What does she look like?" As the only African American soloist dancing with the prestigious American Ballet Theatre, Misty Copeland has made history. But when she first placed her hands on the barre at an after-school community center, no one expected the undersized, anxious thirteen-year-old to become a ground-breaking ballerina. When she discovered ballet, Misty was living in a shabby motel room, struggling with her five siblings for a place to sleep on the floor. A true prodigy, she was dancing en pointe within three months of taking her first dance class and performing professionally in just over a year: a feat unheard of for any classical dancer. But when Misty became caught between the control and comfort she found in the world of ballet and the harsh realities of her own life (culminating in a highly publicized custody battle), she had to choose to embrace both her identity and her dreams, and find the courage to be one of a kind. With an insider's unique point of view, Misty opens a window into the life of a professional ballerina who lives life center stage: from behind the scenes at her first auditions to her triumphant roles in some of the most iconic ballets. But in this beautifully written memoir, she also delves deeper to reveal the desire and drive that made her dreams reality. Life in Motion is a story of passion and grace for anyone who has dared to dream of a different life.

    Nina Stibbe's Love, Nina: Despatches from Family Life is the laugh-out-loud story of the trials and tribulations of a very particular family.

    Was she a divinely inspired saint? A schizophrenic? A demonically possessed heretic, as her persecutors and captors tried to prove?Every era must retell and reimagine the Maid of Orleans's extraordinary story in its own way, and in Joan of Arc: A Life Transfigured, the superb novelist and memoirist Kathryn Harrison gives us a Joan for our time—a shining exemplar of unshakable faith, extraordinary courage, and self-confidence during a brutally rigged ecclesiastical inquisition and in the face of her death by burning. Deftly weaving historical fact, myth, folklore, artistic representations, and centuries of scholarly and critical interpretation into a compelling narrative, she restores Joan of Arc to her rightful position as one of the greatest heroines in all of human history.

    The moving, uplifting true story of an unlikely friendship between a man on the streets and the ginger cat who adopts him and helps him heal his life.

    The daughter of the American ambassador to the Court of St. James's, Kick swept into Britain's aristocracy like a fresh wind on a sweltering summer day. In a decaying world where everything was based on stultifying sameness and similarity, she was gloriously, exhilaratingly different. Kick was the girl whom all the boys fell in love with, the girl who remained painfully out of reach for most of them. To Kick, everything about this life was fun and amusing--until suddenly it was not. For this is also a story of how a girl like Kick, a girl who had everything, a girl who seemed made for happiness, confronted crushing sadness. Willing to pay the price for choosing the love she wanted, she would have to face the consequences of forsaking much that was dear to her.

    While there is action here, there's also political hassle, the rich and often troubling history of a department not unfamiliar with corruption, and the day to day life of people charged with preserving order in America's largest city. Conlon's book is, in part, a memoir as he progresses from being a rookie cop working the beat at troubled housing projects to assignments in the narcotics division to eventually becoming a detective. But it's also the story of his family history within the enormous NYPD as well as the evolving role of the police force within the city.Conlon relates the controversies surrounding the somewhat familiar shooting of Amadou Diallou and the abuse, at the hands of New York cops, of Abner Louima. But being a cop himself, Conlon lends insight and nuance to these issues that could not possibly be found in the newspapers. And as an outstanding writer, he draws the reader into that world. In the book's most remarkable passage, Conlon tells of the grim but necessary work done at the Fresh Kills landfill, sifting through the rubble and remains left in the wake of the World Trade Center attacks on 9/11 (a section originally published in The New Yorker).In many ways, Blue Blood comes to resemble the world of New York City law enforcement that Conlon describes: both are expansive, sprawling, multi-dimensional, and endlessly fascinating. And Conlon's writing is perfectly matched to his subject, always lively, keenly observant, and possessing a streetwise energy.

