A collection of stories from Vanity Fair magazine about the current financial crisis by some of the country’s best business journalists, including Michael Lewis (Moneyball, Liar’s Poker), Bryan Burrough (Barbarians at the Gate), and Mark Bowden (Black Hawk Down), edited by Vanity Fair editor Graydon Carter, and with an introduction by Cullen Murphy (Are We Rome?).

    Bernhard Schlink explores the phenomenon of guilt and how it attaches to a whole society, not just to individual perpetrators. He considers how to use the lesson of history to motivate individual moral behavior, how to reconcile a guilt-laden past, how the role of law functions in this process, and how the theme of guilt influences his own fiction. Based on the Weidenfeld Lectures he delivered at Oxford University, Guilt About the Past is essential reading for anyone wanting to understand how events of the past can affect a nation's future. Written in Bernhard Schlink's eloquent but accessible style, it taps in to worldwide interest in the aftermath of war and how to forgive and reconcile the various legacies of the past.

    Their mission: learn Western ways and return to help nurture a new generation of enlightened men to lead Japan.Raised in traditional samurai households during the turmoil of civil war, three of these unusual ambassadors—Sutematsu Yamakawa, Shige Nagai, and Ume Tsuda—grew up as typical American schoolgirls. Upon their arrival in San Francisco they became celebrities, their travels and traditional clothing exclaimed over by newspapers across the nation. As they learned English and Western customs, their American friends grew to love them for their high spirits and intellectual brilliance.The passionate relationships they formed reveal an intimate world of cross-cultural fascination and connection. Ten years later, they returned to Japan—a land grown foreign to them—determined to revolutionize women’s education.Based on in-depth archival research in Japan and in the United States, including decades of letters from between the three women and their American host families, Daughters of the Samurai is beautifully, cinematically written, a fascinating lens through which to view an extraordinary historical moment.

    Rollins's observations range from the wry to the raucous in this blistering account of a six-year career with the band - a time marked by crazed fans, vicious cops, near-starvation, substance abuse, and mind numbing all-night drives. Rollins decided to revise this edition by adding a wealth of new photographs, a new foreword, and an afterword to include some "where-are-they-now" information on the people featured in the book. This new edition includes 40 previously unpublished black-and-white photographs from Rollins's private collection and show flyers by artist Raymond Pettibon. Called "a soul-frying experience not to be undertaken by lightweights" by Wired magazine, Get in the Van perfectly embodies what one critic called the "secular gospel" of one of punk and post-punk's most respected and controversial figures.

    . . but the riches found in the overlooked B movies of the time, rolled out wherever they might find an audience, unexpectedly tell an eye-opening story about post-Watergate, post-Vietnam America. Revisiting the films that don't make the Academy Award montages, Charles Taylor finds a treasury many of us have forgotten, movies that in fact “unlock the secrets of the times.”Celebrated film critic Taylor pays homage to the trucker vigilantes, meat magnate pimps, blaxploitation “angel avengers,” and taciturn factory workers of grungy, unartful B films such as Prime Cut, Foxy Brown, and Eyes of Laura Mars. He creates a compelling argument for what matters in moviemaking and brings a pivotal American era vividly to life in all its gritty, melancholy complexity.

    Award-winning New York Times-bestselling author Mark Kurlansky takes us back to the food and eating habits of a younger America: Before the national highway system brought the country closer together; before chain restaurants imposed uniformity and low quality; and before the Frigidaire meant frozen food in mass quantities, the nation's food was seasonal, regional, and traditional. It helped form the distinct character, attitudes, and customs of those who ate it. In the 1930s, with the country gripped by the Great Depression and millions of Americans struggling to get by, FDR created the Federal Writers' Project under the New Deal as a make-work program for artists and authors. A number of writers, including Zora Neale Hurston, Eudora Welty, and Nelson Algren, were dispatched all across America to chronicle the eating habits, traditions, and struggles of local people. The project, called "America Eats," was abandoned in the early 1940s because of the World War and never completed. The Food of a Younger Land unearths this forgotten literary and historical treasure and brings it to exuberant life. Mark Kurlansky's brilliant book captures these remarkable stories, and combined with authentic recipes, anecdotes, photos, and his own musings and analysis, evokes a bygone era when Americans had never heard of fast food and the grocery superstore was a thing of the future. Kurlansky serves as a guide to this hearty and poignant look at the country's roots. From New York automats to Georgia Coca-Cola parties, from Arkansas possum-eating clubs to Puget Sound salmon feasts, from Choctaw funerals to South Carolina barbecues, the WPA writers found Americans in their regional niches and eating an enormous diversity of meals. From Mississippi chittlins to Indiana persimmon puddings, Maine lobsters, and Montana beavertails, they recorded the curiosities, commonalities, and communities of American food.

