The issues it tackled, from the failures of the drug war and criminal justice system to systemic bias in law enforcement and other social institutions, have become more urgent and central to the national conversation. The show's actors, such as Idris Elba, Dominic West, and Michael B. Jordan, have gone on to become major stars. Its creators and writers, including David Simon and Richard Price, have developed dedicated cult followings of their own. Universities use the show to teach everything from film theory to criminal justice to sociology. Politicians and activists reference it when discussing policy. When critics compile lists of the Greatest TV Shows of All Time, The Wire routinely takes the top spot. It is arguably one of the great works of art America has produced in the 20th century.But while there has been a great deal of critical analysis of the show and its themes, until now there has never been a definitive, behind-the-scenes take on how it came to be made. With unparalleled access to all the key actors and writers involved in its creation, Jonathan Abrams tells the astonishing, compelling, and complete account of The Wire, from its inception and creation through its end and powerful legacy.

    Since all the books that preceded it have focused on the musicians, promoters, and staff, this book will be the first one that chronicles the audience’s experience in an up close and personal way. This book documents the event itself, but also provides a mesmerizing portrait of America as that tumultuous decade came to a close. It is nostalgic, historical, and a fascinating read that will appeal to all Baby Boomers, their offspring, and anyone who wonders what it was really like—and what became of all those “hippies.”

    Like John McPhee and Susan Orlean, Laskas dives deep into her subjects and emerges with character-driven narratives that are gripping, funny, and revelatory. In Hidden America, the stories are about the people who make our lives run every day—and yet we barely think of them. Laskas spent weeks in an Ohio coal mine and on an Alaskan oil rig; in a Maine migrant labor camp, a Texas beef ranch, the air traffic control tower at New York’s LaGuardia Airport, a California landfill, an Arizona gun shop, the cab of a long-haul truck in Iowa, and the stadium of the Cincinnati Ben-Gals cheerleaders. Cheerleaders? Yes. They, too, are hidden America, and you will be amazed by what Laskas tells you about them: hidden no longer.

    A portrayal of the reality behind the rhetoric, her essays also chronicle the consequences of these regimes: The Berlin Wall may have fallen, but ideology cannot be dismantled so quickly, and a lifetime lived in fear cannot be so easily forgotten.Many of the pieces focus on the intense connection Drakulic discovers between material things and the expression of one’s spirit, individuality, and femininity—an inevitable byproduct of a lifestyle that, through its rejection of capitalism and commoditization, ends up fetishizing both. She describes the moment one man was able, for the first time in his life, to eat a banana: He gobbled it down, skin and all, enthralled by its texture. Drakulic herself marvels at finding fresh strawberries in N.Y.C. in December, and the feel of the quality of the paper in an issue of Vogue.As Drakulic delves into the particular hardships facing women—who are not merely the victims of sexism, but of regimes that prevent them from having even the most basic material means by which to express themselves—she describes the desperate lengths to which they would go to find cosmetics or clothes that made them feel feminine in a society where such a feeling was regarded as a bourgeois affectation. There is small room for privacy in communal housing, and the banishment of many time-saving devices, combined with a focus on manual labor, meant women were slaves to domestic responsibility in a way that their Western peers would find unfathomable. From this vantage point, she provides a pointed critique of Western feminism as a movement borne out of privilege.How We Survived Communism and Even Laughed is a compelling, brilliant account of what it was really like to live under Communist rule and its inevitable repercussions.

    The problem wasn’t just the election, but the fact that nobody could explain, in any sort of coherent way, why America had elected a cruel, corrupt, and incompetent man to the Presidency. Bad Stories: What the Hell Just Happened to Our Country is Almond’s effort to make sense of our historical moment, to connect certain dots that go unconnected amid the deluge of hot takes and think pieces. Almond looks to literary voices―from Melville to Orwell, from Bradbury to Baldwin―to help explain the roots of our moral erosion as a people.The book argues that Trumpism is a bad outcome arising directly from the bad stories we tell ourselves. To understand how we got here, we have to confront our cultural delusions: our obsession with entertainment, sports, and political parody, the degeneration of our free press into a for-profit industry, our enduring pathologies of race, class, immigration, and tribalism. Bad Stories is a lamentation aimed at providing clarity. It’s the book you can pass along to an anguished fellow traveler with the promise, This will help you understand what the hell happened to our country.

