With an exhaustive knowledge of popular culture and an almost effortless ability to spin brilliant prose out of unlikely subject matter, Klosterman attacks the entire spectrum of postmodern America: reality TV, Internet porn, Pamela Anderson, literary Jesus freaks, and the real difference between apples and oranges (of which there is none). And don't even get him started on his love life and the whole Harry-Met-Sally situation. Whether deconstructing Saved by the Bell episodes or the artistic legacy of Billy Joel, the symbolic importance of The Empire Strikes Back or the Celtics/Lakers rivalry, Chuck will make you think, he'll make you laugh, and he'll drive you insane -- usually all at once. Sex, Drugs, and Cocoa Puffs is ostensibly about art, entertainment, infotainment, sports, politics, and kittens, but -- really -- it's about us. All of us. As Klosterman realizes late at night, in the moment before he falls asleep, "In and of itself, nothing really matters. What matters is that nothing is ever 'in and of itself.'" Read to believe.

    . . . The literature of Christmas ranges from the miraculous to the tragic, the profound to the ridiculous, but always represents the connection to something larger than ourselves." --Caroline Kennedy In A Family Christmas, Caroline shares the Christmas poetry, prose, scriptural readings, and lyrics that are most dear to her, drawing on authors as diverse as Harper Lee, Nikki Giovanni, Martin Luther King Jr., Billy Collins, John and Yoko, and Charles Dickens. There are also many lesser-known gems throughout and personal treasures from her own family--including a young Caroline's Christmas list to Santa Claus and a letter from her father as President to a child concerned about Santa's well-being. This diverse and unique anthology will become a timeless keepsake, and will enrich your heart and mind with the spirit of Christmas. A Family Christmas includes selections from: Groucho Marx, Emma Lazarus, Mark Twain, Sandra Cisneros, Pearl S. Buck, Truman Capote, Gabriela Mistral, Ogden Nash, Clement Clarke Moore, Vladimir Nabokov, Marianne Moore, Calvin Trillin, E. B. White, and many more.

    "Wired" magazine sent him to Singapore to report on one of the world's most buttoned-up states. "The New York Times Magazine" asked him to describe what was wrong with the Internet. Rolling Stone published his essay on the ways our lives are all "soundtracked" by the music and the culture around us. And in a speech at the 2010 Book Expo, he memorably described the interactive relationship between writer and reader.These essays and articles have never been collected-until now. Some have never appeared in print at all. In addition, "Distrust That Particular Flavor" includes journalism from small publishers, online sources, and magazines no longer in existence. This volume will be essential reading for any lover of William Gibson's novels. "Distrust That Particular Flavor" offers readers a privileged view into the mind of a writer whose thinking has shaped not only a generation of writers but our entire culture.

    2.

    This undercover work was known as 'going incognegro'. Zane Pinchback's latest case hits close to home: his brother has been arrested for murder.

    Infused with a love of learning, compelling in its arguments for a unifying written culture, it argues brilliantly against the politicization of literature and presents a guide to the great works of the western literary tradition and essential writers of the ages. The Western Canon was nominated for the National Book Critics Circle Award.

    "Reading" offers ardent, freewheeling considerations of talismanic writers from her own private canon, such as Marina Tsvetaeva, Randall Jarrell, Roland Barthes, Machado de Assis, W. G. Sebald, Borges and Elizabeth Hardwick. "Seeing" is a series of luminous and incisive encounters with film, dance, photography, painting, opera, and theatre. And in the final section, "There and Here," Sontag explores some of her own commitments: to the work (and activism) of conscience, to the concreteness of historical understanding, and to the vocation of the writer. Where the Stress Falls records a great American writer's urgent engagement with some of the most significant aesthetic and moral issues of the late twentieth century, and provides a brilliant and clear-eyed appraisal of what is at stake, in this new century, in the survival of that inheritance.

