Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

    The one-size-fits-all approach to your best life is outdated - you can do better.You don't have to be exceptional (or even the exception) to be successful. You just need to learn the algorithm. Through her own success experiment, Lillian transformed herself from a two-time uni drop-out stuck in a career that paid in burnout, into a highly sought-after media personality FlexMami. And here she shows that her experience hasn't been a fluke. Instead of focusing on what you can't change, spend your time hacking what you can - yourself. This formula combines what you know about yourself with what you know about society. The result? Getting what you really want. (Via Bloomsbury)

    Cindy Crawford was the cornerstone of the golden age of the supermodel in the 1990s. She blazed a trail during that decade, seamlessly moving between the runway to unconventional outlets, such as cutting-edge MTV, Super Bowl commercials, and even Playboy magazine. On the eve of her fiftieth birthday, Crawford looks back, photo shoot by photo shoot, on a remarkable career and various life lessons she absorbed. She discusses her earliest modeling years and learning how to become less self-conscious in front of a camera; trusting her own instincts about creating positive messages about a healthy and strong body image that she knew would reach women of all ages; her feelings about becoming a wife and a mother; and her thoughts about turning fifty and what she would tell her younger self if she had the chance. The photographs span her entire career, beginning from the mid 1980s, and feature unpublished images from Crawford’s personal archive in addition to images by every top name in fashion photography, including Annie Leibovitz, Arthur Elgort, Helmut Newton, Herb Ritts, Irving Penn, Patrick Demarchelier, and Richard Avedon, among others.  A beautifully illustrated series of stories, Becoming is a smart and engaging book that sheds light into the life and work of an extraordinary woman.

    Colonel Cammermeyer's dismissal from the U.S. Army has stirred debate all the way to the Presidency; now she writes of her decision to challenge official policy on homosexuality. 16-page photo insert.

    In this restless, swerving book simple questions—such as, Why paint a bird?—are immediately complicated by concerns of morality, human capacity, and the ways we look to art for meaning and purpose while participating in its—and our own—invention.

    With this he built a deep, internalized homophobia that made him want to disappear rather than live with the truth about himself. That denial played out in the forms of anorexia, bulimia, and obsessive running, which consumed him as an adolescent and young adult.It wasn’t until a grueling yet transformative Outward Bound experience that Jon began to face his sexual identity. This exploration continued as he entered college and started the serious work of sorting through years of repressed anger to separate from his father’s control and condemnation.My Thinning Years is an inspiring story of courage, creativity, and the will to live—and of recreating the definition of family to include friends, relatives, and teachers who support you in realizing your true self.“A storyteller's job is to help others find their way. Show them choices. Perhaps avoid pitfalls. Jon Derek Croteau's powerful new book is a beacon shining on the puzzle of life.”—Bob Dotson, New York Times bestselling author of American Story, a Lifetime Search for Ordinary People Doing Extraordinary Things & NBC News/Today Show Correspondent“I canceled plans to finish this book, and you will, too. Alternately riveting, heartfelt and horrifying, Jon Derek Croteau's descent into anorexia and obsessive running as a means to deny his true self is spellbinding.”—Eric Poole, author of Where's My Wand“Jon Derek Croteau writes with unstinting honesty in his memoir MY THINNING YEARS, and courageously explores the harmful effects of bullies long after they've left the scene. But he also reveals the plain fact that the greatest bully we have to win over is often the one within us.”—James Lecesne, Co-Founder of THE TREVOR PROJECT“A fantastic and harrowing story, told deeply and honestly…an emotional read…a generous, hopeful book I dearly hope gets into the hands of the many people who face similar hardships and desperately need to hear Jon Derek Croteau's story.”—Randy Harrison, actor, Queer As Folk“MY THINNING YEARS is an inspiring story of one man's struggle with anorexia, with sexual identity, and his struggle for selfhood.”—Betsy Lerner, author of Food and Loathing“The story of all of us as we come to terms with who we are. As I raced through these pages like the runner within them, I was reminded of my own trials… It takes courage to tell your story, to come out, to remove yourself from an abusive relationship. These pages help usher in our more tolerant present and our ever-evolving hearts.”—Award-winning singer/songwriter, Will Dailey“MY THINNING YEARS is not just a labor of love but a love-letter to those who are struggling silently and suffering deeply with an eating disorder. Jon Derek Croteau sheds incredible insight and a heartfelt vision for surviving and thriving in your life.”—Jess Weiner, Author, Strategist and Self-Esteem Expert“MY THINNING YEARS is an emotional journey through Jon Derek Croteau’s struggle with eating disorders and accepting his identity as a gay man. In his struggle to accept his sexuality, Croteau attempts to erase his pain through trying to erase himself. Men’s experiences of anorexia and bulimia are underrepresented in media, medical and personal accounts. This is an honest, powerful and raw insight into the self-punishing, self-harming and consuming force of eating disorders.”—Grace Bowman, author of Thin“You do not need an eating disorder, homosexual tendencies, or a terrible parent to love this book. Croteau's story is a universal one, and his painful and hard-won transformation will both move and inspire you.”—Eric Poole, author of Where’s My Wand? One Boy’s Magical Triumph over Alienation and Shag Carpeting“MY THINNING YEARS is a powerful story about overcoming adversity. Jon Derek Croteau’s courage, honesty, and unfailing passion are sure to both inspire and keep the pages turning!”—Jenni Schaefer, co-author of Almost Anorexic, author of Life Without Ed and Goodbye Ed, Hello Me

    The drawings provide a retrospective of Wolfe's twenty-three years as a graphic artist.

