Originally published in 1931, Only Yesterday has an exuberance and proximity to its subject—the Roaring Twenties in all its scandal and glory—that uniquely captures the feel of the era.

      A riveting living history about Black Tuesday, October 29, 1929. Captures the era, the intoxicating expectancy, the hope that ruled men’s heart and minds before the bubble burst and the black despair of the decade that followed.

    Neither of them is 100 percent legitimate but they are not heavy thieves either. They beat the system as best they can with the various inside hustles of New York’s bar and restaurant scene.Charlie, managing a Village restaurant at age thirty-five, needs one shot to realize his dreams of owning his own place in New England. Meanwhile, he’s just a jump ahead of two shylocks and into the worst streak of losing horses he has ever gone through.Paulie is only a five-foot-three-inch waiter but he thinks big. Very image-conscious, he even tips toll booth attendants. And he went into hock to become part-owner of a “turrow bed” racehorse. Now he has an idea for one foolproof burglary that will solve all his problems for good, and he enlists Charlie in his scheme.The third member of the team is Barney. A semi-retired Irish safecracker from the Bronx, Barney has a retarded son as is willing to take one last gamble to provide for his future. A clean break-in, a three-way split, and each of their dreams will come true.Maybe. Before it’s over, they find themselves relentlessly hunted by both the Mafia “wise guys” and the police. And each of them grasps for survival in a different way.Acutely realistic yet wondrously funny, The Pope of Greenwich Village captures the speech, the scams, the flavor, the dread, and the humor of ordinary people scrambling to make it big in a neighborhood that prides itself on creating and enforcing its own laws. It marks the impressive debut of a gifted writer.

    As hardhats clashed with hippies, it soon became clear that something larger was happening; Democrats were at war with themselves. In The Hardhat Riot, David Paul Kuhn tells the fateful story-how chaotic it was, when it began, when the white working class first turned against liberalism, when Richard Nixon seized the breach, and America was forever changed. It was unthinkable one generation before: FDR's "forgotten man" siding with the party of Big Business and, ultimately, paving the way for presidencies from Ronald Reagan to Donald Trump.In the shadow of the half-built Twin Towers, on the same day the Knicks rallied against the odds and won their first championship, we relive the schism that tore liberalism apart. We experience the tumult of Nixon's America and John Lindsay's New York City, as festering division explodes into violence. Nixon's advisors realize that this tragic turn is their chance, that the Democratic coalition has collapsed and that "these, quite candidly, are our people now."In this nail-biting story, Kuhn delivers on meticulous research and reporting, drawing from thousands of pages of never-before-seen records. We go back to a harrowing day that explains the politics of today. We experience the battle between two tribes fighting different wars, soon to become different Americas, ultimately reliving a liberal war that maimed both sides. We come to see how it all was laid bare one brutal day, when the Democratic Party's future was bludgeoned by its past, as if it was a last gasp to say that we once mattered too.

    Purity, elegance, and passion are the hallmarks of Strand's imagery. This inaugural volume of Aperture's "Masters of Photography" series presents 41 of Strand's greatest photographs, drawn from a career that spanned six decades. Included are his earliest experimental efforts, created from 1915 to 1917, which Alfred Stieglitz declared had begun to redefine the medium. Subsequent photographs reveal the artist's impeccable vision in locales as diverse as New England and the Outer Hebrides, France and Ghana. During Strand's last years, he concentrated on still lifes and the poignant beauty of his own garden at Orgeval, France.In an introductory essay, Mark Haworth-Booth, Curator of Photography at the Victoria and Albert Museum, London, provides an overview of the artist's life and his enduring contribution to photography.

    360 photos, 42 in color. 94 line drawings.