    In the seventeen wide-ranging essays collected for the first time in Love and Other Ways of Dying, he brings his full literary powers to bear, pondering happiness and grief, memory and the redemptive power of human connection. In the remote Ukranian countryside, Paterniti picks apples (and faces mortality) with a real-life giant; in Nanjing, China, he confronts a distraught jumper on a suicide bridge; in Dodge City, Kansas, he takes up residence at a roadside hotel and sees, firsthand, the ways in which the racial divide turns neighbor against neighbor. In each instance, Paterniti illuminates the full spectrum of human experience, introducing us to unforgettable everyday people and bygone legends, exploring the big ideas and emotions that move us. Paterniti reenacts François Mitterrand’s last meal in a rustic dining room in France and drives across America with Albert Einstein’s brain in the trunk of his rental car, floating in a Tupperware container. He delves with heartbreaking detail into the aftermath of a plane crash off the coast of Nova Scotia, an earthquake in Haiti, and a tsunami in Japan—and, in searing swirls of language, unearths the complicated, hidden truths these moments of extremity teach us about our ability to endure, and to love. Michael Paterniti has spent the past two decades grappling with some of our most powerful subjects and incomprehensible events, taking an unflinching point of view that seeks to edify as it resists easy answers. At every turn, his work attempts to make sense of both love and loss, and leaves us with a profound sense of what it means to be human. As he writes in the Introduction to this book, “The more we examine the grooves and scars of this life, the more free and complete we become.”

    Now, The View from the Cheap Seats brings together for the first time ever more than sixty pieces of his outstanding nonfiction. Analytical yet playful, erudite yet accessible, this cornucopia explores a broad range of interests and topics, including (but not limited to): authors past and present; music; storytelling; comics; bookshops; travel; fairy tales; America; inspiration; libraries; ghosts; and the title piece, at turns touching and self-deprecating, which recounts the author’s experiences at the 2010 Academy Awards in Hollywood.

    Vincent Millay, Margaret Mitchell, Carson McCullers, Flannery O'Connor, Sylvia Plath, Ayn Rand and Virginia Woolf. Facts about Dead Women Writers:Most early female writers used pen names because women weren't regarded as competent writers. Margaret Mitchell wrote only one published novel in her lifetime, but Gone with the Wind won the Pulitzer Prize for Fiction in 1937 and sold more than 30 million copies. Emily Dickinson was so paranoid that she only spoke to people from behind a door. Carson McCullers wrote The Heart Is a Lonely Hunter at age 22. Her husband wanted them to commit suicide in the French countryside, but she refused. Ambrose and Turner explore these and other intriguing facts about the most famous (but departed) women in literary history.

    Writing, Lamb discovered, was a way for these women to confront painful memories, face their fears and their failures, and begin to imagine better lives. The New York Times described the book as "Gut-tearing tales . . . the unvarnished truth." The Los Angeles Times said of it, "Lying next to and rising out of despair, hope permeates this book."Now Lamb returns with I'll Fly Away, a new volume of intimate, searching pieces from the York workshop. Here, twenty women—eighteen inmates and two of Lamb's cofacilitators—share the experiences that shaped them from childhood and that haunt and inspire them to this day. These portraits, vignettes, and stories depict with soul-baring honesty how and why women land in prison—and what happens once they get there. The stories are as varied as the individuals who wrote them, but each testifies to the same core truth: the universal value of knowing oneself and changing one's life through the power of the written word.

    These essays traverse cities and spaces, bodies and histories, moving through forms and modes to find a closer kind of truth. Blueberries is ripe with acid, promise, and sweetness.

