The singer of the Turtles' iconic 1967 song "Happy Together" recounts his life as a player in the rock and roll revolution, chronicling his years with classic bands, work with legendary artists, and experiences with sex and drugs.

After surviving the Nazi death camp at Auschwitz, Hans Frankenthal chose to return to live in his hometown of Schmallenberg, Germany at the age of 19. In this memoir, he describes his experiences working as a butcher in the town, a town emptied of its Jewish residences where few wanted to hear about his experiences during the war. He also describes his experiences after retirement, when he finally spoke out and became an advocate for those who had been forced to work as slave laborers for the company I.G. Farben. Translated from Verweigerte Rueckkehr (1999). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).

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.

From Mel Brooks and Tommy Smothers to Mort Sahl and Lenny Bruce, the story of America's "Satiric Revolution."

"Good Things Happen Slowly is [Fred Hersch's] memoir. It's the story of the first openly gay, HIV-positive jazz player; a deep look into the cloistered jazz culture that made such a status both transgressive and ground-breaking; and a profound exploration of how Hersch's two-month-long coma in 2007 led to his creating some of the finest, most direct, and most emotionally compelling music of his career."--Jacket.

Frank Bank's story is a sometimes wild, sometimes bawdy, often poignant, always funny account of a real-life Louie Louie who led a nation to California-dreamin'.

In Bad Boy , renowned American artist Eric Fischl has written a penetrating, often searing exploration of his coming of age as an artist, and his search for a fresh narrative style in the highly charged and competitive New York art world in the 1970s and 1980s. With such notorious and controversial paintings as Bad Boy and Sleepwalker, Fischl joined the front ranks of America artists, in a high-octane downtown art scene that included Andy Warhol, David Salle, Julian Schnabel, and others. It was a world of fashion, fame, cocaine and alcohol that for a time threatened to undermine all that Fischl had achieved. In an extraordinarily candid and revealing memoir, Fischl discusses the impact of his dysfunctional family on his art—his mother, an imaginative and tragic woman, was an alcoholic who ultimately took her own life. Following his years as a student at Cal Arts and teaching in Nova Scotia, he describes his early years in New York with the artist April Gornik, just as Wall Street money begins to encroach on the old gallery system and change the economics of the art world. Fischl rebelled against the conceptual and minimalist art that was in fashion at the time to paint compelling portraits of everyday people that captured the unspoken tensions in their lives. Still in his thirties, Eric became the subject of a major Vanity Fair interview, his canvases sold for as much as a million dollars, and The Whitney Museum mounted a major retrospective of his paintings. Bad Boy follows Fischl’s maturation both as an artist and sculptor, and his inevitable fall from grace as a new generation of artists takes center stage, and he is forced to grapple with his legacy and place among museums and collectors. Beautifully written, and as courageously revealing as his most provocative paintings, Bad Boy takes the reader on a roller coaster ride through the passion and politics of the art world as it has rarely been seen before.

His book is difficult for me to describe, I guess I can only say that along with 'Man's Search for Meaning' by Viktor E. Frankl, 'Souls on Fire' by Elie Wiesel is among the two books that have changed my life.In these powerful and beautiful stories of Jewish Hasidic masters Elie Wiesel teaches us to fight depression by deliberately cultivating joy, that we must enjoy life in spite of life, that death is never the answer, and that that life is sacred, so much so that in spite of anything we have suffered we must say yes to this life.

In this "powerful" (New York Times Book review) collection of personal essays and landmark speeches by "one of the great writers of our generation" (New Republic), Elie Wiesel weaves together reminiscences of his life before the Holocaust, his struggle to find meaning afterward, and the actions he has taken on behalf of others that have defined him as a leading advocate of humanity and have earned him the Nobel Peace Prize. Here, too, as a tribute to the dead and an exhortation to the living are landmark speeches, among them his powerful testimony at the Klaus Barbie trial, his impassioned plea to President Reagan not to visit a German S.S. cemetery, and the speech he gave in Oslo in acceptance of the Nobel Peace Prize, in which he voices his hope that "the memory of evil will serve as a shield against evil."

An autobiography by Zuroff (born in 1948 in New York), focusing on his relentless search for Holocaust perpetrators, both Nazis and their local collaborators, mainly in Eastern Europe, who after World War II found refuge in the USA and other Western countries. In 1978 Zuroff began to work at the newly established Wiesenthal Center in Los Angeles, and from 1979 he worked with the U.S. Office of Special Investigations, created to take legal action against Nazi war criminals and collaborators living in the USA. In the late 1980s he launched a campaign on behalf of the Wiesenthal Center to prosecute Nazi criminals and collaborators who had entered Australia, Canada, Britain, and other Western countries posing as refugees. In the course of his activities, Zuroff was confronted with the reluctance of authorities in Western countries to punish citizens who had been Holocaust perpetrators; many of those who Zuroff was able to trace died unpunished. After the fall of communism in Eastern Europe, he launched a similar campaign in formerly communist countries; his attempts to convince Latvian and Estonian governments to de-heroize mass murderers such as Herberts Cukurs and Evald Mikson, and to bring to trial numerous others, were in vain. In 1998-99, however, he was successful in achieving the extradition to Croatia from Argentina and then the trial and punishment of Dinko Šakić. Buoyed by the success, Zuroff began Operation Last Chance, aiming to trace and bring to trial former mass murderers from the Baltics, Ukraine, Croatia, Austria, Romania, etc. Relates some achievements of this operation. Zuroff's activities have occasionally evoked antisemitic and neo-Nazi backlash in the Baltics, Croatia, and elsewhere.

