Here, in a fresh and vibrant voice, Meyers recounts the wake of his father's death when he was sixteen and reflects on families, farms, and rural life in the Midwest.Meyers tells the story of his life on the farm, from the joys of playing in the hayloft as a boy to the steady pattern of chores. He describes the power of winter prairie winds, the excitement of building a fort in the woods, and the self-respect that comes from canning 120 quarts of tomatoes grown on your own land.Meyers's father is the central figure that these memories revolve around. After his father's death, Meyers fills his shoes out of necessity, practicality, and respect. In doing so, he discovers that his father was a great teacher and that he is no longer a boy but a man. Perhaps the most moving passages in The Witness of Combines are filled with the simultaneous sadness and pride of growing up in response to death. Meyers recalls planting and harvesting the last crop, selling the family farm, and other stirring moments in a testament to his father, the family bond, and the value of hard work.

    With a worldly generosity, LaGuardia knowingly and sensitively explores a famous man haunted by same-sexuality. His writing fearlessly penetrates the dark areas of the human psyche. (Many unpublished photographs).

    Through the young eyes of Scout and Jem Finch, Harper Lee explores with exuberant humour the irrationality of adult attitudes to race and class in the Deep South of the 1930s. The conscience of a town steeped in prejudice, violence and hypocrisy is pricked by the stamina of one man's struggle for justice. But the weight of history will only tolerate so much. To Kill a Mockingbird is a coming-of-age story, an anti-racist novel, a historical drama of the Great Depression and a sublime example of the Southern writing tradition.

    Burroughs, written between 1959 and 1974. A truly remarkable compendium, it offers an eye-opening and insightful look into the artistic process and complex personal life of the legendary literary outlaw in the post-Beat era—providing a new understanding and appreciation of an author who stood alongside Paul Bowles and Charles Bukowski as one of the most creative and rebellious American artists of the 20th century.

    A beautifully written memoir, candid and definitive, that tells the story of Bast's five year relationship with the charismatic actor and American legend--James Dean.

    During the past ten years Harold Pinter has written a new play, three film scripts, sheaves of poems, several sketches and created, with composer James Clarke, a pioneering work for radio, Voices. He has acted on stage, screen and radio, he has appeared on countless political platforms, and his work has been extensively celebrated in festivals at Dublin's Gate Theatre and New York's Lincoln Center. In 2005 he was awarded the Nobel Prize for Literature and in 2006, the European Theatre Prize. As if this were not enough, he has in the last five years twice come close to death. But he has faced hospitalisation with stoic resilience and his spirit remains as fiercely combative as ever. As he wrote in 2005 to Professor Avraham Oz, one of Israel's leading internal opponents of authoritarianism: "Let's keep fighting."

    She falls easily for his handsome looks, smooth words, and silken touch. Distracted by her feelings for Davis, Ansley ignores the warning bells going off in her head.Davis is charming, seductive, and tantalizing; a well-dressed Adonis used to getting his way, but behind those alluring eyes is a man weighed down by the burden of a troubled past. Although he genuinely cares for Ansley, Davis finds that old habits die-hard and himself on a familiar path. Just as Ansley and Davis settle into their blossoming relationship, sins from his past return like an old mistress out for revenge, igniting the flames of tragedy, which threaten to engulf them both.

    The range, charm, and vitality of his talents—he was a playwright, actor, composer, librettist, lyricist, director, painter, writer, cabaret singer, wit—brought him into close encounters, and often close friendship, with the great and the gifted. He knew everybody who was anybody in the theater and in the movies, in literature and in politics, on both sides of the Atlantic. Among those at his “marvelous party”: George Bernard Shaw . . . T. E. Lawrence . . . Virginia Woolf . . . the Churchills . . . Daphne Du Maurier . . . Greta Garbo (she wrote asking him to marry her; he wrote back saying he almost accepted) . . . Ian Fleming . . . W. Somerset Maugham . . . Marlene Dietrich (he advised her, “To hell with God damned ‘L’Amour.’ It always causes far more trouble than it is worth”) . . . Tallulah Bankhead . . . Edith Sitwell . . . FDR . . . Gertrude Lawrence (in a cable about Private Lives: “Have written delightful new comedy stop good part for you stop wonderful one for me stop”), and many more. There are letters about his productions of Bitter Sweet . . . Cavalcade . . . In Which We Serve . . . Brief Encounter . . . Private Lives, etc. . . . about his activities during World War II (he was a spy for the British government along with co-conspirator Cary Grant) . . . about the move to make him a knight that was endorsed in a personal letter from King George VI and blocked by Winston Churchill. Here are letters to and from his beloved mother, Violet . . . his longtime set and costume designer, Gladys Calthrop . . . his traveling companion from the 1930s on, Lord Amherst . . . and his business manager and onetime lover, Jack Wilson, in which he reveals his “secret heart.”Profoundly savvy, witty, loving, bitchy, and often surprisingly moving, The Letters of Noël Coward gives us “Destiny’s Tot” at his crackling best. An irresistible portrait of a time, of the man himself, and of the world he lived in and enchanted.

