After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    Bill was also one of the most influential broadcasters of all time, an inspiration to legions of his fellow broadcasters who looked up to him. No less an authority than John Madden tells Ken Korach in this 80,000-word testament to Bill’s uniqueness that when he turned from coaching to broadcasting, no one was more of an influence on him than Bill. But this was true of Bill the man as well, not merely Bill the broadcaster. “We all wanted to live vicariously through Bill. The things that he did, we wished we could do,” Madden tells Ken Korach. Korach, longtime voice of the A’s and Bill’s partner for ten seasons until King’s death in 2005, is the perfect one to bring Bill to life on the page. A half-century ago, Ken Korach was a kid in Los Angeles, spinning the night dial to tune in Warriors basketball games from faraway San Francisco for one reason: He just had to hear Bill. Now, in Holy Toledo – Lessons from Bill King, Renaissance Man of the Mic, he tells the remarkable story of King the legendary baseball, basketball and football broadcaster. Bill was a student of Russian literature, a passionate sailor, a fan of eating anything and everything from gourmet to onions and peanut butter, a remarkable painter. Korach draws on a lifetime of listening to and learning from King – as well as extensive research, including more than fifty interviews with King’s family members, colleagues, friends and associates – to create this rich portrait, eagerly awaited by thousands of fans who have flocked to the Holy Toledo Facebook page and heard about the book through Ken’s media appearances.Holy Toledo features a moving foreword by Hall of Fame broadcaster Jon Miller, previously of ESPN, and a brilliant cover by Mark Ulriksen, internationally recognized for his New Yorker magazine covers, that captures King’s flair and personality.Billy Beane“The best part about Bill wasn’t just that he was so good at his job but that he was so interesting outside of his job. His mustache epitomized that. He looked eccentric and he was eccentric, in a good way.”Bob Welch“If I had a hitter I had trouble with, I’d ask Bill how I should pitch him. He always had a good answer.”Greg Papa“Bill King was the greatest radio broadcaster in the history of the United States.”Tom Meschery“Talking with Bill was like talking with an encyclopedia.… If you wanted to talk sports, literature – when Bill talked you listened, because he always had something interesting to talk about.”Al Attles“He didn’t sugarcoat it. Bill was a departure from the way it was. If a player from the Warriors made a mistake, Bill told it like it was.”Ed Rush“I’d put the radio out the window and keep turning it to certain angles and it would go in and go out. I’d listen to the Warriors and the Raiders. To do all three sports like he did, he was phenomenal. He was out of this world.”Tom Flores“Bill made some of the great plays in the history of the Raiders even greater with his description. Those moments were kept alive in his voice.”Jason Giambi“He was such an incredible man. I had so much fun with him and he would always ask how my family was doing and I have the fondest memories of him. We would talk about life and all the things he had seen. He made me well rounded.”Rick Barry“He had the ability to see a game, a basketball game, and express what was happening in eloquent terms, at times instantaneously. When he was saying something, it was happening.”

    They include introductions for books of avant-garde poets; collaborations with visual artists, and articles for publications such as The New York Review of Books, The London Review of Books, and October.One section focuses on writers and literary works: strange tales from classical and modern China; the Psalms in translation: a skeptical look at E. B. White’s New York. Another section is a continuation of Weinberger’s celebrated political articles collected in What Happened Here: Bush Chronicles (a finalist for the National Books Critics Circle Award), including a sequel to “What I Heard About Iraq,” which the Guardian called the only antiwar “classic” of the Iraq War. A new installment of his magnificent linked “serial essay,” An Elemental Thing, takes us on a journey down the Yangtze River during the Sung Dynasty.The reader will also find the unlikely convergences between Samuel Beckett and Octavio Paz, photography and anthropology, and, of course, oranges and peanuts, as well as an encomium for Obama, a manifesto on translation, a brief appearance by Shiva, and reflections on the color blue, death, exoticism, Susan Sontag, and the arts and war.

    He died in 1965 virtually unrecognized, yet in the following years his work and thought have attracted and intrigued an international audience. Now this comprehensive biography gives a pivotal poet his due. Based on interviews with scores of Spicer's contemporaries, Poet Be Like God details the most intimate aspects of Spicer's life-his family, his friends, his lovers-illuminating not only the man but also many of his poems. Such illumination extends also to the works of others whom Spicer came to know, including the writers Frank O'Hara, Robert Duncan, Denise Levertov, Helen Adam, Robin Blaser, Charles Olson, Philip K. Dick, Richard Brautigan, and Marianne Moore and the painters Jess, Fran Herndon, and Jay DeFeo. The resulting narrative, an engaging chronicle of the San Francisco Renaissance and the emergence of the North Beach gay scene during the 50s and 60s, will be indispensable reading for students of American literature and gay studies.

    Major Dudes collects some of the smartest and wittiest interviews Becker and Fagen have ever given, along with intelligent reviews of—and commentary on— their extraordinary songs. Compiled by leading music critic Barney Hoskyns, Major Dudes features contributions from the likes of Sylvie Simmons, Fred Schruers, and the late Robert Palmer; plus rare interviews and reviews of Steely Dan’s early albums from Disc, Melody Maker, and Rolling Stone. With an introduction by Hoskyns and an obituary for Walter Becker by David Cavanagh, Major Dudes will be the centerpiece on every fan’s shelf.

