in the West. Later he worked as a propagandist for the Stalinist regime during the 1930s. He died of tuberculosis in 1941.

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.

This book is a tribute to some of America's greatest characters, people holding on to unique ways of life at all costs. A castle builder, a forty-year veteran Woolworth's lunch-counter waitress, a moonshiner, and the president of The Brooklyn Elite Checker Club are among this varied group of ordinary people who prevail against all odds. They are Dewey Chafin and Barbara Elkins, snake handlers for the Church of the Lord Jesus in Jolo, West Virginia; Amos Powers, caretaker of America's only coon-dog graveyard in Colbert County, Alabama; Dixie Evans, curator of Exotic World, Museum of Burlesque in Helendale, California; and Mike Gashwarza of the Hopi tribe, fighting against electricity being brought to Old Oraibi, Arizona, the oldest town in North America. David Isay's compelling, often humorous profiles are accompanied by Harvey Wang's wonderful portraits of fifty such people, die-hard individualists who speak for themselves, illuminating their remarkable lives and personalities. Henry Roth's foreword is a moving testament to the creativity, tenacity, and dignity these people possess.

An indictment of the person and practices of President Bill Clinton, arguing that the public focus on Clinton's sexual indiscretions has detracted attention from even worse behavior including his cronyism and financial misdeeds.

A New York Times Notable Book Arthur Gelb was hired by The New York Times in 1944 as a night copyboy—the paper’s lowliest position. Forty-five years later, he retired as its managing editor. Along the way, he exposed crooked cops and politicians, mentored a generation of our most-talented journalists, was the first to praise the as-yet-undiscovered Woody Allen and Barbra Streisand, and brought Joe Papp instant recognition. From D-Day to the liberation of the concentration camps, from the agony of Vietnam to the resignation of a President, from the fall of Joe McCarthy to the rise of the “Woodstock Nation,” Gelb gives an insider’s take on the great events of this nation's history—what he calls “the happiest days of my life.”

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

The Most Dangerous Book You Were Never Meant to Read A legendary underground classic that reshaped alternative publishing, Apocalypse Culture is a definitive collection of forbidden ideas, shocking theories, and fringe voices from the edge of modern thought. Edited by Adam Parfrey, founder of Feral House, this anthology dives deep into the darkest corners of politics, belief, and human behavior. Combining essays, interviews, and manifestos, Apocalypse Culture explores topics that mainstream media won't touch: government mind control, body modification, ritual abuse, cult psychology, taboo sexuality, social decay, eugenics, Satanic panic, and end-times theology. Many of these texts have been banned, suppressed, or ignored--until now. Since its initial release in the late 1980s, Apocalypse Culture has become a touchstone for readers interested in the occult, true crime, radical politics, and conspiracy theories. Revered by artists, feared by censors, and cited in countless works of film, music, and journalism, this book continues to challenge what it means to be civilized in an age of collapse. Whether you're a student of subversive literature or a newcomer to transgressive nonfiction, Apocalypse Culture remains a vital document of Western civilization's shadow self.

For some 30 years, Adam Hochschild's voice has been one of the most distinctive in American journalism. With grace and wit, he has brought to a startling variety of subjects a combination of adventurous reporting and personal honesty. Hochschild's readers can count on an unobtrusive erudition, a sense of justice, and an irrepressible curiosity about life. Admirers of Hochschild's Half the Way Home: A Memoir of Father and Son will find in these articles the same warm autobiographical voice that made that book so memorable: He revisits his time as a civil rights worker in Mississippi, as a New England prep school student, and as a teenager seeing apartheid firsthand in South Africa. But readers will find much more as well: profiles of an adoptive Gypsy and of a governor general's son turned revolutionary, essays about Ernest Hemingway and John F. Kennedy, a journey to one of the most remote corners of the Amazon rain forest, and a remarkable evocation of two of Hochschild's personal heroes—who, in hillside trenches at the height of the Russian Civil War, faced each other across a battlefield.

A classic work on Broadway sharpers, grifters, and con men by the late, great New Yorker journalist A. J. Liebling. Often referred to as “Liebling lowlife pieces,” the essays in The Telephone Booth Indian boisterously celebrate raffishness. A. J. Liebling appreciated a good scam and knew how to cultivate the scammers. Telephone Booth Indians (entrepreneurs so impecunious that they conduct business from telephone booths in the lobbies of New York City office buildings) and a host of other petty nomads of Broadway—with names like Marty the Clutch and Count de Pennies—are the protagonists in this incomparable Liebling work. In The Telephone Booth Indian , Liebling proves just why he was the go-to man on New York lowlife and con culture; this is the master at the top of his form, uncovering scam after scam and writing about them with the wit and charisma that established him as one of the greatest journalists of his generation and one of New York’s finest cultural chroniclers.

"The historian John Lukacs offers a concise history of the twentieth century--its two world wars and cold war, its nations and leaders. The great themes woven through this spirited narrative are inseparable from the author's own intellectual preoccupations: the fading of liberalism, the rise of populism and nationalism, the achievements and dangers of technology, and the continuing democratization of the globe. The historical twentieth century began with the First World War in 1914 and ended seventy-five years later with the collapse of the Soviet Empire in 1989. The short century saw the end of European dominance and the rise of American power and influence throughout the world. The twentieth century was an American century--perhaps the American century. Lukacs explores in detail the phenomenon of national socialism (national socialist parties, he reminds us, have outlived the century), Hitler's sole responsibility for the Second World War, and the crucial roles played by his determined opponents Churchill and Roosevelt. Between 1939 and 1942 Germany came closer to winning than many people suppose. Lukacs casts a hard eye at the consequences of the Second World War--the often misunderstood Soviet-American cold war--and at the shifting social and political developments in the Far and Middle East and elsewhere. In an eloquent closing meditation on the passing of the twentieth century, he reflects on the advance of democracy throughout the world and the limitations of human knowledge" -- Publisher website

In a famous passage in The Red and the Black , the French writer Stendhal described the novel as a mirror being carried along a roadway. In the twentieth century this was derided as a naïve notion of realism. Instead, modern writers experimented with creative forms of invention and dislocation. Deconstructive theorists went even further, questioning whether literature had any real reference to a world outside its own language, while traditional historians challenged whether novels gave a trustworthy representation of history and society. In this book, Morris Dickstein reinterprets Stendhal's metaphor and tracks the different worlds of a wide array of twentieth-century writers, from realists like Theodore Dreiser, Sinclair Lewis, Edith Wharton, and Willa Cather, through modernists like Franz Kafka and Samuel Beckett, to wildly inventive postwar writers like Saul Bellow, Günter Grass, Mary McCarthy, George Orwell, Philip Roth, and Gabriel García Márquez. Dickstein argues that fiction will always yield rich insight into its subject, and that literature can also be a form of historical understanding. Writers refract the world through their forms and sensibilities. He shows how the work of these writers recaptures--yet also transforms--the life around them, the world inside them, and the universe of language and feeling they share with their readers. Through lively and incisive essays directed to general readers as well as students of literature, Dickstein redefines the literary landscape--a landscape in which reading has for decades been devalued by society and distorted by theory. Having begun with a reconsideration of realism, the book concludes with several essays probing the strengths and limitations of a historical approach to literature and criticism.