    The photobooth was born. Within 20 years there were more than 30,000 in the United States alone, an explosive growth due largely to World War II, as soldiers and loved ones exchanged photos, hoping to cling to memories or moments in a world turned upside down. But by the 1960s the advent of Polaroid photography spelled the doom of the "four strip" that had become a fixture at arcades and drugstores everywhere. The recent resurgence of photo sticker machines has recaptured the fun and intimacy of the photobooth. With no photographer to please, people are at liberty to be whoever they like: brave or sexy, cocksure or wise, without fear of censure or ridicule. Free in the certainty of their solitude, families, couples young and old, best friends, and individual after individual have presented to the camera both real and imagined selves for three-quarters of a century.Photobooth presents over 700 such photographs from the last 75 years, images at turns spontaneous and uninhibited, often goofy, and occasionally touching. It is a fascinating portrait of everyday people and a testament to the ongoing fascination with both the process and the result.

    But the star of such films as The Great Escape, Love with the Proper Stranger, Nevada Smith, The Getaway, and Papillon was largely a mystery off-screen. These photos, taken over a six-year period during the 1960s by one of the actor's best friends, show the hidden McQueen: tender, sensitive, and unpredictable.

    As it turns out, thirty years later, Williams' look back at his life is not quite so scandalous as it once seemed; he recalls his childhood in Mississippi and St. Louis, his prolonged struggle as a "starving artist," the "overnight" success of The Glass Menagerie in 1945, the death of his long-time companion Frank Merlo in 1962, and his confinement to a psychiatric ward in 1969 and subsequent recovery from alcohol and drug addiction, all with the same directness, compassion, and insight that epitomize his plays.And, of course, Memoirs is filled with Williams' amazing friends from the worlds of stage, screen, and literature as heoften hilariously, sometimes fondly, sometimes notremembers them: Laurette Taylor, Gore Vidal, Truman Capote, Elia Kazan, Marlon Brando, Vivian Leigh, Carson McCullers, Anna Magnani, Greta Garbo, Elizabeth Taylor, and Tallulah Bankhead to name a few. And now film director John Waters, well acquainted with shocking the American public, has written an introduction that gives some perspective on the various reactions to Tennessee's Memoirs, while also paying tribute to a fellow artist who inspired many with his integrity and endurance.

    Special care has been taken with the color illustration to reproduce the artist's uniquely sumptuous palette.

    From his childhood in Oklahoma City and his first job in a Hollywood mail room to the ownership of his own public relations firm and his work as a personal manager and television producer, Bernstein's life is chronicled in his own words. In addition to his rise to greatness, Bernstein also describes the relationships he had with stars and relates the stories behind some of the crazy stunts he pulled to garner attention, such as paying women to throw hotel keys at Tom Jones, having Entertainment Tonight host Mary Hart's legs insured for one million dollars, and getting married underwater for an episode of Lifestyles of the Rich and Famous. Written with style and a sense of humor, this autobiography shares the intimate details of Jay Bernstein's fascinating life.

    Self-taught, introspective, and from a stiflingly boring farm town, he couldn’t relate to his neighbors. While other boys played outside, he stayed indoors reading Greek mythology. And being gay and overweight, he got used to diminishing himself. But little by little, he started learning from all the sad, strange, lonely outcasts in history who had come before him, and he started to feel hope. In this collection of personal essays, Guy talks about finding a sense of belonging at Berkeley—and stirring up controversy in a newspaper column that led to a run‑in with the Secret Service. He recounts the pitfalls of being typecast as the “Sassy Gay Friend,” and how, after taking a wrong turn in life (i.e. law school), he found stand‑up comedy and artistic freedom. He analyzes society’s calculated deprivation of personhood from fat people, and how, though it’s taken him a while to accept who he is, he has learned that with a little patience and a lot of humor, self-acceptance is possible. Written with Guy’s characteristic blend of wit, guile, and rumination, My Life as a Goddess is an unforgettable and deeply moving book by one of today’s most endearing and galvanizing voices in comedy.

    When a cleaning sweep of a New York City apartment building brings this lost treasure to light, both the diary and its owner are given a second life.Recovered by Lily Koppel, a young writer working at the New York Times, the journal paints a vivid picture of 1930s New York—horseback riding in Central Park, summer excursions to the Catskills, and an obsession with a famous avant-garde actress. From 1929 to 1934, not a single day's entry is skipped.Opening the tarnished brass lock, Koppel embarks on a journey into the past, traveling to a New York in which women of privilege meet for tea at Schrafft's, dance at the Hotel Pennsylvania, and toast the night at El Morocco. As she turns the diary's brittle pages, Koppel is captivated by the headstrong young woman whose intimate thoughts and emotions fill the pale blue lines. Who was this lovely ingénue who adored the works of Baudelaire and Jane Austen, who was sexually curious beyond her years, who traveled to Rome, Paris, and London?Compelled by the hopes and heartaches captured in the pages, Koppel sets out to find the diary's owner, her only clue the inscription on the frontispiece—"This book belongs to . . . Florence Wolfson." A chance phone call from a private investigator leads Koppel to Florence, a ninety-year-old woman living with her husband of sixty-seven years. Reunited with her diary, Florence ventures back to the girl she once was, rediscovering a lost self that burned with artistic fervor.Joining intimate interviews with original diary entries, Koppel reveals the world of a New York teenager obsessed with the state of her soul and her appearance, and muses on the serendipitous chain of events that returned the lost journal to its owner. Evocative and entrancing, The Red Leather Diary re-creates the romance and glitter, sophistication and promise, of 1930s New York, bringing to life the true story of a precocious young woman who dared to follow her dreams.

    Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. Memoirs of the Blind is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's Lettres sur les aveugles, the notion of mnemonic art in Baudelaire's The Painter of Modern Life, and Merleau-Ponty's The Visible and the Invisible. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, Memoirs of the Blind extends and deepens the meditation on vision and painting presented in Truth and Painting. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.