Jerome Charyn's three-part memoir of his boyhood in the Bronx has all the imagery and color of an enchanting and entertaining novel -- someone has said that it captures the author's world so accurately that it can't possibly be true. Bronx Boy , like The Dark Lady of Belorusse and The Black Swan , both selected by The New York Times as Notable Books of the Year, is a tour de force of memory and imagination. In this third and final installment, the higher truths of a masterly writer's art render moot the question of exactly where the real world ends and Charyn's imagined world begins. Still known as "Baby" although a younger brother has come along, young Charyn makes pocket money delivering eggs, belongs to a group of 12-year-old wannabe gangsters that meet in a soda shop run by an ex-con, and spends afternoons telling stories to the adoring wife of a wealthy Russian émigré. He becomes famous for his black-and-tans -- a concoction of coffee ice cream, seltzer, milk, chocolate sauce, crushed pecans -- and "a touch of bitterness that may have been the Bronx." So famous, indeed, that he walks away the winner of an annual black-and-tan contest sponsored by the real-life top gangster called "The Little Man" -- Meyer Lansky. In Charyn's hands, the often ridiculed Bronx is a magic place, as full of odd and wonderful characters as a three-ring circus. And at the center of it all, young "Baby," not as lucky in love as he would like to be, drinking it all in, putting his own extraordinary take on it. Charyn looks back at this with his singular vision, and records it all for us with the skill of the fine writer he is. This is a delightful and often moving story of a childhood that could only have been lived in New York in the fifties, a New York experience that could only have taken place in the Bronx of those days, a growing-up saga that could only have been captured by this singular author.

"Jerzy Kosinski was a great enigma of post-World War II literature. When he exploded onto the American literary scene in 1965 with his best-selling novel The Painted Bird, he was revered as a Holocaust survivor and refugee from the world hidden behind the Soviet Iron Curtain. He won major literary awards, befriended actor Peter Sellers (who appeared in the screen adaptation of his novel Being There), and was a guest on talk shows and at the Oscars. But soon the facade began to crack, and behind the public persona emerged a ruthless social climber, sexual libertine, and pathological liar who may have plagiarized his greatest works. Jerome Charyn lends his unmistakable style to this most American story of personal disintegration, told through the voices of multiple narrators--a homicidal actor, a dominatrix, and Joseph Stalin's daughter--who each provide insights into the shifting facets of Kosinski's personality. The story unfolds like a Russian nesting doll, eventually revealing the lost child beneath layers of trauma, while touching on the nature of authenticity, the atrocities of WWII, the allure of sadomasochism, and the fickleness of celebrity."-- Page [4] of cover.

"Maria Callas, called La Divina, is widely recognized as the greatest diva who ever lived. Jerome Charyn's Callas springs to life as the headstrong, mercurial, and charismatic artist who captivated generations of fans, thrilling audiences with her brilliant performances and defiant personality. Unlike any other diva who achieved world renown, Callas came from an impoverished background. As an outsider, she was shunned by the Italian opera houses, but through sheer force of will and the power and range of her voice, she broke through the invisible wall to sing at La Scala and headline at the Metropolitan Opera, forging an unforgettable career. Adored by celebrities and statesmen, the notable and notorious alike, her every movement was shadowed by both music critics and gossip columnists-until, having lost her voice, she died alone in an opulent, mausoleum-like Paris apartment. In Charyn's inimitable style, Maria La Divina humanizes the celebrated diva, revealing the mythical artist as a woman who survived hunger, war, and loneliness to reach the heights of acclaim"--

In Movieland, Jerome Charyn mingles his own life as a moviegoer with the history, romance, and sadness of Hollywood. He meets Paul Newman, Viveca Lindfors, and Mae Clark, the actress who was the original bride of Frankenstein; explores Cinecitta, Mussolini's own Hollywood on the Tiber; recalls his own life as Otto Preminger's house writer (and jester) during Preminger's decline; reinvents the lost years and lost stars of the silent era --Irving Thalberg, Gloria Swanson, and Clara Bow -- and seeks out the hieroglyphics of modern Hollywood; writes of the Nazi officer who saved the Cinematheque Francaise and its library of American films; and pays homage to Hollywood's heroes, victims, goddesses, and neglected lords: Louise Brooks, Raymond Chandler, Carole Landis, Rita Hayworth, Orson Welles, and more.