    He believed that to achieve his goal he must do something spectacular on the battlefield. Despite deliberately putting himself in extreme danger as a British Army officer in colonial wars in India and Sudan, and as a journalist covering a Cuban uprising against the Spanish, glory and fame had eluded him.Churchill arrived in South Africa in 1899, valet and crates of vintage wine in tow, there to cover the brutal colonial war the British were fighting with Boer rebels. But just two weeks after his arrival, the soldiers he was accompanying on an armored train were ambushed, and Churchill was taken prisoner. Remarkably, he pulled off a daring escape--but then had to traverse hundreds of miles of enemy territory, alone, with nothing but a crumpled wad of cash, four slabs of chocolate, and his wits to guide him.The story of his escape is incredible enough, but then Churchill enlisted, returned to South Africa, fought in several battles, and ultimately liberated the men with whom he had been imprisoned.Churchill would later remark that this period, "could I have seen my future, was to lay the foundations of my later life." Millard spins an epic story of bravery, savagery, and chance encounters with a cast of historical characters--including Rudyard Kipling, Lord Kitchener, and Mohandas Gandhi--with whom he would later share the world stage. But Hero of the Empire is more than an adventure story, for the lessons Churchill took from the Boer War would profoundly affect 20th century history.From the Hardcover edition.

    Review of Books.First published in 1942 at the height of her popularity, Dust Tracks on a Road is Zora Neale Hurston's candid, funny, bold and poignant autobiography, an imaginative and exuberant account of her rise from childhood poverty in the rural South to a prominent place among the leading artists and intellectuals of the Harlem Renaissance. As compelling as her acclaimed fiction, Hurston's very personal literary self-portrait offers a revealing, often audacious glimpse into the life–public and private–of an extraordinary artist, anthropologist, chronicler, and champion of the black experience in America. Full of the wit and wisdom of a proud, spirited woman who started off low and climbed hight, Dust Tracks on a Road is a rare treasure from one of literature's most cherished voices.

    On September 20, 2006, he suffered a serious brain injury following a high-speed car crash, and the nation held its breath. On the Edge is his compelling account of life before and after the accident and an honest description of his year of recovery, full of drama and incident. It is also, perhaps, his explanation of why, as a married man and father of two young daughters, he was prepared to risk all by strapping himself to the front of a jet engine with the power of eleven Formula One cars. A daredevil and a petrolhead long before his association with Top Gear, Richard tells the story of his life as an adrenalin junkie, from the small boy showing off with ridiculous stunts on his bicycle to the adolescent with a near-obsessive attraction to speed and the smell of petrol. After a series of jobs in local radio, he graduated to television and eventually to Top Gear, one of the world's most popular shows, upgrading his car with each step up the ladder. His insights into the personalities, the camaraderie and, of course, the stunts for which Top Gear has become famous make compulsive reading.It was whilst filming for Top Gear, driving a jet-powered dragster at speeds over 300mph, that a tyre burst and the car left the track and rolled over, burying him in the earth. He was airlifted to hospital and hovered near death for several days. His wife Mindy tells the story of the anxious hours and days of watching and waiting until he finally emerged from his coma. In an extraordinarily powerful piece of writing, she and Richard then piece together the stages of his recovery as his shattered mind slowly reformed, leaving him sometimes lucid and plausible, sometimes confused and angry, and often exhausted. The final chapter recounts his return home and his triumphant reappearance in front of the cameras.

    Sonia Purnell finally gives Clementine her due with a deeply researched account that tells her life story, revealing how she was instrumental in softening FDR’s initial dislike of her husband and paving the way for Britain’s close relationship with America. It also provides a surprising account of her relationship with Eleanor Roosevelt and their differing approaches to the war effort.Born into impecunious aristocracy, the young Clementine was the target of cruel snobbery. Many wondered why Winston married her, but their marriage proved to be an exceptional partnership. Beautiful and intelligent, but driven by her own insecurities, she made his career her mission. Any real consideration of Winston Churchill is incomplete without an understanding of their relationship, and Clementine is both the first real biography of this remarkable woman and a fascinating look inside their private world.

