Sacco (the critically-acclaimed author of Palestine) spent five months in Bosnia in 1996, immersing himself in the human side of life during wartime, researching stories that are rarely found in conventional news coverage. The book focuses on the Muslim-held enclave of Gorazde, which was besieged by Bosnian Serbs during the war. Sacco lived for a month in Gorazde, entering before the Muslims trapped inside had access to the outside world, electricity or running water. Safe Area Gorazde is Sacco's magnum opus and with it he is poised too become one of America's most noted journalists. The book features an introduction by Christopher Hitchens, political columnist for The Nation and Vanity Fair.

    Conflict photojournalists have the opposite reaction: they actually look for trouble, and when they find it, get as close as possible and stand up to get the best shot. This thirst for the shot and the seeming nonchalance to the risks entailed earned Greg Marinovich, Joao Silva, Ken Oosterbroek, and Kevin Carter the moniker of the Bang-Bang Club. Oosterbroek was killed in township violence just days before South Africa's historic panracial elections. Carter, whose picture of a Sudanese child apparently being stalked by a vulture won him a Pulitzer Prize, killed himself shortly afterwards. Another of their posse, Gary Bernard, who had held Oosterbroek as he died, also committed suicide. The Bang-Bang Club is a memoir of a time of rivalry, comradeship, machismo, and exhilaration experienced by a band of young South African photographers as they documented their country's transition to democracy. We forget too easily the political and ethnic violence that wracked South Africa as apartheid died a slow, spasmodic death. Supporters of the ANC and Inkatha fought bloody battles every day. The white security forces were complicit in fomenting and enabling some of the worst violence. All the while, the Bang-Bang Club took pictures. And while they did, they were faced with the moral dilemma of how far they should go in pursuit of an image, and whether there was a point at which they should stop their shooting and try to intervene. This is a riveting and appalling book. It is simply written--these guys are photographers, not writers--but extremely engaging. They were adrenaline junkies who partied hard and prized the shot above all else. None of them was a hero; these men come across as overweeningly ambitious, egotistical, reckless, and selfish, though also brave and even principled. As South Africans, they were all invested in their country's future, even though, as whites, they were strangers in their own land as they covered the Hostel wars in the black townships. The mixture of the romantic appeal of the war correspondent with honest assessments of their personal failings is part of what makes this account so compelling and so singular among books of its ilk. – J. Riches

    It was a moment when Mccain was increasingly perceived as a harbinger of change, the anticandidate whose goal was "to inspire young Americans to devote themselves to causes greater than their own self-interest." And many young Americans were beginning to take notice. To get at "something riveting and unspinnable and true" about John Mccain, Wallace finds he must pierce the smoke screen of spin doctors and media manipulators. And he succeeds-in a characteristically potent blast of journalistic brio that not only captures the lunatic rough-and-tumble of a presidential campaign but also delivers a compelling inquiry into John McCain himself: the senator, the POW, the campaign finance reformer, the candidate, the man.

    Before all the bodies of those who had died in the first campaign had been located or identified, many more thousands would be slaughtered in another round of fighting. The first account to be written by a Russian woman, A Dirty War is an edgy and intense study of a conflict that shows no sign of being resolved. Exasperated by the Russian government's attempt to manipulate media coverage of the war, journalist Anna Politkovskaya undertook to go to Chechnya, to make regular reports and keep events in the public eye.In a series of despatches from July 1999 to January 2001 she vividly describes the atrocities and abuses of war, whether it be the corruption endemic in post-Communist Russia, in particular the government and the military, or the spurious arguments and abominable behaviour of the Chechen authorities. In these courageous reports, Politkovskaya excoriates male stupidity and brutality on both sides of the conflict and interviews the civilians whose homes and communities have been laid waste, leaving them nowhere to live, and nothing and no one to believe in.

