Jack Black's autobiography was a bestseller and went through five printings in the late 1920's. It has led a mostly subterranean existence since then - best known as William S. Burrough's favorite book, one he admitted lifting big chunks of from memory for his first novel, Junky. But it's time we got wise to this book, which is in itself a remarkably wise book - and a ripping true saga. It's an amazing journey into the hobo underworld: freight hopping around the still wide open West at the turn of the 20th century, becoming a member of the "yegg" (criminal) brotherhood and a highwayman, learning the outlaw philosophy from Foot-and-a-half George and the Sanctimonious Kid, getting hooked on opium, passing through hobo jungles, hop joints and penitentiaries. This is a chunk of the American story entirely left out of the history books - it's a lot richer and stranger than the official version. This new edition also includes an Afterword that tells some of what became of Black after he wore out the outlaw life and washed up in San Francisco, wrote this book and reinvented himself.

    The story of Sylvia Beach's love for Shakespeare and Company supplies the lifeblood of this book.

    They forged economic dynasties, built mansions and estates, assembled libraries, endowed charities, and advised a German kaiser and two American presidents. But their very success made the Warburgs lightning rods for anti-Semitism, and their sense of patriotism became increasingly dangerous in a Germany that had declared Jews the enemy.Ron Chernow's hugely fascinating history is a group portrait of a clan whose members were renowned for their brilliance, culture, and personal energy yet tragically vulnerable to the dark and irrational currents of the twentieth century.

    The girl with the pigtails, the symbol of innocence in The Wizard of Oz. The brightest star of the Hollywood musical and an entertainer of almost magical power. The woman of a half-dozen comebacks, a hundred heartbreaks, and thousands of headlines. Yet much of what has been written about her is either inaccurate or incomplete, and the Garland the world thought it knew was merely a sketch for the astonishing woman Gerald Clarke portrays in Get Happy. Here, more than thirty years after her death, is the real Judy.

    When Theodore Roosevelt became president in 1901, his beautiful and flamboyant daughter was transformed into "Princess Alice," arguably the century's first global celebrity. Thirty-two years later, her first cousin Eleanor moved into the White House as First Lady. Born eight months and twenty blocks apart from each other in New York City, Eleanor and Alice spent a large part of their childhoods together and were far more alike than most historians acknowledge. But their politics and temperaments couldn't have been more distinct. Do-gooder Eleanor was committed to social justice but hated the limelight; acid-tongued Alice, who became the wife of philandering Republican congressman Nicholas Longworth, was an opponent of big government who gained notoriety for her cutting remarks (she famously quipped that dour President Coolidge “looked like he was weaned on a pickle”). While Eleanor revolutionized the role of First Lady with her outspoken passion for human rights, Alice made the most of her insider connections to influence politics, including doing as much to defeat the League of Nations as anyone in elective office.The cousins themselves liked to play up their oil-and-water relationship. “When I think of Frank and Eleanor in the White House I could grind my teeth to powder and blow them out my nose,” Alice once said. In the 1930s they even wrote opposing syndicated newspaper columns and embarked on competing nationwide speaking tours. Blood may be thicker than water, but when the family business is politics, winning trumps everything.Vivid, intimate, and stylishly written, Hissing Cousins finally sets this relationship center stage, revealing the contentious bond between two political trailblazers who short-circuited the rules of gender and power, each in her own way.

    . . .--Sherlock Holmes on Professor Moriarty in The Final ProblemThe Victorian era's most infamous thief, Adam Worth was the original Napoleon of crime. Suave, cunning Worth learned early that the best way to succeed was to steal. And steal he did.Following a strict code of honor, Worth won the respect of Victorian society. He also aroused its fear by becoming a chilling phantom, mingling undetected with the upper classes, whose valuables he brazenly stole. His most celebrated heist: Gainsborough's grand portrait of the Duchess of Devonshire--ancestor of Diana, Princess of Wales--a painting Worth adored and often slept with for twenty years.With a brilliant gang that included "Piano" Charley, a jewel thief, train robber, and playboy, and "the Scratch" Becker, master forger, Worth secretly ran operations from New York to London, Paris, and South Africa--until betrayal and a Pinkerton man finally brought him down.In a decadent age, Worth was an icon. His biography is a grand, dazzling tour into the gaslit underworld of the last century. . . and into the doomed genius of a criminal mastermind.

