The Survival of the Bark Canoe is the story of this ancient craft and of a 150-mile trip through the Maine woods in those graceful survivors of a prehistoric technology. It is a book squarely in the tradition of one written by the first tourist in these woods, Henry David Thoreau, whose The Maine Woods recounts similar journeys in similar vessel. As McPhee describes the expedition he made with Vaillancourt, he also traces the evolution of the bark canoe, from its beginnings through the development of the huge canoes used by the fur traders of the Canadian North Woods, where the bark canoe played the key role in opening up the wilderness. He discusses as well the differing types of bark canoes, whose construction varied from tribe to tribe, according to custom and available materials. In a style as pure and as effortless as the waters of Maine and the glide of a canoe, John McPhee has written one of his most fascinating books, one in which his talents as a journalist are on brilliant display.

    

    One was Muhammad Ali, the aging but irrepressible “professor of boxing.” The other was George Foreman, who was as taciturn as Ali was voluble. Observing them was Norman Mailer, a commentator of unparalleled energy, acumen, and audacity. Whether he is analyzing the fighters’ moves, interpreting their characters, or weighing their competing claims on the African and American souls, Mailer’s grasp of the titanic battle’s feints and stratagems—and his sensitivity to their deeper symbolism—makes this book a masterpiece of the literature of sport.  Praise for The Fight  “Exquisitely refined and attenuated . . . [a] sensitive portrait of an extraordinary athlete and man, and a pugilistic drama fully as exciting as the reality on which it is based.”—The New York Times   “One of the defining texts of sports journalism. Not only does Mailer recall the violent combat with a scholar’s eye . . . he also makes the whole act of reporting seem as exciting as what’s occurring in the ring.”—GQ   “Stylistically, Mailer was the greatest boxing writer of all time.”—Chuck Klosterman, Esquire   “One of Mailer’s finest books.”—Louis Menand, The New Yorker Praise for Norman Mailer  “[Norman Mailer] loomed over American letters longer and larger than any other writer of his generation.”—The New York Times   “A writer of the greatest and most reckless talent.”—The New Yorker   “Mailer is indispensable, an American treasure.”—The Washington Post   “A devastatingly alive and original creative mind.”—Life   “Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance.”—The New York Review of Books   “The largest mind and imagination [in modern] American literature . . . Unlike just about every American writer since Henry James, Mailer has managed to grow and become richer in wisdom with each new book.”—Chicago Tribune   “Mailer is a master of his craft. His language carries you through the story like a leaf on a stream.”—The Cincinnati Post

     In the late 1960s and early 1970s, there were only three major television networks broadcasting original programs and news. And there was only one Harlan Ellison taking them all to task in a series of weekly essays he wrote for the countercultural, underground newspaper, the Los Angeles Free Press, a.k.a. "The Freep." For nearly four years, he channel surfed through the mire of ABC, CBS, and NBC, finding little of value but much to critique. No one offered a more astute analysis of the idiot box's influence on American culture, or its effects on the intelligence and psyche of viewers.The Other Glass Teat: Further Essays of Opinion on the Subject of Television collects Ellison's final fifty columns, presenting his thoughts on everything from dramas and sitcoms to game shows and roundtable discussions, unleashing his fury against sponsors, the nightly news, and the broadcasts of President Nixon--warning readers about the commander-in-chief's war against the media long before the Watergate scandal broke. As television has evolved into wireless streaming services and digital interactions on portable devices, Ellison's timeless rage against the machine has become prophecy. His plea to unplug is an even more necessary call to action in the face of the twenty-first century's media onslaught. Also available: The Glass Teat: Essays of Opinion on the Subject of Television

    They take the reader from the backwoods roads of Georgia, to the high altitude of Ruidoso Downs in New Mexico; from the social decay of Atlantic City, to Scotland, where a pilgrimage for art's sake leads to a surprising encounter with history on a hilltop with a view of a fifth of the entire country. McPhee's writing is more than informative; these are stories, artful and full of character, that make compelling reading. They play with and against one another, so that Pieces of the Frame is distinguished as much by its unity as by its variety. Subjects familiar to McPhee's readers—sports, Scotland, conservation—are treated here with intimacy and a sense of the writer at work.