    In Somebody Told Me, he offers the best of his work as a Pulitzer-Prize winning journalist writing the remarkable stories of others.For twenty years, Bragg has focused his efforts on the common man. So while some of these stories are about people whose names we know-such as Susan Smith, the South Carolina mother who drowned her two sons-most are people whose names we've never heard, people who have survived tornadoes and swamps, racism and bombs. In incisive, unadorned prose that is nonetheless strikingly beautiful, these pieces rise above journalism to become literature and show the triumph of the human spirit.

    In The Total Library, more than 150 of Borges' most brilliant pieces are brought together for the first time in one volume - all in superb new translations. More than a hundred of the pieces have never previously been published in English. The Total Library presents Borges at once as a deceptively self-effacing guide to the universe and as the inventor of a universe that is an indispensible guide to Borges.

    The party that won a landslide victory on May Day 1997 made the special claim that it represented a decisive break with the disappointments of the old left and the old right: its Third Way would transcend both. Having fashioned an extraordinarily wide coalition to secure power, New Labour would hold it as Servants of the People. Was that a grandiloquent way of saying the government would be enslaved to the opinion polls? Or has Tony Blair been pursuing a strategic plan, breathtaking in its audacity, to remake the political landscape of Britain in the third millennium?'Downing Street is said to be 'furious' at this book - and it is easy to understand why. It is the first meticulous chronicle of all that has happened since that bright May Day three years ago which first brought the Blair government to office' Anthony Howard, Sunday Times'Riveting ... the Government's dirty washing has been well and truly hung out in public' Rachel Sylvester, Daily TelegraphAndrew Rawnsley is associate editor and chief political commentator for the Observer. For many years he presented BBC Radio 4's Sunday evening Westminster Hour, and he has also made a number of highly acclaimed television documentaries.

    The New Yorker has met this challenge more successfully and more originally than any other modern American journal. It has indelibly shaped the genre known as the Profile. Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail Baryshnikov and Richard Pryor, this collection of New Yorker Profiles presents readers with a portrait gallery of some of the most prominent figures of the twentieth century. These Profiles are literary-journalistic investigations into character and accomplishment, motive and madness, beauty and ugliness, and are unrivalled in their range, their variety of style, and their embrace of humanity.Including these twenty-eight profiles:"Mr. Hunter's Grave" by Joseph Mitchell "Secrets of the Magus" by Mark Singer "Isadora" by Janet Flanner "The Soloist" by Joan Acocella "Time . . . Fortune . . . Life . . . Luce" by Walcott Gibbs "Nobody Better, Better Than Nobody" by Ian Frazier "The Mountains of Pi" by Richard Preston "Covering the Cops" by Calvin Trillin "Travels in Georgia" by John McPhee "The Man Who Walks on Air" by Calvin Tomkins "A House on Gramercy Park" by Geoffrey Hellman "How Do You Like It Now, Gentlemen?" by Lillian Ross "The Education of a Prince" by Alva Johnston "White Like Me" by Henry Louis Gates, Jr. "Wunderkind" by A. J. Liebling "Fifteen Years of The Salto Mortale" by Kenneth Tynan "The Duke in His Domain" by Truman Capote "A Pryor Love" by Hilton Als "Gone for Good" by Roger Angell "Lady with a Pencil" by Nancy Franklin "Dealing with Roseanne" by John Lahr "The Coolhunt" by Malcolm Gladwell "Man Goes to See a Doctor" by Adam Gopnik "Show Dog" by Susan Orlean "Forty-One False Starts" by Janet Malcolm "The Redemption" by Nicholas Lemann "Gore Without a Script" by Nicholas Lemann "Delta Nights" by Bill Buford

    In Beyond the Game, Gary Smith has brought together his greatest stories, from the inspiring account of basketball coach Jim Valvano's courageous battle against cancer, to an unforgettable tale of a remote valley in Bolivia that plays host to an unusual annual ritual in which the men of rival villages engage in a riotous all-day fistfight. Beyond the Game is not only a collection of great sportswriting; it is a collection of great writing, period. Each of Smith's stories -- of dreams and fears, failure and triumph, self-destruction and salvation -- will profoundly touch you and remain with you long after you have closed the pages of the book.