    His magnificent new biography of Ludwig van Beethoven peels away layers of legend to get to the living, breathing human being who composed some of the world’s most iconic music. Swafford mines sources never before used in English-language biographies to reanimate the revolutionary ferment of Enlightenment-era Bonn, where Beethoven grew up and imbibed the ideas that would shape all of his future work. Swafford then tracks his subject to Vienna, capital of European music, where Beethoven built his career in the face of critical incomprehension, crippling ill health, romantic rejection, and “fate’s hammer,” his ever-encroaching deafness. Throughout, Swafford offers insightful readings of Beethoven’s key works. More than a decade in the making, this will be the standard Beethoven biography for years to come.

    Pamela Mountbatten entered a remarkable family when she was born at the very end of the Roaring Twenties.As the younger daughter of the glamorous heiress Edwina Ashley and Lord Louis Mountbatten, Pamela spent much of her early life with her sister, nannies, and servants—and a menagerie that included, at different times, a bear, two wallabies, a mongoose, and a lion. Her parents each had lovers who lived openly with the family. The house was always full of guests like Sir Winston Churchill, Noël Coward, Douglas Fairbanks, and the Duchess of Windsor (who brought a cold cooked chicken as a hostess gift).When World War II broke out, Lord Mountbatten was in command of HMS Kelly before being appointed chief of Combined Operations, and Pamela and her sister were sent to live on Fifth Avenue in New York City with Mrs. Cornelius Vanderbilt. In 1947, her parents were appointed to be the last viceroy and vicereine of India and oversee the transfer of power to an independent Indian government. Amid the turmoil of political change, Pamela worked with student leaders, developed warm friendships with Gandhi and Nehru, and witnessed both the joy of Independence Day and its terrible aftermath. Soon afterwards, she was a bridesmaid in Princess Elizabeth’s wedding to Prince Philip, and was a ladyin- waiting at the young princess’s side when she learned her father had died and she was queen.Vivid and engaging, well-paced and superbly detailed, this witty, intimate memoir is an enchanting lens through which to view the early part of the twentieth century.

    With an extraordinary range of candid interviews--many with people who have never spoken in such depth on record before--Bradford offers new insights into the woman behind the public persona. She creates a coherent picture out of Jackie's tumultuous and cosmopolitan life--from the aristocratic milieu of Newport and East Hampton to the Greek isles, from political Washington to New York's publishing community. She probes Jackie's privileged upbringing, her highly public marriages, and her roles as mother and respected editor, and includes rare photos from private collections to create the most complete account yet written of this legendary life. Jacqueline Kennedy Onassis's life is once again the center of interest with the 2016 release of the Pablo Larrain movie "Jackie," starring Natalie Portman.

    ("I had recently read," Bryson writes, "that 3.7 million Americans believed that they had been abducted by aliens at one time or another, so it was clear that my people needed me.") But before departing, he set out on a grand farewell tour of the green and kindly island that had so long been his home.Veering from the ludicrous to the endearing and back again, Notes from a Small Island is a delightfully irreverent jaunt around the unparalleled floating nation that has produced zebra crossings, Shakespeare, Twiggie Winkie's Farm, and places with names like Farleigh Wallop and Titsey. The result is an uproarious social commentary that conveys the true glory of Britain, from the satiric pen of an unapologetic Anglophile.

    Now, acclaimed biographer David Michaelis gives us the first full-length biography of Schulz: at once a creation story, a portrait of a hidden American genius, and a chronicle contrasting the private man with the central role he played in shaping the national imagination. The son of a barber, Schulz was born in Minnesota to modest, working class roots. In 1943, just three days after his mother′s tragic death from cancer, Schulz, a private in the army, shipped out for boot camp and the war in Europe. The sense of shock and separation never left him. And these early experiences would shape his entire life.With Peanuts, Schulz embedded adult ideas in a world of small children to remind the reader that character flaws and childhood wounds are with us always. It was the central truth of his own life, that as the adults we′ve become and as the children we always will be, we can free ourselves, if only we can see the humour in the predicaments of funny-looking kids. Schulz′s Peanuts profoundly influenced the country in the second half of the 20th century. But the strip was anchored in the collective experience and hardships of Schulz′s generation-the generation that survived the Great Depression and liberated Europe and the Pacific and came home to build the post-war world.