    When she was fifteen an uncle who lived in Portland, Oregon brought her to America.  Having to learn an entire new language, she nonetheless graduated from high school in three years and went on to earn a bachelor's degree.  In 2004 she signed on with a defense contractor to work as an interpreter in Afghanistan, never realizing that she would blaze the trail for a new kind of diplomacy, earning the trust of both high-ranking U.S. army officials and Afghan warlords alike.             When she arrived in Afghanistan in the winter of 2004, Saima was among the few college-educated female Pashto speakers in the entire country. She was stunned to learn how little U.S. and coalition forces knew about the Pashtun, who comprise 40% of the population and from whom the Taliban arose. The blessing of the Pashtun is essential, but the U.S. army was so unaware of the workings of this ancient, proud, insular ethic group, that they would routinely send Farsi interpreters into Pashtun villages.  As a Pashtun-born American citizen, Saima found herself in an extraordinary position—to be able to explain the people of her native land to those of her adopted one, and vice versa, in a quest to forge new and lasting bonds between two misunderstood cultures. In My Father’s Country follows her amazing transformation from child refugee to nervous Pashtun interpreter to intrepid “human terrain” specialist, venturing with her twenty-five-soldier force pro-tection into isolated Pashtun villages to engage hostile village elders in the first, very frank dialogue they had ever had with the Americans.From her posting at the forward operating base Farah in Afghanistan’s blistering western frontier to the year she spent in Jalalabad translating for provincial governor “Hollywood Pashtun” Sherzai to the near-suicide missions of a year and a half in the Khost Province, where before every mission, she left instructions on how to dispose of her belongings, having to face the very real possibility of not coming back alive, Saima Wahab’s is an incomparable story of one young woman’s unwavering courage and undaunted spirit.

    But their greatness on the field was nearly eclipsed by how bad they were off it. Led by the indomitable Keith Hernandez and the young dynamic duo of Dwight Gooden and Darryl Strawberry, along with the gallant Scum Bunch, the Amazin’s left a wide trail of wreckage in their wake—hotel rooms, charter planes, a bar in Houston, and most famously Bill Buckner and the hated Boston Red Sox.With an unforgettable cast of characters—including Doc, Straw, the Kid, Nails, Mex, and manager Davey Joshson—this “affectionate but critical look at this exciting season” (Publishers Weekly) celebrates the last of baseball’s arrogant, insane, rock-and-roll-and-party-all-night teams, exploring what could have been, what should have been, and what never was.

    We go into the homes of suicide bombers and into street-to-street fighting with a battalion of marines. We meet Iraqi insurgents, an American captain who loses a quarter of his men in eight days, and a young soldier from Georgia on a rooftop at midnight reminiscing about his girlfriend back home. A car bomb explodes, bullets fly, and a mother cradles her blinded son.Like no other book, The Forever War allows us a visceral understanding of today’s battlefields and of the experiences of the people on the ground, warriors and innocents alike. It is a brilliant, fearless work, not just about America’s wars after 9/11, but ultimately about the nature of war itself.

    The book is going to search for the deeper roots of American cultural and musical evolution for the past 150 years by studying what the Western European culture learned from African American culture in a historical progression that reaches from the minstrel era to Bob Dylan. The book begins with America’s first great social critic, Henry David Thoreau, and his fundamental source of social philosophy:---his profound commitment to freedom, to abolitionism and to African-American culture. Continuing with Mark Twain, through whom we can observe the rise of minstrelsy, which he embraced, and his subversive satirical masterpiece Huckleberry Finn. While familiar, the book places them into a newly articulated historical reference that shines new light and reveals a progression that is much greater than the sum of its individual parts. As the first post-Civil War generation of black Americans came of age, they introduced into the national culture a trio of musical forms—ragtime, blues, and jazz— that would, with their derivations, dominate popular music to this day. Ragtime introduced syncopation and become the cutting edge of the modern 20th century with popular dances. The blues would combine with syncopation and improvisation and create jazz. Maturing at the hands of Louis Armstrong, it would soon attract a cluster of young white musicians who came to be known as the Austin High Gang, who fell in love with black music and were inspired to play it themselves. In the process, they developed a liberating respect for the diversity of their city and country, which they did not see as exotic, but rather as art. It was not long before these young white rebels were the masters of American pop music – big band Swing.As Bop succeeded Swing, and Rhythm and Blues followed, each had white followers like the Beat writers and the first young rock and rollers. Even popular white genres like the country music of Jimmy Rodgers and the Carter Family reflected significant black influence. In fact, the theoretical separation of American music by race is not accurate. This biracial fusion achieved an apotheosis in the early work of Bob Dylan, born and raised at the northern end of the same Mississippi River and Highway 61 that had been the birthplace of much of the black music he would study. As the book reveals, the connection that began with Thoreau and continued for over 100 years was a cultural evolution where, at first individuals, and then larger portions of society, absorbed the culture of those at the absolute bottom of the power structure, the slaves and their descendants, and realized that they themselves were not free.

    He provides an extraordinary mediation upon the nature of place, time and our daily lives.