The Isaac Quartet contains four detective stories from an internationally acclaimed master of the genre. Blue Eyes, the first book in Jerome Charyn’s legendary crime series, introduces Isaac Sidel — the toughest, most incorruptible police inspector in the biz. In Marilyn the Wild, Isaac confronts the hot-headed daughter of the first deputy police commissioner. The Education of Patrick Silver tells the story of a giant shoeless Irishman who becomes just another pawn in the war between Isaac and a gang of Peruvian pimps. And in Secret Isaac, a scar on a prostitute’s cheek sends Isaac on a desperate trip to Ireland in search of relief from the tightening grip on his soul. “Packed with manic energy, peopled with bizarre characters and outrageous situations. [Charyn] sounds like a ... Jewish Philip Marlowe.” — Chicago Sun-Times “These books constitute the highest kind of novelistic art ... absolutely unique among contemporary writers.” — Los Angeles Times

Looks at recent innovations in the police departments and evaluates the effectiveness of police-community cooperation, command decentralization, and increased foot patrols

Science is still the great intellectual adventure, but now it is also seen as an instrument of profit, power, and privilege. Wrongly used, it might yet make the 21st century our last.To make sense of all this, we need to let go of old ideas and assumptions. In the No-Nonsense Guide to Science, Jerome Ravetz introduces the "post-normal" way of thinking about science. We are to transcend the old simplistic ideas of perfect certainty and objectivity in science-they have failed to protect people and the environment when science has gone wrong and they have enabled flat, dogmatic teaching in our schools. We must now accept that value-loading, uncertainty, and ignorance are very real parts of science, and that citizens must participate in the policies that shape its evolution. The book also includes a refreshing new look at the history of science, and concludes with a series of questions that anyone can use to start their own exploration of the present and future of science.

In Yiddish, khurbn is the word for "total destruction," the word for what the English-speaking world calls the Jewish "Holocaust" of World War II. In 1987, thirteen years after the publication of his book of ancestral poems, Poland/1931, Jerome Rothenberg visited Poland and the small town of Ostrow-Mazowiecka, from which his parents had emigrated in 1920. "I hadn't realized," he writes, "that it was only fifteen miles from Treblinka..." Out of the poet's confrontation with his family's annihilation came Khurbn & Other Poems. "The poems that I first began to hear at Treblinka are the clearest message I have ever gotten about why I write poetry. They are an answer also to the proposition that poetry cannot or should not be written after Auschwitz." For decades a leader of the American literary avant-garde, Rothenberg, with Khurbn & Other Poems, adds his voice to those writers, like Paul Celan and Edmond Jabes, who have sought to name the unnamable at the ruinous heart of the history of our time.

Hume? Yes, David Hume, that's who Jerry Fodor looks to for help in advancing our understanding of the mind. Fodor claims his Treatise of Human Nature as the foundational document of cognitive science: it launched the project of constructing an empirical psychology on the basis of a representational theory of mind. Going back to this work after more than 250 years we find that Hume is remarkably perceptive about the components and structure that a theory of mind requires. Careful study ofthe Treatise helps us to see what's amiss with much twentieth-century philosophy of mind, and to get on the right track. Hume says in the Treatise that his main project is to construct a theory of human nature and, in particular, a theory of the mind. Hume Variations examines his account of cognition and how it is grounded in his 'theory of ideas'. Fodor discusses such key topics as the distinction between 'simple' and 'complex' ideas, the thesis that an idea is some kind of picture, and theroles that 'association' and 'imagination' play in cognitive processes. He argues that the theory of ideas, as Hume develops it, is both historically and ideologically continuous with the representational theory of mind as it is now widely endorsed by cognitive scientists. This view of Hume is explicitly opposed to recent discussions by critics who hold that the theory of ideas is the Achilles heel of his philosophy and that he would surely have abandoned it if only he had read Wittgenstein carefully. You don't have to know much about Hume to enjoy this inventively argued, provocative, and stimulating defence of the representational theory of mind--which is looking increasingly hard to resist. LINES OF THOUGHT Philosophy books don't need to be hundreds of pages long to make a substantial contribution to the subject. This new series presents original works by leading philosophers at an affordable price and a readable length. Series Editors Peter Ludlow (University of Michigan,Ann Arbor) Scott Sturgeon (Birkbeck College, London)