    The Charles of the painting was young—too young to be king—and yet also too young to be painted by the Flemish painter to which the work was attributed. Snare had found something incredible—but what?His research brought him to Diego Velazquez, whose long-lost portrait of Prince Charles has eluded art experts for generations. Velázquez (1599–1660) was the official painter of the Madrid court, during the time the Spanish Empire teetered on the edge of collapse. When Prince Charles of England—a man wealthy enough to help turn Spain’s fortunes—ventured to the court to propose a marriage with a Spanish princess, he allowed just a few hours to sit for his portrait. Snare believed only Velázquez could have met this challenge. But in making his theory public, Snare was ostracized, victim to aristocrats and critics who accused him of fraud, and forced to choose, like Velázquez himself, between art and family.A thrilling investigation into the complex meaning of authenticity and the unshakable determination that drives both artists and collectors of their work, The Vanishing Velázquez travels from extravagant Spanish courts in the 1700s to the gritty courtrooms and auction houses of nineteenth-century London and New York. But it is above all a tale of mystery and detection, of tragic mishaps and mistaken identities, of class, politics, snobbery, crime, and almost farcical accident. It is a magnificently crafted page-turner, a testimony to how and why great works of art can affect us to the point of obsession.

    du Maurier was immediately established as the queen of the psychological thriller. But the more fame this and her other books encouraged, the more reclusive Daphne du Maurier became.Margaret Forster's award-winning biography could hardly be more worthy of its subject. Drawing on private letters and papers, and with the unflinching co-operation of Daphne du Maurier's family, Margaret Forster explores the secret drama of her life - the stifling relationship with her father, actor-manager Gerald du Maurier; her troubled marriage to war hero and royal aide, 'Boy' Browning; her wartime love affair; her passion for Cornwall and her deep friendships with the last of her father's actress loves, Gertrude Lawrence, and with an aristocratic American woman.Most significant of all, Margaret Forster ingeniously strips away the relaxed and charming facade to lay bare the true workings of a complex and emotional character whose passionate and often violent stories mirrored her own fantasy life more than anyone could ever have imagined.

    Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims our country's origins for a diverse new generation.Hamilton: The Revolution gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda and Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages--"since before this was even a show," according to Miranda--trace its development from an improbable perfor­mance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here.Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sond­heim, leading political commentators, and more than 40 people involved with the production; and multiple appearances by Presi­dent Obama himself. The book does more than tell the surprising story of how a Broadway musical became a national phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.

    Using never-before-seen archival materials that include photographs, poems, letters, and journal entries from when Madeleine was a child until just after the publication of her classic, A Wrinkle in Time, her granddaughters weave together an in-depth and unique view of the famous writer. It is a story of overcoming obstacles--a lonely childhood, financial insecurity, and countless rejections of her writing--and eventual triumph. Becoming Madeleine will speak not only to fans of the icon's work, but also to anyone interested in writing.

    So did some of his friends, a group of modernist writers and artists that included E. E. Cummings, Marianne Moore, William Carlos Williams, John Dos Passos, and Ezra Pound. Gould began his life’s work before the First World War, announcing that he intended to write down nearly everything anyone ever said to him. “I am trying to preserve as much detail as I can about the normal life of every day people,” he explained, because “as a rule, history does not deal with such small fry.” By 1942, when The New Yorker published a profile of Gould written by the reporter Joseph Mitchell, Gould’s manuscript had grown to more than nine million words. But when Gould died in 1957, in a mental hospital, the manuscript was nowhere to be found. Then, in 1964, in “Joe Gould’s Secret,” a second profile, Mitchell claimed that “The Oral History of Our Time” had been, all along, merely a figment of Gould’s imagination. Lepore, unpersuaded, decided to find out.  Joe Gould’s Teeth is a Poe-like tale of detection, madness, and invention. Digging through archives all over the country, Lepore unearthed evidence that “The Oral History of Our Time” did in fact once exist. Relying on letters, scraps, and Gould’s own diaries and notebooks—including volumes of his lost manuscript—Lepore argues that Joe Gould’s real secret had to do with sex and the color line, with modernists’ relationship to the Harlem Renaissance, and, above all, with Gould’s terrifying obsession with the African American sculptor Augusta Savage. In ways that even Gould himself could not have imagined, what Gould wrote down really is a history of our time: unsettling and ferocious.