On September 5, 1856, a submerged walnut tree pierced her hull, sinking the Arabia one-half mile below Parkville, Missouri. In time the river changed course, leaving the Arabia and her priceless freight deep beneath a Kansas farm field...The Arabia and her treasure seemed lost forever. Then, in 1988, four men and their families dedicated themselves to achieve what others could not; to recover the treasure from the Great White Arabia. Treasure hunter Greg Hawley chronicles his amazing story of perseverance and discovery. Lavishly illustrated and carefully documented, this book is a page turning adventure that immerses the reader into the thrilling discovery of buried treasure.

    But behind the scenes in his New York studio is the freethinking Clara Driscoll, head of his women’s division. Publicly unrecognized by Tiffany, Clara conceives of and designs nearly all of the iconic leaded-glass lamps for which he is long remembered.Clara struggles with her desire for artistic recognition and the seemingly insurmountable challenges that she faces as a professional woman, which ultimately force her to protest against the company she has worked so hard to cultivate. She also yearns for love and companionship, and is devoted in different ways to five men, including Tiffany, who enforces to a strict policy: he does not hire married women, and any who do marry while under his employ must resign immediately. Eventually, like many women, Clara must decide what makes her happiest—the professional world of her hands or the personal world of her heart.

    In the detached, back-fence gossip style he was famous for, Warhol tells all—the ultimate inside story of a decade of cultural revolution.

    Forty-five years later, he retired as its managing editor. Along the way, he exposed crooked cops and politicians, mentored a generation of our most-talented journalists, was the first to praise the as-yet-undiscovered Woody Allen and Barbra Streisand, and brought Joe Papp instant recognition. From D-Day to the liberation of the concentration camps, from the agony of Vietnam to the resignation of a President, from the fall of Joe McCarthy to the rise of the “Woodstock Nation,” Gelb gives an insider’s take on the great events of this nation's history—what he calls “the happiest days of my life.”

    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.

    Gas lamps still flicker in the city streets, but the miracle of electric light is in its infancy. The person who controls the means to turn night into day will make history--and a vast fortune. A young untested lawyer named Paul Cravath, fresh out of Columbia Law School, takes a case that seems impossible to win. Paul's client, George Westinghouse, has been sued by Thomas Edison over a billion-dollar question: Who invented the light bulb and holds the right to power the country? The case affords Paul entry to the heady world of high society--the glittering parties in Gramercy Park mansions, and the more insidious dealings done behind closed doors. The task facing him is beyond daunting. Edison is a wily, dangerous opponent with vast resources at his disposal--private spies, newspapers in his pocket, and the backing of J. P. Morgan himself. Yet this unknown lawyer shares with his famous adversary a compulsion to win at all costs. How will he do it?In obsessive pursuit of victory, Paul crosses paths with Nikola Tesla, an eccentric, brilliant inventor who may hold the key to defeating Edison, and with Agnes Huntington, a beautiful opera singer who proves to be a flawless performer on stage and off. As Paul takes greater and greater risks, he'll find that everyone in his path is playing their own game, and no one is quite who they seem.

    

    Liberated from home and hearth by World War I, politically enfranchised and ready to work, women arrived to take their place in the dazzling new skyscrapers of Manhattan. But they did not want to stay in uncomfortable boarding houses. They wanted what men already had—exclusive residential hotels with maid service, workout rooms, and private dining. Built in 1927, at the height of the Roaring Twenties, the Barbizon Hotel was designed as a luxurious safe haven for the “Modern Woman” hoping for a career in the arts. Over time, it became the place to stay for any ambitious young woman hoping for fame and fortune. Sylvia Plath fictionalized her time there in The Bell Jar, and, over the years, it’s almost 700 tiny rooms with matching floral curtains and bedspreads housed, among many others, Titanic survivor Molly Brown; actresses Grace Kelly, Liza Minnelli, Ali MacGraw, Jaclyn Smith; and writers Joan Didion, Gael Greene, Diane Johnson, Meg Wolitzer. Mademoiselle magazine boarded its summer interns there, as did Katharine Gibbs Secretarial School its students and the Ford Modeling Agency its young models. Before the hotel’s residents were household names, they were young women arriving at the Barbizon with a suitcase and a dream. Not everyone who passed through the Barbizon’s doors was destined for success—for some, it was a story of dashed hopes—but until 1981, when men were finally let in, the Barbizon offered its residents a room of their own and a life without family obligations. It gave women a chance to remake themselves however they pleased; it was the hotel that set them free. No place had existed like it before or has since. “Poignant and intriguing” (The New Republic), The Barbizon weaves together a tale that has, until now, never been told. It is both a vivid portrait of the lives of these young women looking for something more and a “brilliant many-layered social history of women’s ambition and a rapidly changing New York through the 20th century” (The Guardian).