    Through prose that shifts fluidly between dreams and reality, past and present, we travel to Frida Kahlo's Casa Azul in Mexico; to the fertile moon terrain of Iceland; to a ramshackle seaside bungalow in New York's Far Rockaway that Smith acquires just before Hurricane Sandy hits; to the West 4th Street subway station, filled with the sounds of the Velvet Underground after the death of Lou Reed; and to the graves of Genet, Plath, Rimbaud, and Mishima.Woven throughout are reflections on the writer's craft and on artistic creation. Here, too, are singular memories of Smith's life in Michigan and the irremediable loss of her husband, Fred Sonic Smith.Braiding despair with hope and consolation, illustrated with her signature Polaroids, M Train is a meditation on travel, detective shows, literature, and coffee. It is a powerful, deeply moving book by one of the most remarkable multiplatform artists at work today.

    Keys residents boarded up their shacks under an ominous sky and sank their skiffs in the mangroves. Atlantic tarpon raced between the Keys to the relative safety of the Gulf of Mexico. In Key West, Ernest Hemingway secured his stone house and his 38-foot boat Pilar against the oncoming storm. And yet, through the long Labor Day Weekend of 1935, the superintendents of three government work camps in the Florida Keys, which housed more than 600 World War I veterans building a highway across the islands, did virtually nothing to evacuate the men in their charge.In Hemingway's Hurricane, author Phil Scott chronicles the days of calamity when the low-lying Upper Florida Keys were stripped bare and submerged by the most powerful hurricane ever to hit the United States. From eyewitness accounts and depositions, he reconstructs the events in each camp as the hurricane made landfall—the terror, bravery, and sacrifices of men left to fend for themselves. He also explores why the train promised from Miami arrived too late to evacuate the men, and why those who tried to escape in their own vehicles were turned back by the National Guard. And he reveals Hemingway's horror when the novelist arrived in his boat two days after the storm to aid the veterans, only to discover that more than 250 had died in the storm, some sand-blasted by fierce winds, others skewered by flying timbers, and many simply blown out to sea.Ernest Hemingway's very public outrage over so many needless deaths spurred a congressional investigation that was widely dismissed as a whitewash. It was also a key factor in landing Hemingway on an FBI watch list, which contributed to his suicide twenty-six years later. In Hemingway's Hurricane, the Depression, bureaucratic failure, the cast-aside soldiers of an earlier war, a great novelist, and a killing storm come together in an American tragedy.The Final BlowThey were the forgotten members of the Lost Generation, traumatized veterans of the Great War who had struggled for years to claw their way back into the American Dream. Described by one journalist as "shell-shocked, Depression-shocked, and whiskey-shocked," they grasped for one last chance at redemption under Franklin Roosevelt's New Deal. Six hundred of them were shuffled off to the Florida Keys to build a highway to Key West. On Labor Day Weekend 1935, the most intense hurricane ever to strike the U.S. took aim on their flimsy shacks, and the two men responsible for evacuating the veterans from harm's way waited too long.After the storm, Ernest Hemingway took his boat from his home in Key West to aid the veterans in the Upper Keys. But he found few survivors among the wreckage and bloated corpses, and his public cries of outrage bound him forever to the storm."Hemingway's Hurricane brilliantly and compellingly captures the events surrounding the 1935 storm, showing how human factors compounded the awful force of sky and sea."

    But Winogrand was also an avid traveler and roamed extensively around the United States, bringing exquisite work out of nearly every region of the country.This landmark retrospective catalogue looks at the full sweep of Winogrand’s exceptional career. Drawing from his enormous output, which at the time of his death included thousands of rolls of undeveloped film and unpublished contact sheets, the book will serve as the most substantial compendium of Winogrand’s work to date. Lavishly illustrated with both iconic images and photographs that have never been seen before now, and featuring essays by leading scholars of American photography, Garry Winogrand presents a vivid portrait of an artist who unflinchingly captured America’s swings between optimism and upheaval in the postwar era.

    As the wife of Joseph Smith, the first Latter-day Saint Prophet, Emma knew much of religious bigotry, vexatious lawsuits, and lawless brutality. She comforted Joseph in his extremities, bore his children, and wrote of her abiding love for him. Yet, as time passed and Joseph was murdered, Emma struggled to find her place. Her life story, unique from beginning to end, is presented here in a question and answer format to supply readers with easy access to her biographical information and increased understanding of the trials and triumphs of this remarkable woman.

