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.

    In this single, from n+1 (Issue 12), Kent Russell gives a remarkable (and very funny) report on the festival and a sympathetic account of the situation of the white poor in the US.

    For example, did you know that Arnie Levin is a seventy-three-year-old former Beatnik painter with a handlebar mustache and a back decorated by Japan’s foremost tattoo artists?Gehr’s book features fascinating biographical profiles of such artists as Gahan Wilson, Sam Gross, Roz Chast, Lee Lorenz, and Edward Koren. Along with a dozen such profiles, Gehr provides a brief history of The New Yorker cartoon itself, touching on the lives and work of earlier illustrating wits, including Charles Addams, James Thurber, and William Steig.

    This is the dance of history in our age: slow, slow, quick, quick, slow, back and forth and from side to side, we step across these fixed and shifting lines. —from Part IVWith astonishing range and depth, the essays, speeches, and opinion pieces assembled in this book chronicle a ten-year intellectual odyssey by one of the most important, creative, and respected minds of our time. Step Across This Line concentrates in one volume Salman Rushdie’s fierce intelligence, uncanny social commentary, and irrepressible wit—about soccer, The Wizard of Oz, and writing, about fighting the Iranian fatwa and turning with the millennium, and about September 11, 2001. Ending with the eponymous, never-before-published speeches, this collection is, in Rushdie’s words, a “wake-up call” about the way we live, and think, now.

    From The Wire: "Matthew Ingram, aka Woebot, has published a book titled 100 Lost Rock Albums From The 1970s. The book takes in strands of metal, glam rock, French artists, punk and pub rock, and is released digitally as a self-published eBook via Amazon. Ingram says: 'Last year I started writing an article on the 100 Lost Rock Albums From The 1970s but it ballooned out of all proportions and I decided to turn it into an eBook.''Over time we have lost touch with the original character of the 70s. Using 'lost' records I've attempted to re-examinine the decade and redress what I see as imbalance. Beyond small reviews of a meticulously-selected 100 albums there's quite a lot of contemporary history, much theorising and lots of gags.'"

    In this book you will find the funniest 288 of them (with a few all-new funny pages squeezed in just because we couldn’t help ourselves). That’s page after page after page of laugh-out-loud dumb jokes, dumb jocks, toasts, pranks, kings, kittens, caboodles, and, of course, poorly translated kung-fu movie subtitles—such as. "It took my seven digestive pills to dissolve your hairy crab!” So whether you like your humor witty or witless, light or dark, or silly or sublime, you’ll laugh until your head explodes. Chortle at…Dumb crooks: The robber who ran face-first into a wall because he forgot to poke eye holes in his pillow case.Witty wordplay: If Snoop Doggy Dogg were to marry Winnie the Pooh, his name would become Snoop Doggy Dogg Pooh.Flubbed headlines: "British Left Waffles On House Floor”Quirky stars: Billy Idol’s concert rider demands he have one large tub of I Can’t Believe It’s Not Butter in his dressing room.Job Lingo: If you hear an E.R. doc mention a "VIP,” be on the lookout for a "Very Intoxicated Patient.”Comedian quips: "I wonder if deaf people have a sign for "Talk to the hand.’” --Zach GalifianakisSputtering sportscasters: "If only faces could talk.” --Pat SummerallAnd much, much more!

    Based on interviews with over 40 media leaders, Schieffer provides an inside look at the changing role of media and asks whether today's citizens are more informed or just overwhelmed.

    

    His brilliant and provocative essays made him the literary voice of the Civil Rights Era, and they continue to speak with powerful urgency to us today, whether in the swirling debate over the Black Lives Matter movement or in the words of Raoul Peck’s documentary “I Am Not Your Negro.” Edited by Nobel laureate Toni Morrison, the Library of America’s Collected Essays is the most comprehensive gathering of Baldwin’s nonfiction ever published.With burning passion and jabbing, epigrammatic wit, Baldwin fearlessly articulated issues of race and democracy and American identity in such famous essays as “The Harlem Ghetto,” “Everybody’s Protest Novel,” “Many Thousands Gone,” and “Stranger in the Village.”Here are the complete texts of his early landmark collections, Notes of a Native Son (1955) and Nobody Knows My Name (1961), which established him as an essential intellectual voice of his time, fusing in unique fashion the personal, the literary, and the political. “One writes,” he stated, “out of one thing only—one’s own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give.” With singular eloquence and unblinking sharpness of observation he lived up to his credo: “I want to be an honest man and a good writer.”The classic The Fire Next Time (1963), perhaps the most influential of his writings, is his most penetrating analysis of America’s racial divide and an impassioned call to “end the racial nightmare…and change the history of the world.” The later volumes No Name in the Street (1972) and The Devil Finds Work (1976) chart his continuing response to the social and political turbulence of his era and include his remarkable works of film criticism. A further 36 essays—nine of them previously uncollected—include some of Baldwin’s earliest published writings, as well as revealing later insights into the language of Shakespeare, the poetry of Langston Hughes, and the music of Earl Hines.