    Among them are Joe Rosenthal's World War II photograph of the raising of the flag over Mount Suribachi on Iwo Jima, commemorating the more than 6,000 marines who died in the battle for that small Pacific island, and Robert Jackson's photograph of Jack Ruby killing Lee Harvey Oswald, recalling the anguish of the assassination of President John F. Kennedy. The pictures document that we have lived in a violent age, showing the brutalities of war, racism, and despotism. But the Pulitzer photojournalists also recorded tender and compassionate moments, as in Brian Lanker's pictures of joyous parents at the birth of their child, or Scott Shaw's photographs of the rescue of a little girl trapped in a well. In coming centuries, these indelible images will inevitably be used to illustrate the triumphs and tragedies of our era.

    Bush.* the Secrets of the Little Blue Box, the classic story of "Captain Crunch" and the birth of hacker culture.* the "unorthodox" cancer-cure clinics of Tijuana.* the Great Ivy League Nude Posture Photo Scandal.* the unsolved murder of JFK's mistress.* Also including sharp, funny cultural critiques that range from Elvis to Elisabeth KÜbler-Ross, Bill Gates to Oliver Stone, and J.D. Salinger to the Zagat® guide, The Secret Parts of Fortune is a vital record of American culture.

    Includes a new Introduction by Ward Just.

    Includes: The Hospital, Network, and Altered States .

    The book provides a fascinating account of Burroughs's life as a literary outlaw. Illuminating many aspects of his work and many facets of his mind, it brings out his scathing humor, powerful intelligence, and nightmarish vision.

    They had congressmen in their pocket. They had corrupt scientists who made excuses about nicotine, cancer and addiction. They had hordes of lawyers to threaten anyone -- inside the industry or out -- who posed a problem. They had a whole lot of money to spend. And they were good at getting people to do what they wanted them to do. After all, they had already convinced millions of Americans to take up an addictive, unhealthy, and potentially deadly habit. David Kessler didn't care about all that. In this book he tells for the first time the thrilling detective story of how the underdog FDA -- while safeguarding the nation's food, drugs, and blood supply -- finally decided to take on one of the world's most powerful opponents, and how it won. Like A Civil Action or And the Band Played On, A Question of Intent weaves together science, law, and fascinating characters to tell an important and often unexpectedly moving story. We follow Kessler's team of investigators as they race to find the clues that will allow the FDA to assert jurisdiction over cigarettes, while the tobacco companies and their lawyers fight back -- hard. Full of insider information and drama, told with wit, and animated by its author's moral passion, A Question of Intent reads like a Grisham thriller, with one exception -- everything in it is true.

    I believe this is a function of the vector that the documentary photographer must have, to show one person's existence to another."—Sebastião SalgadoIllustrated with a compelling image from each photographer, Witness in Our Time traces the recent history of social documentary photography in the words of twenty-two of the genre's best photographers, editors, and curators, showing that the profession remains vital, innovative, and committed to social change. Featuring interviews with Hansel Mieth, Walter Rosenblum, Michelle Vignes, Wayne Miller, Peter Magubane, Matt Herron, Jill Freedman, Mary Ellen Mark, Earl Dotter, Eugene Richards, Susan Meiselas, Sebastião Salgado, Graciela Iturbide, Antonin Kratochvil, Donna Ferrato, Joseph Rodriguez, Dayanita Singh, Fazal Sheikh, Gifford Hampshire, Peter Howe, Colin Jacobson, and Ann Wilkes Tucker.Introduction: Seeing and believing / Kerry Tremain --Hansel Mieth: the depression and the early days of Life --Walter Rosenblum: Lewis Hine, Paul Strand, and the Photo League --Michelle Vignes: Magnum Photo Agency : the early years --Wayne Miller: World War II and the family of man --Peter Magubane: a black photographer in Apartheid South Africa --Matt Herron: the Civil Rights movement and the Southern documentary project --Jill Freedman: Resurrection City --Mary Ellen Mark: streetwise photographer --Earl Dotter: the United Mine Workers --Eugene Richards: Americans we --Susan Meiselas: Central America and human rights --Sebastião Salgado: workers --Graciela Iturbide: the indigenous of Mexico --Antonin Kratochvil: the fall of the Iron Curtain --Donna Ferrato: living with the enemy : domestic violence --Joseph Rodriguez: in the barrio --Dayanita Singh: a truer India --Fazal Sheikh: portrait of a refugee --Gifford Hampshire: the Environmental Protection Agency's Project DOCUMERICA --Peter Howe: Life magazine and Outtakes --Colin Jacobson: Independent magazine and Reportage --Anne Wilkes Tucker: the museum context --Fred Ritchin: the fish are last to know about the water: the emerging digital revolution --Rondal Partridge: Dorothea Lange in the field --Don McCullin: Vietnam : the Battle of Hue, 1968 --Bill Owens: Suburbia and a passion for seeing his world --Larry Fink: Social graces --David Goldblatt: once an enemy : Apartheid and the New South Africa --Maya Goded: Tierra Negra --Afterword: Witness in our time / Ken Light