    Chosen by the author himself, the poems in Notes from the Air represent John Ashbery's best work from the past two decades, from the critically acclaimed April Galleons and Flow Chart to the 2005 National Book Award finalist Where Shall I Wander.While Ashbery has long been considered a powerful force in twentieth-century culture, Notes from the Air demonstrates clearly how important and relevant his writing continues to be, well into the twenty-first century. Many of the books from which these poems are drawn are regularly taught in university classrooms across the country, and critics and scholars vigorously debate his newest works as well as his classics. He has already published four major books since the turn of the new millennium, and, although 2007 marks his eightieth birthday, this legendary literary figure continues to write fresh, new, and vibrant poetry that remains as stimulating, provocative, and controversial as ever.Notes from the Air reveals, for the first time in one volume, the remarkable evolution of Ashbery's poetry from the mid-1980s into the new century, and offers an irresistible sampling of some of the finest work by this "national treasure."

    As a television and film producer in the 1950s–1970s, hobnobbing with Humphrey Bogart and Natalie Wood, he found success and crushing failure in a pitiless Hollywood. As a Vanity Fair journalist covering the lives of the rich and powerful, he mesmerized readers with his detailed coverage of spectacular murder cases—O.J. Simpson, the Menendez brothers, Michael Skakel, Phil Spector, and Claus von Bülow. He had his own television show, Dominick Dunne's Power, Privilege, and Justic. His five best-selling novels, including The Two Mrs. Grenvilles, People Like Us, and An Inconvenient Woman, were inspired by real lives and scandals. The brother of John Gregory Dunne and brother-in-law of Joan Didion, he was a friend and confidante of many literary luminaries. Dunne also had the ear of some of the world's most famous women, among them Princess Diana, Nancy Reagan, Liz Smith, Barbara Walters, and Elizabeth Taylor.Dunne admitted to inventing himself, and it was that public persona he wrote about in his own memoir, The Way We Lived Then. Left out of that account, but brought to light here, were his intense rivalry with his brother John Gregory, the gay affairs and relationships he had throughout his marriage and beyond, and his fights with editors at Vanity Fair. Robert Hofler also reveals the painful rift in the family after the murder of Dominick's daughter, Dominique—compounded by his coverage of her killer's trial, which launched his career as a reporter.

    In this illuminating, in-depth Q & A, “America’s storyteller” lets readers in on his philosophical approach to understanding our nation’s past, as well as a little family secret for overcoming your fears.Tom Roston is a veteran journalist who began his career at The Nation and Vanity Fair magazines, before working at Premiere magazine as a senior editor. He writes a regular blog about nonfiction filmmaking on PBS.org and he is a frequent contributor to The New York Times. He lives with his wife and their two daughters in New York City. Cover design by Adil Dara.