"The fabulous life and times of one of our wittiest and most endearing and enduring caricaturists--in his own words and inimitable art. Alongside more than 150 of his drawings, cartoons, and caricatures--and in prose as spirited and wickedly pointed as his artwork--Edward Sorel gives us an unforgettable self-portrait: a poor Depression-era childhood in the Bronx (surrounded by loving Romanian-immigrant grandparents and a clan of mostly left-leaning aunts and uncles); his first stabs at drawing when pneumonia kept him out of school at the age of eight; his time as a student at New York's famed High School of Music & Art; the scrappy early days of Push Pin Studios, founded with fellow Cooper Union alums Milton Glaser and Seymour Chwast and which became the hottest design group of the 1960s; his two marriages and four children; his many friends in New York's art and literary circles. Sorel charts the highlights of his remarkable career as the "young lefty becomes an older lefty," and, in magazines and newspapers, murals, cartoons, and comic strips, he steadily lampooned--and celebrated--American cultural and political life. He sets his story in the parallel trajectory of American presidents, from FDR to the present day--with the candor and depth of insight that could only come from someone who lived through it all--revealing the uproarious ways in which the personal and political collide in his mordant artwork"--

"In the 1920s, bored with teaching art to schoolkids, Edith Head bluffed her way into a job in the Paramount wardrobe department. Soon she rose to the position of Chief Costume Designer, and supervised virtually every Paramount film until the late 1960s. This book traces a career that spanned the history of 20th-century film"--Provided by publisher.

"Virginia Woolf wrote that in order to be a writer, a woman needs a room of one's own. Now, in [this book], acclaimed author Deborah Levy concludes her ground-breaking trilogy of living autobiographies with an exhilarating, boldly intimate meditation on home and the specters that haunt it. In this vibrant memoir, Levy employs her characteristic indelible writing, sharp wit, and acute insights to craft a searing examination of womanhood and ownership. Her inventory of possessions, real and imagined, pushes readers to question our cultural understanding of belonging and belongings and to consider the value of a woman's intellectual and personal life. Blending personal history, gender politics, philosophy, and literary theory, [this book] is a brilliant, compulsively readable narrative" --

"David Shulkin was appointed by President Obama to save the broken Department of Veterans Affairs and was the only Obama holdover who served in the Cabinet within the Trump administration. In this book the former VA Secretary describes corruption in the Trump White House: how a group of wealthy men enabled by the President conspired to control and profit from the VA, with stunning implications for military veterans"--

"In Ecstasy and Terror, Mendelsohn once again casts an eye at literature, film, television, and the personal essay, filtering his insights through his training as a scholar of classical antiquity in illuminating and sometimes surprising ways. Many of these essays look with fresh eyes at our culture's Greek and Roman models: some find an arresting modernity in canonical works (Bacchae, the Aeneid), while others detect a "Greek DNA" in our responses to national traumas such as the Boston Marathon bombings and the assassination of JFK. There are pieces on contemporary literature, from the "aesthetics of victimhood" in Hanya Yanagihara's A Little Life to the uncomfortable mixture of art and autobiography in novels by Henry Roth, Ingmar Bergman, and Karl Ove Knausgard. Mendelsohn considers pop culture, too, in essays on the feminism of Game of Thrones and on recent films about artificial intelligence--a subject, he reminds us, that was already of interest to Homer. This collection also brings together for the first time a number of the award-winning memoirist's personal essays, including his "critic's manifesto" and a touching reminiscence of his boyhood correspondence with the historical novelist Mary Renault, who inspired him to study the Classics."--

"A memoir of a decade in prison by a well-educated young addict known as the "Apologetic Bandit" In 2003, fresh out of NYU, Daniel Genis was working in publishing as his writer father had always expected. But he was also hiding a serious heroin addiction that led him into debt and burglary. After he was arrested for robbing people at knifepoint in 2003, Daniel Genis was nicknamed the "apologetic bandit" in the press, given his habit of apologizing to his victims as he took their cash. He was sentenced to twelve years (ten with good behavior), surviving the decade by reading 1,046 books, weightlifting, having philosophical discussions with various inmates, encountering violence on a daily basis, working at a serious of prison jobs, and in general observing an existence for which nothing in his life had prepared him. Sentence is one of the most striking prison memoirs--and memoirs in general--in recent years--written with intelligence, wit, empathy, and remarkable style. Genis is the son of a famous Soviet émigré writer, broadcaster, and culture critic in Russia. He grew up in a home whose visitors included Mikhail Baryshnikov; Russian nuclear physicist Andrei Sakharov; authors Kurt Vonnegut, Umberto Eco and Norman Mailer; and Czech film director Milos Forman. The education and culture so prized by his family were his lifeline during his decade in prison, and he describes in unsparing and vivid detail the realities of daily life in the New York penal system, from Rikers Island through a series of upstate institutions. He learns about the social strata of gangs, the "court" system that sets geographic boundaries in prison yards, how sex was obtained, the black market of drugs and more practical goods, the inventiveness required for everyday tasks such as cooking, and how debilitating solitary confinement actually is--all while trying to preserve his relationship with his recently married wife"--