    Sean's recklessness and Ana's sense of entitlement create a family secret that comes home to roost in the following generation. Sean's trail of sins and Ana's deceit and thirst for revenge lead to disaster for each of them.It is 1936. Emotionally deserted by distraught parents after the death of his baby sister, Sean refuses to abandon his father's forsaken American dream. Left to his own devices, the young man travels a road strewn with bad choices and risky behavior. Trapped into marriage and unexpected parenthood at a young age, Sean begins down a path of destruction - first stop - Ana Lapinski.Ana Lapinski is born with the gift of beauty. Her old-world parents are incapable of reigning in their willful, wild child. Time and again, Ana effectively abuses her God-given gift as a means to whatever end she desires - with one exception - Sean Kinnarney.FALLING OFF THE FAMILY TREE is a three-generation saga told against the backdrop of the first 70 years of the 20th century. The story moves from southern New Jersey to the wealthy suburban enclaves of the Main Line outside Philadelphia. It ends in tragedy on the Chesapeake Bay.

    Struggling to come to terms with his father’s death, paramedic and photographer Frank Verbeckas descends into the chaos and misery of upper Manhattan, taking photographs of the ill, the wounded, the dying, and the down-and-out. Accompanying him on his wanderings are his loudmouthed partner, Burnett; his best friend, Hock, who boosts drugs from the hospital; and his brother, Norman, a surgeon who can’t understand why Frank is in such pain. Frank’s ruin seems inevitable, but when he meets Emily, a professional fencer whose days are numbered by a fatal illness, his world changes. Against everyone’s advice, Frank and Emily fall in love. Together, they try to find a way out of the murk of guilt and sadness and learn to draw meaning and beauty from despair.In short, cinematic scenes, with not a word wasted and nothing told that can be shown, Shannon Burke leads us on a powerful journey through the darkest precincts of the street and of the soul. Honest, terse, and enormously moving, Safelight is a debut of remarkable depth, a stunning, clear-eyed, and sympathetic portrait of American life and death–a love story not for the faint of heart.From the Hardcover edition.

    It captures bygone New York at its most raucous, dangerous, and outrageous. Grisly murders, tragic accidents, gawking crowds, along with intimate human-interest and high-society images, are all captured by Weegee's flash. Interpretive essays, an annotated chronology, bibliography, filmography, and a list of exhibitions complete this comprehensive volume.

    His memoir confirms that, despite the spark of his fiction, Auchincloss himself was the most entertaining character he has created. No traitor to his class but occasionally its critic, he returns us to his Society which was, he maintains, less interesting than its members admitted. You may differ as he unfurls his life with dignity, summoning his family (particularly his father who suffered from depression and forgave him for hating sports) and intimates. Brooke Astor and her circle are here, along with glimpses of Jacqueline Onassis. Most memorable, though, is his way with those outside the salon: the cranky maid; the maiden aunt, perpetually out of place; the less-than-well-born boy who threw himself from a window over a woman and a man. Here is Auchincloss, an American master, being Auchincloss, a rare eye, a generous and lively spirit to the end.

    With each new fire, panicked whites saw more evidence of a slave uprising. In the end, thirteen black men were burned at the stake, seventeen were hanged and more than one hundred black men and women were thrown into a dungeon beneath City Hall. In New York Burning, Bancroft Prize-winning historian Jill Lepore recounts these dramatic events, re-creating, with path-breaking research, the nascent New York of the seventeenth century. Even then, the city was a rich mosaic of cultures, communities and colors, with slaves making up a full one-fifth of the population. Exploring the political and social climate of the times, Lepore dramatically shows how, in a city rife with state intrigue and terror, the threat of black rebellion united the white political pluralities in a frenzy of racial fear and violence.