    Part of a major exhibition at the United Nations in New York City during the Millenium Assembly in 2000, "The Children" is a companion volume to Salgado's "Migrations."

    Crumb, Pete Townshend, Gena Rowlans, Nick Cave, Nina Simone, David Lynch, Wim Wenders, Bo Diddley, Neil Young, Artie Shaw, Tom Waits, and more. Each interview is accompanied by a portrait of the interview subject by artists such as R. Crumb, Chris Ware, Charles Burns, Arnold Roth, and more.

    This book contains selections from the photographic collection of one Mell Kilpatrick, a news photographer from South California who relentlessly pursued his profession during the 40s and 50s, capturing images from the plentiful crime scenes and in particular automobile collisions that came his way. Kilpatrick was an obsessive witness to the effects of the post-war explosion of car culture in California, and through his lens he repeatedly viewed the fatal consequences of speed. technology and reckless abandon. His work might have remained lost and unknown, sealed away in his locked darkroom, untouched since his death in 1961, if it hadn't been brought to light by collector and dealer Jennifer Dumas, who found the 5,000 negatives and realised she'd stumbled upon something very special. Although he covered other 'stories' apart from crashes, including shots of everyday life in the small towns he visited, it is the roadside images that dominate the collection. They are an unsparing archive of human tragedy. Picture after picture unveils yet another tableau of disaster with infinite variations -- the fragile shells of cars collapsed and upended, corpses hidden or fully revealed, stoic cops and laughing bystanders dealing in different ways with the reality of sudden death. It is this combination of the banal or ordinary and the appalling horror of the moment of impact that makes Kilpatrick's work a fascinating experience.

    During World War II he wrote Into the Darkness, about the effect of war on Nazi Germany. Stoddard was relatively nonpartisan in his coverage of the Nazi regime, but he did express concern for the welfare of the European Jewish community, foreseeing intense violence against the Jews.

    Moreover, in the 1990s Russia twice went to war in the Caucasus, and suffered a humiliating defeat at the hands of a nation so tiny that it could fit into a single district of Moscow.What is it about the Caucasus that makes the region so restless, so unpredictable, so imbued with heroism but also with fanaticism and pain? In Highlanders, Yo'av Karny offers a better understanding of a region described as a "museum of civilizations," where breathtaking landscapes join with an astounding human diversity. Karny has spent many months among members of some of the smallest ethnic groups on earth, all of them living in the grim shadow of an unhappy empire. But his book is a journey not only to a geographic region but also to darker sides of the human soul, where courage vies with senseless vindictiveness; where honor and duty require people to share the present with long-dead ancestors, some real, some imaginary; and where an ancient way of life is drawing to an end under the combined weight of modernity and intolerance.

