Her life is one of stunning extremes. The author tells her whole story of what it was like to have love affairs with the likes of Paul Newman, Errol Flynn, Tommy Smothers, Rod Taylor, Vince Edwards, and Hugh O’Brian, plus exciting friendships with the Rat Pack, Judy Garland, Bobby Kennedy, Jay Sebring, Elizabeth Taylor, John Wayne, and Marilyn Monroe (to name only a few!).

    Conflict photojournalists have the opposite reaction: they actually look for trouble, and when they find it, get as close as possible and stand up to get the best shot. This thirst for the shot and the seeming nonchalance to the risks entailed earned Greg Marinovich, Joao Silva, Ken Oosterbroek, and Kevin Carter the moniker of the Bang-Bang Club. Oosterbroek was killed in township violence just days before South Africa's historic panracial elections. Carter, whose picture of a Sudanese child apparently being stalked by a vulture won him a Pulitzer Prize, killed himself shortly afterwards. Another of their posse, Gary Bernard, who had held Oosterbroek as he died, also committed suicide. The Bang-Bang Club is a memoir of a time of rivalry, comradeship, machismo, and exhilaration experienced by a band of young South African photographers as they documented their country's transition to democracy. We forget too easily the political and ethnic violence that wracked South Africa as apartheid died a slow, spasmodic death. Supporters of the ANC and Inkatha fought bloody battles every day. The white security forces were complicit in fomenting and enabling some of the worst violence. All the while, the Bang-Bang Club took pictures. And while they did, they were faced with the moral dilemma of how far they should go in pursuit of an image, and whether there was a point at which they should stop their shooting and try to intervene. This is a riveting and appalling book. It is simply written--these guys are photographers, not writers--but extremely engaging. They were adrenaline junkies who partied hard and prized the shot above all else. None of them was a hero; these men come across as overweeningly ambitious, egotistical, reckless, and selfish, though also brave and even principled. As South Africans, they were all invested in their country's future, even though, as whites, they were strangers in their own land as they covered the Hostel wars in the black townships. The mixture of the romantic appeal of the war correspondent with honest assessments of their personal failings is part of what makes this account so compelling and so singular among books of its ilk. – J. Riches

    Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil.In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner's many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of WEB Du Bois, from O Pioneers! to Apocalypse Now.In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.

    USA Today calls this fascinating, entertaining, and blissfully nostalgic look back, “Invaluable.” In The Road to Woodstock, Michael Lang recaptures the magic for the generation that was there…and for the generations that followed.

     This book is a domestic chronicle of the incredible Bonaparte family, a greedy, amorous, quarrelsome and hot-blooded Corsican clan who provided nineteenth-century Europe — and America — not only with two French emperors, but also with a dazzling assortment of pretenders and parvenus, statesmen and eccentrics, great ladies and adventuresses. Plumped on to the thrones of Europe by the career of Napoleon I, who probably took better care of his family than any conqueror in history, the Bonapartes survived the wreck of the two empires they ruled, buzzing around the honeypots of the continent with all the persistence of the imperial bees of Napoleon's crest. This is a personal history, not a political one. It is the family, with its eccentricities, vulgarities and fascinations manifesting themselves in generation after generation, which holds the centre of the stage. The great political, economic and military events of the time are heard dimly as 'noises off'. Napoleon I himself appears as son, brother, husband, father and above all as founder of a dynasty, rather than as a great public figure. But about the family, its feuds, its treacheries, its love affairs, its moments of greatness and of human tragedy, Mr Aronson seems to have missed not one good story, from the squabbles of Napoleon's rebellious sisters over the carrying of Josephine's train, to Hitler's remarkable deal with Petain for the return of the body of the Duke of Reichstadt to his father's tomb in the Invalides. Mr Aronson paints his family portrait with a wealth of detail based on many years of research with historical documents and original records, letters, memoirs and family diaries — for, in the end, no one seems to have been able to tell quite such a lurid tale about a Bonaparte as another Bonaparte.

    Villagers lied, covered up, procrastinated and concealed, but most importantly they welcomed. This is the story of an isolated community in the upper reaches of the Loire Valley that conspired to save the lives of 3,500 Jews under the noses of the Germans and the soldiers of Vichy France. It is the story of a pacifist Protestant pastor who broke laws and defied orders to protect the lives of total strangers. It is the story of an eighteen-year-old Jewish boy from Nice who forged 5,000 sets of false identity papers to save other Jews and French Resistance fighters from the Nazi concentration camps. And it is the story of a community of good men and women who offered sanctuary, kindness, solidarity and hospitality to people in desperate need, knowing full well the consequences to themselves. Powerful and richly told, A Good Place to Hide speaks to the goodness and courage of ordinary people in extraordinary circumstances.