    Representative Gabrielle Giffords. The incident left six people dead and eighteen injured, including Giffords, whom he shot in the head.Award-winning author and fifth generation Arizonan Tom Zoellner, a longtime friend of Giffords's and a field organizer on her Congressional campaign, uses the tragedy as a jumping-off point to expose the fault lines in Arizona's political and socioeconomic landscape that allowed this to happen: the harmful political rhetoric, the inept state government, the lingering effects of the housing market's boom and bust, the proliferation and accessibility of guns, the lack of established communities, and the hysteria surrounding issues of race and immigration. Zoellner's account includes interviews with those directly involved and effected, including Arizona's controversial Sheriff Joe Arpaio.Zoellner offers a revealing portrait of the Southwestern state at a critical moment in history- and as a symbol of the nation's discontents and uncertainties. Ultimately, it is his rallying cry for a saner, more civil way of life

    In her essays and long-form journalism, she has captured the cultural zeitgeist, distrusted the accepted wisdom, and written stories that would otherwise go untold. As a staff writer at The New Yorker from 1963 to 2001, Adler reported on civil rights from Selma, Alabama; on the war in Biafra, the Six-Day War, and the Vietnam War; on the Nixon impeachment inquiry and Congress; on cultural life in Cuba. She has also written about cultural matters in the United States, films (as chief film critic for The New York Times), books, politics, television, and pop music. Like many journalists, she has put herself in harm’s way in order to give us the news, not the “news” we have become accustomed to—celebrity journalism, conventional wisdom, received ideas—but the actual story, an account unfettered by ideology or consensus. She has been unafraid to speak up when too many other writers have joined the pack. In this sense, Adler is one of the few independent journalists writing in America today.This collection of Adler’s nonfiction draws on Toward a Radical Middle (a selection of her earliest New Yorker pieces), A Year in the Dark (her film reviews), and Canaries in the Mineshaft (a selection of essays on politics and media), and also includes uncollected work from the past two decades. The more recent pieces are concerned with, in her words, “misrepresentation, coercion, and abuse of public process, and, to a degree, the journalist’s role in it.” With a brilliant literary and legal mind, Adler parses power by analyzing language: the language of courts, of journalists, of political figures, of the man on the street. In doing so, she unravels the tangled narratives that pass for the resolution of scandal and finds the threads that others miss, the ones that explain what really is going on here—from the Watergate scandal, to the “preposterous” Kenneth Starr report submitted to the House during the Clinton impeachment inquiry, to the plagiarism and fabrication scandal of the former New York Times reporter Jayson Blair. And she writes extensively about the Supreme Court and the power of its rulings, including its fateful decision in Bush v. Gore.

    Memoirs and personal essays, profiles, science and nature reportage, travel writing -- literary journalists are working in all of these forms with artful styles and fresh approaches. In Literary Journalism, editors Norman Sims and Mark Kramer have collected the finest examples of literary journalism from both the masters of the genre who have been working for decades and the new voices freshly arrived on the national scene.The fifteen essays gathered here include: -- John McPhee's account of the battle between army engineers and the lower Mississippi River-- Susan Orlean's brilliant portrait of the private, imaginative world of a ten-year-old boy-- Tracy Kidder's moving description of life in a nursing home-- Ted Conover's wild journey in an African truck convoy while investigating the spread of AIDS-- Richard Preston's bright piece about two shy Russian mathematicians who live in Manhattan and search for order in a random universe-- Joseph Mitchell's classic essay on the rivermen of Edgewater, New Jersey-- And nine more fascinating pieces of the nation's best new writingIn the last decade this unique form of writing has grown exuberantly -- and now, in Literary Journalism, we celebrate fifteen of our most dazzling writers as they work with great vitality and astonishing variety.

    It was the first Brian Eno album tobe composed almost completely in the confines of a recording studio,over a scant few months in the summer of 1975. The album was a proofof concept for Eno's budding ideas of "the studio as musicalinstrument," and a signpost for a bold new way of thinking aboutmusic.In this book, Geeta Dayal unravels Another Green World's abundantmysteries, venturing into its dense thickets of sound. How was analbum this cohesive and refined formed in such a seemingly ad hoc way?How were electronics and layers of synthetic treatments used to createan album so redolent of the natural world? How did a deck of cardsfigure into all of this? Here, through interviews and archivalresearch, she unearths the strange story of how Another Green Worldformed the link to Eno's future -- foreshadowing his metamorphosisfrom unlikely glam rocker to sonic painter and producer.

    But for many years Maeve was a journalist, writing for The Irish Times.From 'The Student Train' to 'Plane Bores', 'Bathroom Joggers' to 'When Beckett met Binchy', these articles have all the warmth, wit and humanity of her fiction. Arranged in decades, from the 1960s to the 2000s, and including Maeve's first and last ever piece of writing for The Irish Times, the columns also give a fascinating insight into the author herself.With an introduction written by her husband, the writer Gordon Snell, this collection of timeless writing reminds us of why the leading Irish writer was so universally loved.

    Rythm Oil—you don't have to know how to spell "rhythm" to have it in your body and soul—is a potion sold on Beale Street in Memphis. The home of Sun Records, B. B. King, Elvis Presley, Howlin' Wolf, and Jerry Lee Lewis, Memphis is also the home of fantastic stories and broke-down dreams. As Booth makes his way from Memphis to the Mississippi Delta to the depths of the Georgia woods exploring the sounds, the music, and the culture of the American South, "he has produced some of the most gracefully written, thoughtful, and thought-stirring musings on the characters—the famous and the forgotten, the infamous and the unknown—who command the kingdom or drift through the shadowland of the South's rich-chorded patrimony" (Nick Tosches, Los Angeles Times).