    'A superb account of journalists, soldiers and the experience of modern battle, written by one of the greatest war reporters of our time' Robert Harris

    For seventy-five years The New Yorker has been entertaining and enlightening its loyal readers (two-thirds of whom live outside the city). Its peerless covers—created by a large stable of extraordinarily talented artists and cartoonists—have mirrored the magazine's feisty spirit from the beginning, becoming even more pungently topical in recent years. No noteworthy subject or scandal has escaped their scrutiny, from Broadway flappers and the eternal Eustace Tilley to dishonest pols and the gigahertz speed of contemporary life. Inexhaustibly varied in mood and style, the covers are united by their visual sophistication, their imaginative wit, and their high pleasure-giving quotient.This stylish compendium presents not only the best of The New Yorker's covers—selected by art editor Francoise Mouly and organized into such classic themes as The Big City, Arts and Music, and The Buzz—but also a behind-the-scenes peek at the sketches that lead up to them, as well as a look at the controversy that sometimes follows in their wake. A "Conversation" between Ms. Mouly and Lawrence Weschler—a noted New Yorker writer and are critic—illuminates the history of the magazine's covers and how they have changed over the past decade. In addition, several "Sketchbooks" highlight the work of especially evocative cover artists, including Semp, Spiegelman, and Steinber, these portfolios are complemented by six detachable full-size covers, suitable for framing, bound into the back of the book.About the Authors: Francoise Mouly is art editor of The New Yorker. Lawrence Weschler is a frequent contributor to the magazine.

    Ross worries about everything from keeping track of office typewriters to the magazine's role in wartime to the exact questions to be asked for a "Talk of the Town" piece on the song "Happy Birthday." We find Ross, in Kunkel's words, "scolding Henry Luce, lecturing Orson Welles, baiting J. Edgar Hoover, inviting Noel Coward and Ginger Rogers to the circus, wheedling Ernest Hemingway— offering to sell Harpo Marx a used car and James Cagney a used tractor, and explaining to restaurateur-to-the-stars Dave Chasen, step by step, how to smoke a turkey." These letters from a supreme editor tell in his own words the story of the fierce, lively man who launched the world's most prestigious magazine.From the Hardcover edition.

    The Land I'm Bound To is the photographer's tribute to the richly diverse culture of his native region. His subjects range from solitary oystermen working the fog-shrouded salt marshes of South Carolina to shrimp fishermen at sea to the swamps and marsh flats along Georgia's Ogeechee River, as well as the massive cranes and freighters of Savannah's busy port. Here, Leigh is both inclusive and expansive, offering some of his most memorable images as well as recent work that synthesizes the beauty and emotional grip the South has on many of us.

    Its tale of suffering and the journey to redemption offered hope and a sense of possibility to people facing seemingly insurmountable evil.Exodus! shows how this biblical story inspired a pragmatic tradition of racial advocacy among African Americans in the early nineteenth century—a tradition based not on race but on a moral politics of respectability. Eddie S. Glaude, Jr., begins by comparing the historical uses of Exodus by black and white Americans and the concepts of "nation" it generated. He then traces the roles that Exodus played in the National Negro Convention movement, from its first meeting in 1830 to 1843, when the convention decided—by one vote—against supporting Henry Highland Garnet's call for slave insurrection.Exodus! reveals the deep historical roots of debates over African-American national identity that continue to rage today. It will engage anyone interested in the story of black nationalism and the promise of African-American religious culture.

    In Me Against My Brother, he brings these events together for the first time to record a collapse that has had an impact far beyond African borders.In Somalia, Peterson tells of harrowing experiences of clan conflict, guns and starvation. He met with warlords, observed death intimately and nearly lost his own life to a Somali mob. From ground level, he documents how the US-UN relief mission devolved into all out war - one that for America has proven to be the most formative post-Cold War debacle. In Sudan, he journeys where few correspondents have ever been, on both sides of that religious front line, to find that outside relief has only prolonged war. In Rwanda, his first-person experience of the genocide and well-documented analysis provide rare insight into this human tragedy.Filled with the dust, sweat and powerful detail of real-life, Me Against My Brother graphically illustrates how preventive action and a better understanding of Africa - especially by the US - could have averted much suffering. Also includes a 16-page color insert.