    At the time, I was inclined to attribute this glibness to the triumph of middle age & to the compromises perhaps necessary to negotiate the then-new ascendancy of Reagan. But, looking back over this extraordinary journal of a plague year, written 40 years ago, I suddenly appreciate that Mailer in 1968 had already been rehearsing for some kind of ideological synthesis, & discovering it in the most improbable of places. Party conventions have been such dull spectacles of stage-management for so long that this year (I happen to be writing on the day after the closing Democratic primaries) it has been considered nothing less than shocking that delegates might arrive in Denver in August with any more than ceremonial or coronational duties ahead of them. The coverage of such media-events, now almost wholly annexed by the cameras & those who serve them, has undergone a similar declension into insipidity. Mailer could see this coming: having left the Republican gathering in Miami slightly too early "he realized he had missed the most exciting night of the convention, at least on the floor, & was able to console himself only with the sad knowledge that he could cover it better on tv than if he had been there." This wasn't quite true yet: what we have here is the last of the great political-convention essayists, & the close of a tradition that crested with H.L. Mencken & was caught so deftly in Gore Vidal's play The Best Man. You will note the way in which Mailer decided to write about himself in the 3rd person, using for a title the name "the reporter." This isn't invariably a good idea but it generally works in this instance, even when he muses, of himself, that: "The Democratic Convention in 1960 in Los Angeles which nominated John F. Kennedy, & the Republican in San Francisco in 1964 which installed Barry Goldwater, had encouraged some of his very best writing." "They venerated Nixon for his service to Eisenhower, & his comeback now--it was his comeback which had made him a hero in their eyes, for America is the land which worships the Great Comeback, & so he was Tricky Dick to them no more, but the finest gentleman in the land; they were proud to say hello." Pauline Kael was later to make herself a laughing stock by exclaiming in astonishment that she didn't "know anybody" who had voted for Nixon. Mailer was determined to avoid this mistake in advance, confessing his own ignorance & admitting that in a large Miami ballroom filled with delegates, "there were not 10 people he recognized." The only other person of liberal/radical temper who tried to avoid condescending to Nixon & to Nixonism was that other master of convention-floor prose, the late Murray Kempton. It was from Kempton himself that Mailer annexed what eventually became the running theme & essential insight of his attendance at both events. "'Politics is property'...[a] delegate's vote is his holding--he will give it up without return no more than a man will sign over his house entire to a worthy cause." More self-evident, perhaps, among the Chamber of Commerce types in Miami (& Nelson Rockefeller with his "catfish mouth"), this extended metaphor worked particularly well--and Mailer did his level best to extend it--in the gaunt, unsentimental world of Chicago stock-yard ward-heeling: that rugged inland coast on which the waves of 60s idealism broke in vain. It wasn't to be "new phalanxes of order" that were conjured. It was the bitter old phalanx of the Daley machine & the Chicago PD. Of necessity, the Illinois chapter was much longer & more intense than the Florida one, but before we shift the scene it is worth saluting Mailer 1st for seeing clearly that Nixon would be "the one" & 2nd for guessing that Ronald Reagan might well be the next one. His method in the 2nd case was equally intuitive. He noticed the clever rebound from the Goldwater defeat while also understanding the purely showbiz aspect. Could that gifted but gruesome twosome of Burroughs & Genet help to explain Mailer's recurrence to the threat of "nihilism"? He hated the war & the police and had contempt for the mobbed-up big mayors & union men who constituted the muscle of the Democrats. But he found Eugene McCarthy brittle & dislikeable, & McCarthy supporters addicted to defeat. Then there was this: "He liked his life. He wanted it to go on, which meant that he wanted America to go on--not as it was going, not Vietnam--but what price was he really willing to pay?" Mailer here was being plaintive but honest, as in the case of the above account of his Lincoln Park funk. It was becoming another of those moments where the best lacked all conviction while the worst...well, we know how that goes. Incidentally, one can't be too careful about making familiar poetic citations. Mailer quotes Edward Kennedy as saying of Bobby's supporters that they had "followed him, honored him, lived in his mild & magnificent eye," & one suddenly realizes that he thinks he is quoting Teddy himself rather than Robert Browning's famous lines from The Lost Leader. As Joan Didion once observed, there are those who say "No Man Is an Island" who firmly believe that they are echoing Ernest Hemingway. Our Democratic primaries are run the way they are now mainly because of the way they were run then. Mailer dryly watched the roll-call in Chicago & noted that the state which put Hubert Humphrey over the top (Pennsylvania) was the one where McCarthy had received 90% of the primary votes. To touch on another comparison with today's politics, Mailer also noticed in Miami that Nixon had won the nomination in such a way as to also win the election: in other words without splitting or embittering his party. These & similar reflections are of interest & value in a year where the Democratic nominee is, in one of his many protean incarnations, a Chicago South Side operator with a wife whose father was a Daley precinct captain, while the Republican candidate is a repository of something in which almost nobody in 1968 would ever have believed: America's residual pride about its own valor in Vietnam. The almost-closing line of the book is the prediction that Mailer wishes he had made to Eugene McCarthy's daughter: "'Dear Miss,' he could have told her, 'we will be fighting for 40 years.'" He got that right, among many other things.--Christopher Hitchens

    A young girl suffers her first betrayal. A widow flirts with an elderly blind man against the wishes of her grown-up children. A neighborhood loan shark teaches o white social worker a lesson in responsibility. And there is more. Sharing the world of Toni Cade Bambara's "straight-up fiction" is a stunning experience.

    Leeming, Baldwin's friend for 25 years, accessed all of Baldwin's private papers to bring readers closer than ever to the complex man who struggled out of Harlem to become a legend of American literature. Photos.