    Dennis Chalker was an original “plankowner” (founding member) of SEAL Team Six, and in One Perfect Op, he takes readers deep inside the remarkable world of America’s Special Forces operatives. With an introduction by Richard Marcinko of Rogue Warrior fame, One Perfect Op describes, step by breathtaking step, one extraordinary SEALs mission, shedding fascinating new light on the training, the planning, the courage and the skill of these exceptional warriors.

    Lucy Worsley takes us through the bedroom, bathroom, living room and kitchen, covering the architectural history of each room, but concentrating on what people actually did in bed, in the bath, at the table, and at the stove.

    But the town of Woodstock, New York, the original planned venue of the concert, is located over 60 miles from the site to which the fabled half a million flocked. Long before the landmark music festival usurped the name, Woodstock-the tiny Catskills town where Bob Dylan holed up after his infamous 1966 motorcycle accident-was already a key location in the '60s rock landscape. In Small Town Talk, Barney Hoskyns re-creates Woodstock's community of brilliant dysfunctional musicians, scheming dealers, and opportunistic hippie capitalists drawn to the area by Dylan and his sidekicks from the Band. Central to the book's narrative is the broodingly powerful presence of Albert Grossman, manager of Dylan, the Band, Janis Joplin, Paul Butterfield, and Todd Rundgren-and the Big Daddy of a personal fiefdom in Bearsville that encompassed studios, restaurants, and his own record label. Intertwined in the story are the Woodstock experiences and associations of artists as diverse as Van Morrison, Jimi Hendrix, Tim Hardin, Karen Dalton, and Bobby Charles (whose immortal song-portrait of Woodstock gives the book its title). Drawing on numerous first-hand interviews with the remaining key players in the scene-and on the period when he lived there himself in the 1990s-Hoskyns has produced an East Coast companion to his bestselling L.A. canyon classic Hotel California. This is a richly absorbing study of a vital music scene in a revolutionary time and place.

    Not his brother Roy, who ran the company’s finances; not the bankers; and not his wife, Lillian. Amusement parks at that time, such as Coney Island, were a generally despised business, sagging and sordid remnants of bygone days. Disney was told that he would only be heading toward financial ruin. But Walt persevered, initially financing the park against his own life insurance policy and later with sponsorship from ABC and the sale of thousands and thousands of Davy Crockett coonskin caps. Disney assembled a talented team of engineers, architects, artists, animators, landscapers, and even a retired admiral to transform his ideas into a soaring yet soothing wonderland of a park. The catch was that they had only a year and a day in which to build it. On July 17, 1955, Disneyland opened its gates…and the first day was a disaster. Disney was nearly suicidal with grief that he had failed on a grand scale. But the curious masses kept coming, and the rest is entertainment history. Eight hundred million visitors have flocked to the park since then. In Disney’s Land, Richard Snow brilliantly presents the entire spectacular story, a wild ride from vision to realization, and an epic of innovation and error that reflects the uniqueness of the man determined to build “the happiest place on earth” with a watchmaker’s precision, an artist’s conviction, and the desperate, high-hearted recklessness of a riverboat gambler.

    A cultural history of Wonder Woman traces the character's creation and enduring popularity, drawing on interviews and archival research to reveal the pivotal role of feminism in shaping her seven-decade story.Examines the life of Wonder Woman creator William Moulton Marston and his polyamorous relationship with wife Elizabeth Holloway and mistress Olive Byrne, both of whom inspired and influenced the comic book character's creation and development.-Abstract from WorldCat

    Street life, drugs, art and nature, family, AIDS, politics, friendship and acceptance: Wojnarowicz challenges us to examine our lives -- politically, socially, emotionally, and aesthetically.

    

    For Nora, the simple fact of her German citizenship bound her to the Holocaust and its unspeakable atrocities and left her without a sense of cultural belonging. Yet Nora knew little about her own family’s involvement in the war: though all four grandparents lived through the war, they never spoke of it.In her late thirties, after twelve years in the US, Krug realizes that living abroad has only intensified her need to ask the questions she didn’t dare to as a child and young adult. Returning to Germany, she visits archives, conducts research, and interviews family members, uncovering in the process the stories of her maternal grandfather, a driving teacher in Karlsruhe during the war, and her father’s brother Franz-Karl, who died as a teenage SS soldier in Italy. Her quest, spanning continents and generations, pieces together her family’s troubling story and reflects on what it means to be a German of her generation.

    In Bohemian Paris, Dan Franck leads us on a vivid and magical tour of the Paris of 1900-1930, a hotbed of artistic creation where we encounter the likes of Apollinaire, Modigliani, Cocteau, Matisse, Picasso, Hemingway, and Fitzgerald, working, loving, and struggling to stay afloat. 16 pages of black-and-white illustrations are also featured.