    On the beach you'll be laughing and crying between the changing of the tides. Take a ride with the main character, Lily Clarke, as you contemplate her and your own lasting legacy. Lily Clarke, the elderly mother of three dysfunctional and distant daughters, makes life altering discoveries regarding her new found wealth and other dark secrets, after she receives a diagnosis that she has a terminal illness. The challenges and decisions she must face in her final months will define her lasting legacy. To execute her plan, she invites her three dysfunctional and distant daughters to her home for a short stay to determine you will receive her new found wealth. Her plans become disrupted when dark secrets emerge, questioning her decision making and the meaning of her entire life. The book includes family dysfunction, drama, humor, an a bit of historical fiction. From the book: Chapter 1: The old saying goes that everyone has a story. Unfortunately today, October 2, 2016, Lily Elizabeth Clarke’s story was coming to a quick end. It was a sunny day at the Sacred Heart Cemetery in Dundalk, Maryland, as cars began pulling up shortly after noon for her 1:00 p.m. funeral. Old rusted smoke stacks from a bankrupt steel mill could be seen in the background of the cemetery in this gritty part of Baltimore. Neighborhoods with seventy-year-old brick weathered rowhouses surrounded the neatly manicured cemetery. The funeral was taking place exactly as Lily had arranged it. No details were left out of the planning. While she was alive, she made sure that her funeral, burial arrangements, and reading of her Last Will and Testament were organized and would be executed exactly to her wishes. No one knew what would take place over the next twenty-four hours and weeks to follow except Lily, and she was deceased. Not even her lawyer and confidant, Jake Snyder, knew all of the hidden details that Lily had intentionally failed to disclose to him; some of which had remained bottled and silenced for a lifetime. He had been Lily’s lawyer for more than twenty years, and over the next two days, he would implement her final plan exactly as she had instructed. Jake knew her for almost his whole life and thought he knew everything about her, but he didn’t know the dark secrets about her past or the ones she intended to reveal in stages following her death. The health crisis that led to Lily’s death was nothing compared to the mental struggle she faced as a result of the long forgotten secrets resurfacing during the final months of her life. Lily’s struggle whether to reveal her secrets while she was alive and how to reveal them after her death would change lives and define her legacy. Lily didn’t want to have a formal viewing at a funeral home. She wanted her funeral to be short and sweet at the gravesite, so that everyone could get on with their lives. Lily’s three daughters didn’t remain close to her after they graduated from college and settled in the state of their college alma maters. Lily was unsure why her children didn’t stay close to her. She wasn’t sure if it was her sometimes overbearing husband or the fact that her children wanted to get out of the dirty blue-collar town Baltimore was in the 1970s. Maybe they were a little rebellious, stubborn, and adventurous, all rolled into one. In truth, Lily often wondered if the secrets she harbored created impenetrable barriers in her relationship with her daughters. However, it seemed the longer they were away from Baltimore, the further they grew apart from Lily, and she didn’t have the strength or courage to correct the situation. ...

    But Olivier was as elusive in life as he was on the stage, a bold and practiced pretender who changed names, altered his identity, and defied characterization. In this mesmerizing book, acclaimed biographer Terry Coleman draws for the first time on the vast archive of Olivier’s private papers and correspondence, and those of his family, finally uncovering the history and the private self that Olivier worked so masterfully all his life to obscure. Beginning with the death of his mother at age eleven, Olivier was defined throughout his life by a passionate devotion to the women closest to him. Acting and sex were for him inseparable: through famous romances with Vivien Leigh and Joan Plowright and countless trysts with lesser-known mistresses, these relationships were constantly entangled with his stage work, each feeding the other and driving Olivier to greater heights. And the heights were great: at every step he was surrounded by the foremost celebrities of the time, on both sides of the Atlantic—Richard Burton, Greta Garbo, William Wyler, Katharine Hepburn. The list is as long as it is dazzling.Here is the first comprehensive account of the man whose autobiography, written late in his life, told only a small part of the story. In Olivier, Coleman uncovers the origins of Olivier’s genius and reveals the methods of the century’s most fascinating performer.

    A look at over 400 of the best historical movies (and some of the worst) purporting to be ‘factual’ or ‘based on actual events’; and how Hollywood has distorted, altered, manipulated, exaggerated, even falsified history under the all-encompassing premise…based on a true story…

    The complete story of the actor's career, including his secret gay life. Raymond Burr (1917-1993) was an enigma. A film noir star regularly known for his villainous roles in movies like Rear Window, he delighted millions of viewers each week with the top-rated shows Perry Mason and Ironside, which ran virtually uninterrupted for 20 years. But Burr was leading a secret gay life at a time in Hollywood when such a lifestyle was akin to career suicide. He invented a tragic biography for himself in which he was mythologized as a heartbroken husband and father. There was even an invented affair with a teenage Natalie Wood, 21 years his junior. He fought for truth as Perry Mason and Robert T. Ironside, yet he couldn't admit his own deception. Burr met his partner, struggling actor Robert Benevides, on the set of Perry Mason, and they remained together for over 35 years until Burr's death. Together, they built a business empire, traveled the world, and shared their passion for orchids and fine wine keeping the true nature of their relationship a secret from all but their closest friends a secret revealed here for the first time in depth.