    Teller asked about the people in the drawings: the streetcar operators, waitresses, soldiers, bums. And Mam and Pad (Irene and Joe) began to unfold the hidden history of their world before their Bundle of Joy came along. Out came the Hobo Shoebox, full of letters Joe wrote while riding the rails during the Great Depression; their daring photos as art students, eloping to escape their feuding families; and the War Trunk. Readers stand beside Teller as Pad teaches him why using a ruler in painting is evil; join Mam as she interprets the designs hidden in Joe's "art pancakes"; and enter the world of a most peculiar, philosophical, funny, and loving family.

    Ron Haviv, the first Western journalist to capture Serbian atrocities on film and one of the premier photographic chroniclers of the conflict, offers a selection of photos that bridge the gap between the soldiers and refugees in the Balkans and the stark but dignified reality of everyday life for the Croatian, Serbian, Albanian, Slovenian, and Bosnian people.Chuck Sudetic, the leading correspondent of The New York Times in the former Yugoslavia for much of the recent conflicts, explains the price of war for the peoples of the Balkans and the powerful forces that underlie the cyclical escalations of emotion there. Sudetic portrays a country whose long-held ethnic hatreds have been systematically exploited by two men -- Slobodan Milosevic of Serbia and Franjo Tudjman of Croatia -- who gained power by inciting fierce nationalist passions. Blood and Honey is an unforgettable portrait of life amid the ravages of war.

    When the police caught up with Conn a few weeks later in a Toronto apartment, rather than facing the balance of his 47-year prison sentence, he decided to take his own life. In Who Killed Ty Conn? Linden MacIntyre and Theresa Burke, the two journalists who were on the phone with Conn just moments before his death, offer a compelling account of Conn's tragic life and the ways in which our system failed him.

    Unlike the other two magazines, The Messenger was not tied to a civil rights organization. Labor activist A. Philip Randolph and economist Chandler Owen started the magazine in 1917 to advance the cause of socialism to the black masses. They believed that a socialist society was the only one that would be free from racism.The socialist ideology of The Messenger "the only magazine of scientific radicalism in the world published by Negroes," was reflected in the pieces and authors published in its pages. The Messenger Reader contains poetry, stories, and essays from Paul Robeson, Zora Neale Hurston, Wallace Thurman, and Dorothy West.The Messenger Reader, will be a welcome addition to the critically acclaimed Modern Library Harlem Renaissance series.

    Step into a World is a kaleidoscope into the world not bound by artificial constructs like nation. John Coltrane recorded 'Giant Steps, ' which is a riff on the sight and sounds in his muse. Powell plays the computer with equal astuteness." -Nikki Giovanni "Those of us who pay attention were aware that the younger generation of black writers was being smothered by the anointment of talented tenth Divas and Divuses, and their commercial accommodationist 'Fourth Renaissance. 'This anthology is indeed a breakthrough! It combines the boldness and daring of hip-hop with the intellectual keenness of a Michele Wallace or a Clyde Taylor." -Ishmael Reed "In a culture where videos, the Internet, and other high-tech communication is being consumed like the latest mind-altering drug, how does great literature grow and survive? These writers will answer that all-important question. This anthology provides a clue, a hint, as to where we might be going. They are resisting all this vacant, empty-minded nothingness. Read them. Listen to them. If you don't, you do so at your peril." -Quincy Troupe

    Read by more than twenty million readers, Tomorrow has his finger on the pulse of the times, to enthrall or enrage - and occasionally both - with his work. When Penguins Attack!!! brings back Sparky (the most dyspeptic cartoon animal in the business) and the rest of the cast as Tomorrow casts his perenially jaundiced eye on politics, the media, social trends, and everything else. So sit back and settle in, for Tomorrow is the cartoonist for today.

    In Special Kay, this critic at large captures us at our worst and our best, and all with a Southern accent.

    This is an essential book for working journalists, professors and students of journalism, directors of newspaper inservice writing programs, and anyone who wants to learn more about:the news-writing processreporting and writing for surprisefocusing your storydraft writingediting and fine-tuningcase studies of real journalists at work.Combining his knowledge as a composition researcher and theorist with his practical experience as a teacher and journalist, Donald Murray both explains and demonstrates the writing process as he allows the reader to look over his shoulderand the shoulders of other journalistsas they practice the craft of the immediate.