    They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso , Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.

    When I'm there, sitting with those folks, listening and talking, he said to Coles, I'm part of that life, and I'm near it in my head, too.... Back here, sitting near this typewriter--its different. I'm a writer. I'm a doctor living in Rutherford who is describing 'a world elsewhere.' Williams captured the great difficulty in documentary writing--the gulf that separates the reality of the subject from the point of view of the observer . Now, in this thought-provoking volume, the renowned child psychiatrist Robert Coles, author of the Pulitzer Prize-winning Children in Crisis series, offers a penetrating look into the nature of documentary work. Utilizing the documentaries of writers, photographers, and others, Coles shows how their prose and pictures are influenced by the observer's frame of reference: their social and educational background, personal morals, and political beliefs. He discusses literary documentaries: James Agee's searching portrait of Depression-era tenant farmers, Let Us Now Praise Famous Men, and George Orwell's passionate description of England's coal-miners, The Road to Wigan Pier. Like many documentarians, Coles argues, Agee and Orwell did not try to be objective, but instead showered unadulterated praise on the noble poor and vituperative contempt on the more privileged classes (including themselves) for exploiting these workers. Documentary photographs could be equally revealing about the observer. Coles analyzes how famous photographers such as Walker Evans and Dorthea Lange edited and cropped their pictures to produce a desired effect. Even the shield of the camera could not hide the presence of the photographer. Coles also illuminates his points through his personal portraits of William Carlos Williams; Robert Moses, one of the leaders of the Student Non-Violent Coordinating Committee during the 1960s; Erik H. Erikson, biographer of Mahatma Gandhi and Martin Luther; and others. Documentary work, Coles concludes, is more a narrative constructed by the observer than a true slice of reality. With the growth in popularity of films such as Ken Burns's The Civil War and the controversial basketball documentary Hoop Dreams, the question of what is real in documentary work is more pressing than ever. Through revealing discussions with documentarians and insightful analysis of their work, complemented by dramatic black-and-white photographs from Lange and Evans, Doing Documentary Work will provoke the reader into reconsidering how fine the line is between truth and fiction. It is an invaluable resource for students of the documentary and anyone interested in this important genre.

    The white slave trade was rampant, and along with all the vice crimes, murders became a weekly occurrence. Law enforcement seemed to turn a blind eye, and cries of political corruption were heard in the state capital. This scenario replayed itself over and over again during the past century as mobsters and madams ruled and murders plagued the city and county at an alarming rate.

    Often dismissed as a social climber who faded into the woodwork after she divorced Jackie's father-the dashing, disreputable "Black Jack" Bouvier-and married the rich Hugh D. Auchincloss, Janet not only played a pivotal part in Jackie's own wedding to JFK, but often served as a stand-in for Jackie during the White House years, and helped her cope with John and Caroline after the assassination.The only book to explore this fascinating mother-daughter relationship, Janet & Jackie is filled with stories that shed new light on the personal life of an American icon.

    Two registered sex offenders had come to live in the small town Greenberg had called home for thirty years, and his fellow citizens, terrified and enraged, had come out to pin the blame on him. In this riveting memoir about a modern-day witch hunt, Greenberg recounts with his trademark acerbic humor what it is like to be the target of an entire town's wrath. As he describes his Hawthornian moment, he vividly sketches the characters and landscapes that make up a classic New England village and reflects on sex, panic, betrayal, and the sometimes beautiful, sometimes terrible ties that bind communities together.Gary Greenberg is the author of four books, most recently The Book of Woe: The DSM and the Unmaking of Psychiatry, which will be out in paperback this fall. His features and essays have appeared in many publications, including The New York Times, The New Yorker, Rolling Stone, and Harper's, where he is a contributing editor. He is the recipient of the Erik Erikson Institute Prize for Excellence in Mental Health Media. A practicing psychotherapist, he lives with his family in Connecticut.Cover design by Kristen Radtke.

    

    It contains accounts by Richard 'The Iceman' Kuklinski, the contract killer who claimed to have murdered over 200 people in a career lasting 43 years.