    Its people joined the industrial age when the Chisso Corporation built a chemical factory there. The disaster that then befell them, and the ways in which some have managed to respond, reach far beyond Japan. Their courage is a flag of hope for all life - but it will have signaled no victory unless it awakens other people to action in every corner of this planet. An uneasiness developed in the town in the early 1950's. Many individuals fell ill with the same symptoms: limbs and lips tingled and then became numb; speech slurred; motor functions went out of control. Some died. Was this strange new disease contagious? Nobody knew.Minamata's disease was recognized as methyl mercury poisoning from industrial wasters. The mercury reached people through contaminated fish. Some doctors suggested that the number of persons affected might reach 10,000. So far 103 have died and some 700 others have been verified seriously - and permanently - damaged. As groups of victims pressed a turbulent, multi-sided crusade to force industry and government to take responsibility, W. Eugene Smith and his wife, Aileen, moved to Minamata. The result of their collaboration is an enduring document that crowns the work of one of the world's great photographers.

    In his gripping, now-classic history of war journalism, Phillip Knightley shows just how right Johnson was. From William Howard Russell, who described the appalling conditions of the Crimean War in the Times of London, to the ranks of reporters, photographers, and cameramen who captured the realities of war in Vietnam, The First Casualty tells a fascinating story of heroism and collusion, censorship and suppression.Since Vietnam, Knightley reveals, governments have become much more adept at managing the media, as highlighted in chapters on the Falklands War, the Gulf War, and the conflict between NATO and Serbia over Kosovo. And in a new chapter on the post-9/11 wars in Afghanistan and Iraq, Knightley details even greater degrees of government manipulation and media complicity, as evidenced by the "embedding" of reporters in military units and the uncritical, openly patriotic coverage of these conflicts. "The age of the war correspondent as hero," he concludes, "appears to be over." Fully updated, The First Casualty remains required reading for anyone concerned about freedom of the press, journalistic responsibility, and the nature of modern warfare.

    The directors are Alfred Hitchcock, Frank Capra, Vincente Minnelli, George Cukor, Howard Hawks, William A. Wellman, King Vidor, and Raoul Walsh. Speaking with them, Mr. Schickel found in these men a special quality: "They felt in their bones the character and quality of a vanished America." There was something valuable to be learned from them, not merely about the cinema but about the conduct of life. Each of these directors created a canon of work that even today sustains critical analysis without sacrificing popular appeal. Each maintained his artistic integrity while working in an atmosphere generally credited with ruining rather than nurturing talent. Their attitudes, Mr. Schickel writes in his introduction, were "composed of a toughness that was never harsh, a pride in achievement that was never boastful, a self-reliance and an acceptance of the difficulties under which they had labored which contained neither self-pity nor a desire to blame others for the things that had gone wrong." Rich in behind-the-scenes stories about such modern classics as It Happened One Night, Dawn Patrol, The Champ, Born Yesterday, Father of the Bride, and Shadow of a Doubt, as well as in anecdotes about the men and women of Hollywood, this book is an enduring tribute to the men who made the movies. With 33 black-and-white photographs. "Immensely readable and richly informative...it provides a real education in just how movies are made.... One of the best introductions to the cinema that one could ask for."-Library Journal.

    

    Focusing on the abuses of the coal industry and the grassroots struggle against mine owners that began in the 1960s, Guy and Candie Carawan have gathered quotations from a variety of sources; words and music to more than fifty ballads and songs, laments and satires, hymns and protests; and more than one hundred and fifty photographs of longtime Appalachian residents, their homes, their countryside, the mines they work in, and the labor battles they have fought.The "voices" that speak out in these pages range from the mountain people themselves to such well-known artists as Jean Ritchie, Hazel Dickens, Harriet Simpson Arnow, and Wendell Berry. Together they tell of the damage wrought by strip mining and the empty promises of land reclamation; the search for work and a new life in the North; the welfare rights, labor, antipoverty, and black lung movements; early days in the mines; disasters and negligence in the coal industry; and protest and change in the coal fields.Dignity and despair, poverty and perseverance, tradition and change--Voices from the Mountains eloquently conveys the complex panorama of modern Appalachian life.