    "All first-rate criticism," he once wrote in a review, "first defines what we are confronting." He could as easily have been describing his own work. For nearly half a century, Balliett has been telling us, in his widely acclaimed pitch-perfect prose, what we are confronting when we listen to America's greatest—and perhaps only original—musical form.Collected Works: A Journal of Jazz 1954-2001 is a monumental achievement, capturing the full range and register of the jazz scene, from the very first Newport Jazz Festival to recent performances (in clubs and on CDs) by a rising generation of musicians. Here are definitive portraits of such major figures as Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines—a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured those moments during which jazz history is made.Though Balliett's knowledge is an encyclopedic treasure, he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving. This is an art form based on improvising, experimenting, shapeshifting—a constant work in progress of sounds and tonal shades, from swing and Dixieland, through boogie-woogie, bebop, and hard bop, to the "new thing," free jazz, abstract jazz, and atonal jazz. Yet, in all its forms, the music is forever sustained by what Balliett calls a "secret emotional center," an "aural elixir" that "reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise." Balliett's celebrated essays invariably capture the so-called "sound of surprise"—and then share this sound with general readers, music students, jazz lovers, and popular American culture buffs everywhere. As The Los Angeles Times Book Review has observed, "Few people can write as well about anything as Balliett writes about jazz."

    Within two weeks he reported more variations on this scene. Through interviews with a biophysicist, mathematician, a geologist and others, Howe researched the phenomenon for authenticity and now reports her findings.

    Moreau to Doc Brown in Back to the Future, the scientist has been a puzzling, fascinating, and threatening presence in popular culture. From films we have learned that scientists are either evil maniacal geniuses or bumbling saviors of society. Mad, Bad and Dangerous? puts this dichotomy to the test, offering a wholly engaging yet not uncritical history of the cinematic portrayal of scientists. Christopher Frayling traces the genealogy of the scientist in film, showing how the scientist has often embodied the predominant anxieties of a particular historical moment. The fear of nuclear holocaust in the 1950s gave rise to a rash of radioactive-mutant horror movies, while the possible dangers of cloning and biotechnology in the 1990s manifested themselves in Jurassic Park. During these eras, the scientist's actions have been viewed through a lens of fascination and fear. In the past few decades, with increased public awareness of environmental issues and of the impact of technology on nature, the scientist has been transformed once again—into a villainous agent of money-hungry corporate powers. Mad, Bad and Dangerous? also examines biographical depictions of actual scientists, illuminating how they are often portrayed as social misfits willing to sacrifice everything to the interests of science. Drawing on such classic and familiar films as Frankenstein, Metropolis, and The Wizard of Oz, Frayling brings social and film history together to paint a much larger picture of the evolving value of science and technology to society. A fascinating study of American culture and film, Mad, Bad and Dangerous? resurrects the scientists of late night movies and drive-in theaters and gives them new life as cultural talismans.

    Rather than being a harrowing, in-the-trenches account of AIDS . . . Loss within Loss is a reflective, self-possessed, and frequently inspiring testimonial, benefiting from the perspective that only time provides."—David Bahr, The AdvocateAuthor Biography: Edmund White is the award-winning author of The Married Man, The Farewell Symphony, Genet, The Beautiful Room Is Empty, A Boy's Own Story, and several other books. He is professor of creative writing at Princeton University.

    Thompson, Ames and Taibbi cover everything from decadent club scenes to the nation's collapsing political and economic systems - no person or institution is spared from their razor sharp satiric viewpoint. They take you beneath the surface of the Russia that most Western journalists cover, bringing to life the metropolis that Ames describes as "manic, nihilistic, grotesque, horrible; and yet, in its own way, far superior to any city on Earth." Featuring artwork and articles from their groundbreaking newspaper, The eXile is the inside story of how the tabloid came to be and how Ames and Taibbi broke their biggest stories - all the while playing hysterically vicious practical jokes, racking up innumerable death threats, and ingesting a motherlode of speed. It's a darkly funny, up-close profile of the sordid underbelly of the New World Order that you will never forget.