    There's the man who survived the atomic bomb in both Hiroshima and Nagasaki. And there's many, many more.Covering everything from adventure, war, murder and slavery to espionage, including the stories of the female Robinson Crusoe, Hitler's final hours, Japan's deadly balloon bomb and the emperor of the United States, these tales deserve to be told.

    Featuring stories of fraud, murder, theft, and madness, the Best American Crime Reporting series has been hailed as “arresting reading” (People) and the best mix of “the political, the macabre, and the downright brilliant” (Entertainment Weekly).The color of blood / Calvin Trillin --Breaking the bank / L. Jon Wertheim --Body snatchers / Dan P. Lee --Everyone will remember me as some sort of monster / Mark Boal --The fabulous fraudulent life of Jocelyn and Ed / Sabrina Rubin Erdely --True crime / David Grann --The day Kennedy died / Michael J. Mooney --The Zankou chicken murders / Mark Arax --Mexico's red days / Charles Bowden --Hate and death / R. Scott Moxley --Dead man's float / Stephen Rodrick --Non-lehtal force / Alec Wilkinson --American murder mystery / Hanna Rosin --Stop, thief! / John Colapinto --Tribal wars / Matt McAllester

    Pepper's cover, Terry Southern was an audacious original. Now Dig This is a journey through Terry Southern's America, from the buttoned-down '50s through the sexual revolution, rock 'n' roll, and independent cinema (which he helped inaugurate by cowriting and producing Easy Rider), up to his death in 1995. It spans Southern's stellar career, from early short stories and a Paris Review interview with Henry Green, to his legendary Esquire piece covering the 1968 Chicago Democratic Convention with Jean Genet and William Burroughs and his equally infamous account of life neck-high in girls and cocaine aboard The Rolling Stones' tour jet, to his memories of twentieth-century legends like Abbie Hoffman, Kurt Vonnegut, and Stanley Kubrick, with whom he wrote Dr. Strangelove. "A voice electric with street rhythm and royal with offhand intellection ... stuffed with strange and silken scraps." -- Troy Patterson, Entertainment Weekly "The subterranean Texan's finest moments are exquisite reads ... like a hot poker in the eye of conventional narrative." -- A. D. Amorosi, Philadelphia City Paper "The range of writing ... [was] as lethal as Mailer claimed and still awaiting the attention it deserves." -- Charles Taylor, Newsday "... reveals a writer defined by his generosity, by the pursuit of fun and by an insatiable ... literary appetite...." -- Claire Dederer, The New York Times Book Review

    The American people spoke up, with protests, marches, donations, and lawsuits that quickly overturned the order. But the refugee caps remained.   In The Displaced, Pulitzer Prize–winning writer Viet Thanh Nguyen, himself a refugee, brings together a host of prominent refugee writers to explore and illuminate the refugee experience. Featuring original essays by a collection of writers from around the world, The Displaced is an indictment of closing our doors, and a powerful look at what it means to be forced to leave home and find a place of refuge.

    Wouk responded, “Why me? I’m nobody.” Berlin answered, “No, no. You’ve traveled. You’ve known many people. You have interesting ideas. It would do a lot of good.” Now, in the same year he has celebrated his hundredth birthday, Herman Wouk finally reflects on the life experiences that inspired his most beloved novels. Among those experiences are his days writing for comedian Fred Allen’s radio show, one of the most popular shows in the history of the medium; enlisting in the US Navy during World War II; falling in love with Betty Sarah Brown, the woman who would become his wife (and literary agent) for sixty-six years; writing his Pulitzer Prize-winning novel, The Caine Mutiny; as well as a big hit Broadway play The Caine Mutiny Court Martial; and the surprising inspirations and people behind such masterpieces as The Winds of War, War and Remembrance, Marjorie Morningstar, and Youngblood Hawke. Written with the wisdom of a man who has lived through two centuries and the wit of someone who began his career as professional comedy writer, the first part of Wouk’s memoir (“Sailor”) refers to his Navy experience and writing career, the second (“Fiddler”) to what he’s learned from living a life of faith. Ultimately, Sailor and Fiddler is an unprecedented reflection from a vantage point few people have lived to experience.