Recounts the 1997 professional football season, and describes how the Denver Broncos won the 1998 Super Bowl, thereby breaking the team's losing streak in five previous Super Bowls

How does your company define creativity? Or does creativity define your company? In this book, Jerry Hirshberg - founder and president of Nissan Design International (NDI) - distills his experience as leader of the world's hotbed of automotive innovation and reveals his strategy for designing an organization around creativity. Rather than championing the traditional treatment of creativity as a vital component in business, Hirshberg shows how creativity can become the fundamental organizing principle of business. In The Creative Priority, Hirshberg describes how NDI produced a culture that fostered innovation, enabling his team to produce such cutting-edge designs as Nissan's Altima, Pathfinder, Quest, and Maxima; Ford's Villager; and Infiniti's J30.

Book by Herb Gluck

1st paperback ed. Quarto. Wraps. 256 pp, many color plates and illustrations. Very Good, the fore edge has a few small spots.

In 1965, photographer Jerry Schatzberg, already well-established in the field due to his fashion and portrait photography for various publications, such as Vogue, Esquire and Life , listened to Bob Dylan for the first time. He had been hearing about the singer for close to three years; two friends were especially dogged and would ask him every time they spoke if he had heard the music yet. Finally, feeling obligated to them for their persistency, he listened and understood immediately why Dylan was inspiring such passionate excitement. Shortly thereafter, Schatzberg was photographing a job in his studio and had some fortuitous company. Famed music journalist Al Aronowitz and disc jockey Scott Ross were discussing Dylan and a recent performance they had seen of his. Half listening to their conversation, he volunteered that he'd like to photograph the singer if given the chance. Dylan's new wife (one of the friends mentioned above) called the following day and gave him an open invitation to the studio where he was currently recording 'Highway 61 Revisited'. Excited and curious, Schatzberg set off the very next day for the studio, exactly six days after the seminal Newport Folk Festival set where Dylan went electric and was collectively booed. Schatzberg received a warm welcome from the singer, who immediately sat him down to listen to what he had been recording that day. Dylan gave him free rein of the studio once he started shooting and the images that emerged from that day make obvious the comfortable and relaxed atmosphere that was already brewing between photographer and subject. Considering Dylan's almost-universal dislike of journalists (and by extension photographers), this was a completely unprecedented situation, one that Schatzberg took seriously. That almost-instant trust and rapport quickly grew into a friendship and they are part of the reason Schatzberg's sittings with Dylan work so successfully and are so important. Dylan is relaxed, he's funny, he takes the props that the photographer gives him and has fun with them - he's obviously not taking himself too seriously. Working and socialising together, Schatzberg would eventually do nine more photo shoots with Dylan from 1965-6, arguably the singer's most creative period, and capture the (now) Nobel laureate during one of the most pivotal moments in music history. Part of their uniqueness is their basic broad range of intimate and public locations: music and photography studios, live performances and street portraits. But more than that, each session (including the one for possibly his greatest album, 'Blonde on Blonde') says something different about Dylan, the man and the musician, and manages to perfectly capture the many facets of one of the most unique, complex and mysterious individuals of all time.

Now in its 93rd year of publication this standard Canadian reference source contains comprehensive and authoritative biographical information on notable living Canadians. Those listed are carefully selected because of the positions they hold in Canadian society or because of the contribution they have made to life in Canada.

During the years 1904-1910, young Edgar Cayce became aware that he was the possessor of a marvelous gift of healing. Based on intensive research of the Cayce archives and the assistance of Cayce's family, this book has the immediacy of a compelling novel.

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