    She was ruthless. She had a steel trap for a mind and a will of iron. Born Vera Maria Rosenberg in Bucharest, she became Vera Atkins, legendary spy and holder of the Legion of Honor. Recruited by William Stevenson—the spymaster who would later come to be known as “Intrepid”—when she was only twenty-three, Vera spent much of the 1930s running countless perilous espionage missions. When war was declared in 1939, her fierce intelligence, blunt manner, personal courage, and knowledge of several languages quickly propelled her to the leadership echelon of the highly secretive Special Operations Executive (SOE), a covert intelligence agency formed by, and reporting to, Winston Churchill. She recruited and trained several hundred agents, including dozens of women, whose objectives were to penetrate deep behind enemy lines. The stirring exploits and the exemplary courage of the SOE agents and the French Resistance fighters—who in the words of General Dwight D. Eisenhower together “shortened the war by many months”—are justly celebrated. But the central role of Vera Atkins has until now been cloaked in silence. William Stevenson was the only person she trusted to record her life; he kept his promise that he would not publish her story until after her death. Here is the extraordinary account of the woman whose intelligence, beauty, and unflagging dedication proved key in turning the tide of World War II.

    This book is about them, the so-called "mole people" living alone and in communities, in the frescoed waiting rooms of long-forgotten subway tunnels and in pick-axed compartments below busway platforms. It is about how and why people move underground, who they are, and what they have to say about their lives and the treacherous "topside" world they've left behind. There are even the voices of young children taken down to the tunnels by parents who are determined to keep their families together, although as one tunnel dweller explains, "once you go down there, you can't be a child anymore." Though they maintain an existence hidden from the world aboveground, tunnel dwellers form a large and growing sector of the homeless population. They are a diverse group, and they choose to live underground for many reasonssome rejecting society and its values, others reaffirming those values in what they view as purer terms, and still others seeking shelter from the harsh conditions on the streets. Their enemies include government agencies and homeless organizations as well as wandering crack addicts and marauding gangs. In communities underground, however, many homeless people find not only a place but also an identity. On these pages Jennifer Toth visits underground New York with various straight-talking guides, from outreach workers and transit police to vetern tunnel dwellers, graffiti artists, and even the "mayor" of a large, highly structured community several levels down. In addition to chilling and poignant firsthand accounts of tunnel life, she describes the fascinating and labryrinthine physical world beneath the city and discusses the literary allusions and historical points of view that prejudice our culture against those who "go underground". Toth has gained unprecedented access to a strange and frightening world, but The Mole People is not a daredevil jo

    After two broken marriages, this third, she believed, was her lucky charm. But within a few years, Debbie discovered that he had betrayed her emotionally and financially, nearly destroying her life.Today, she writes, "When I read the optimistic ending of my last memoir now, I can't believe how naive I was when I wrote it. In Unsinkable, I look back at the many years since then, and share my memories of a film career that took me from the Miss Burbank Contest of 1948 to the work I did in 2012. . . . To paraphrase Bette Davis: Fasten your seatbelts, I've had a bumpy ride."Unsinkable shines a spotlight on the resilient woman whose talent and passion for her work have endured for more than six decades. In her engaging, down-to-earth voice, Debbie shares private details about her man and money troubles, including building and losing her Las Vegas dream hotel and her treasured Hollywood memorabilia collection. Yet no matter how difficult the problems, the show always goes on.Debbie also invites us into the close circle of her family, speaking with deep affection and honesty about her relationships with her children, Carrie and Todd Fisher. She looks back at her life as an actress during Hollywood's Golden Age—"the most magical time you could imagine"—including her lifelong friendship with (and years-long estrangement from) the legendary Elizabeth Taylor. Here, too, are stories that never reached the tabloids about numerous celebrities, such as Ava Gardner, Clark Gable, Frank Sinatra, Mick Jagger, Gene Kelly, and many more. She takes us on a guided tour through her movies with delightful, often hilarious behind-the-scenes anecdotes about every film in which she was involved, from 1948 to the present.Frank and forthright, and featuring dozens of previously unseen photos from Debbie's personal collection, Unsinkable is a poignant reminder that there is light in the darkest times. It is a revealing portrait of a woman whose determination is an inspiration.

    In Wicked Messenger, acclaimed cultural-political commentator Mike Marqusee advances the new thesis that Dylan did not drop politics from his songs but changed the manner of his critique to address the changing political and cultural climate and, more importantly, his own evolving aesthetic. Wicked Messenger is also a riveting political history of the United States in the 1960s. Tracing the development of the decade’s political and cultural dissent movements, Marqusee shows how their twists and turns were anticipated in the poetic aesthetic—anarchic, unaccountable, contradictory, punk— of Dylan's mid-sixties albums, as well as in his recent artistic ventures in Chronicles, Vol. I and Masked and Anonymous.Dylan’s anguished, self-obsessed, prickly artistic evolution, Marqusee asserts, was a deeply creative response to a deeply disturbing situation. "He can no longer tell the story straight," Marqusee concludes, "because any story told straight is a false one."