    Whyte offers the core writings of a great observer of the postwar American scene. Included are selections from The Organization Man, Securing Space for Urban America: Conservation Easements, The Last Landscape, The Social Life of Urban Spaces, and City: Rediscovering the Center, as well as many of Whyte's articles from Fortune Magazine.

    They were published in three batches between September 1999 and July 2000, at lengths varying from 600 words to 7,000. The series attempted to go beneath the surface issues to expose the fundamentals - the undeclared but highly successful policy to kill off our comprehensive schools; the bogus analysis of school failure used by Ofsted; the fabrication of facts by Ofsted's chief inspector, Chris Woodhead; the gross dishonesty about funding by the Secretary of State; the link between the success of private schools and the failure of state schools; graphic stories about underfunding, about the lives of truants; an expose of how teachers have joined children in cheating to deliver the exam results which the government demands; some pointers to solutions, based on Dutch schools. The response was huge.

    The central nerve of Islam, he states, is not religion -- it is money...

    The author has followed migrants and refugees in Morocco, Spain, Italy, Kosovo and Albania. In this evocative documentary journalism, he asks how much longer exclusionary immigration policies can work.

    Now in its second edition, Covering Violence remains a crucial guide for becoming a sensitive and responsible reporter. Discussing such topics as rape and the ethics of interviewing children, the book gives students and journalists a detailed understanding of what is happening "on the scene" of a violent event, including where a reporter can go safely and legally, how to obtain the most useful information, and how best to interview and photograph victims and witnesses. This second edition takes our turbulent postmillennium history into account and emphasizes the consequences of frequent exposure to traumatic events. It offers new chapters on 9/11 and terrorism, the Columbine school shootings, and the photographing of violent events, as well as additional profiles of Vietnamese American, Native American, and African American journalists.More essential than ever, Covering Violence connects journalistic practices to the rapidly expanding body of literature on trauma, post-traumatic stress disorder, and secondary traumatic stress, and pays close attention to current medical and political debates concerning victims' rights.

    It gets editors out of the doldrums and into improving reporting and writing by raising their own effectiveness as leaders. It is especially useful for those who are caught in the sandwich between management and staff. This book speaks first to news editors and news directors, but also to others who guide writers in their work. A number of texts tell editors about their work; this handbook speaks to them about what to do first, and then what to do next. Filled with examples of winning practices, it equips editors with new approaches, and inspires them through the examples of others.

    From voyagers of the 17th century to ecological dilemmas of the 20th, from Cotton Mather and Washington Irving to Peter Matthiessen and Barry Lopez, the collection casts our national story in a new and revealing light. Here are many of our greatest writers: Cooper inventing the sea novel, Emerson on an Atlantic crossing; Poe recasting the Flying Dutchman legend; Whitman, Melville, Stephen Crane, Jack London, Eugene O'Neill, Langston Hughes, Ernest Hemingway all mining their sea experiences in vivid writing. Here too are dramatic eyewitness accounts: William Bradford on the Mayflower; Olaudah Equiano on a slave ship; Captain Cook's death on a Hawaiian beach; Lewis and Clark sighting the Pacific; the wreck of the Essex and the Globe mutiny; Joshua Slocum's solo voyage; William Beebe's deep-sea descent: John McPhee on the continuing vulnerability of ships today. Throughout are neglected works of remarkable power: Celia Thaxter on the desolate New England seacoast; Lafcadio Hearn's lush Gulf Coast seascapes; Henry Beston's meditation on waves; Rachel Carson exploring the interaction of sea and land; Joseph Mitchell's startling essay on what lies beneath New York harbor. American Sea Writing is a unique literary voyage in the company of some of our greatest writers.

    A wistful and nostalgic image of the waning years of the Austro-Hungarian empire, following the bloodless democratic revolution of 1918, the Karolyi government and the short-lived Soviet Republic, and presents cameos of the leading political figures of the day, such as Ferenc Kossuth, Mihaly Karoli and Bela Kun."