    Even in the most vigilant eye, there is a blind spot. What is missing?”When it comes to Teju Cole, the unexpected is not unfamiliar: He’s an acclaimed novelist, an influential essayist, and an internationally exhibited photographer. In Blind Spot, readers follow Cole’s inimitable artistic vision into the visual realm as he continues to refine the voice, eye, and intellectual obsessions that earned him such acclaim for Open City.Here, journey through more than 150 of Cole’s full-color, original photos, each accompanied by his lyrical and evocative prose, forming a multimedia diary of years of near-constant travel: from a park in Berlin to a mountain range in Switzerland, a church exterior in Lagos to a parking lot in Brooklyn; landscapes, beautiful or quotidian, that inspire Cole’s memories, fantasies, and introspections. Ships in Capri remind him of the work of writers from Homer to Edna O’Brien; a hotel room in Wannsee brings back a disturbing dream about a friend’s death; a home in Tivoli evokes a transformative period of semi-blindness, after which “the photography changed. . . . The looking changed.”As exquisitely wrought as the work of Anne Carson or Chris Marker, Blind Spot is a testament to the art of seeing by one of the most powerful and original voices in contemporary literature.Praise for Blind Spot“This lyrical essay in photographs paired with texts explores the mysteries of the ordinary. Cole’s questioning, tentative habit of mind, suspending judgement while hoping for the brief miracle of insight, is a form of what used to be called humanism.”—New York Times Books Review (Editors’ Choice)“An eye-opening exploration of the world, time, and how the two connect.”—Nylon“[Teju] Cole’s fiction and essays are incredible, unexpected, and beautiful; he’s also a spectacular photographer. His first collection of photographs, each image accompanied by his stunning prose, promises to show us the world through his eyes, which always seem to see things in a brilliant new light.”—Lisa Lucas, National Book Foundation“Once you get a taste of [Cole’s] writing, you can quickly (and hungrily) burn through what’s available. Thankfully, Blind Spot will indulge the senses by combining both of Cole’s loves in this . . . full-color collection of Cole’s photos, accompanied by his prose.”—The Week“Many artists have felt the lure of juxtaposing photographs and text, but few have succeeded as well as Teju Cole. He approaches this problem with an understanding of the limitations and glories of each medium.”—Stephen Shore, author of Uncommon Places“Cole’s deeply affecting work juxtaposes tragedy with hidden-in-plain-sight beauty as he embraces ‘poetic possibility’ in every scene and moment.”—Booklist “Memoir meets museum catalog . . . A strange, cerebral, and very beautiful journey.”—Kirkus Reviews“This ambitious study deserves a spot on the shelf next to Roland Barthes’s Camera Lucida and Susan Sontag’s On Photography.”—Publishers Weekly (starred review)

    Exploring his greatest obsessions - including image and celebrity - he photographs wrestlers and politicians, the beautiful wealthy and the disenfranchised poor, Capote with the fresh scars of a facelift and Madonna hiding beneath a brunette bob. He writes about the country he loves, wishing he had died when he was shot, commercialism, fame and beauty.An America without Warhol is almost as inconceivable as Warhol without America, and this touching, witty tribute is the great artist of the superficial at his most deeply personal.

    Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight."Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature."One of Publishers Weekly's Best Nonfiction Books of 2013

    An entertaining, insightful history of the men who've held the office, from the division between Jefferson and Hamilton through Bill Clinton's campaign for national health care.

    The view 16-year-old Thomas Osborne first had of Muskoka was at night, trudging alone with his even younger brother along unmarked primitive roads to find their luckless father who, in 1875, had decided to make a new start for his beleaguered family on some "free land" in the bush east of the pioneer village of Huntsville, Ontario. The miracle is that Thomas lived to tell the tale.For the next five years Thomas endured starvation, falling through the ice and freezing, accidents with axes and boats, and narrow escapes from wolves and bears. Many years later, after returning to the United States, Osborne wrote down all his adventures in a graphic memoir that has become, in the words of author and journalist Roy MacGregor, "an undiscovered Canadian classic."Reluctant Pioneer provides a brooding sense of adventure and un- sentimental realism to deliver a powerful account of pioneer life where tragedies arrive as naturally as rain and where humour resides in irony.

    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.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Seventeen years after their last album, they resurrected themselves with an intense, socially conscious record, We Got It from Here . . . Thank You 4 Your Service, which arrived when fans needed it most, in the aftermath of the 2016 election. Poet and essayist Hanif Abdurraqib digs into the group's history and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself. The result is as ambitious and genre-bending as the rap group itself.Abdurraqib traces the Tribe's creative career, from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Their work is placed in the context of the broader rap landscape of the 1990s, one upended by sampling laws that forced a reinvention in production methods, the East Coast-West Coast rivalry that threatened to destroy the genre, and some record labels' shift from focusing on groups to individual MCs. Throughout the narrative Abdurraqib connects the music and cultural history to their street-level impact. Whether he's remembering The Source magazine cover announcing the Tribe's 1998 breakup or writing personal letters to the group after bandmate Phife Dawg's death, Abdurraqib seeks the deeper truths of A Tribe Called Quest; truths that--like the low end, the bass--are not simply heard in the head, but felt in the chest.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    Instead, in a daring stroke, Greil Marcus selects ten songs recorded between 1956 and 2008, then proceeds to dramatize how each embodies rock ’n’ roll as a thing in itself, in the story it tells, inhabits, and acts out—a new language, something new under the sun. “Transmission” by Joy Division. “All I Could Do Was Cry” by Etta James and then Beyoncé. “To Know Him Is to Love Him,” first by the Teddy Bears and almost half a century later by Amy Winehouse. In Marcus’s hands these and other songs tell the story of the music, which is, at bottom, the story of the desire for freedom in all its unruly and liberating glory. Slipping the constraints of chronology, Marcus braids together past and present, holding up to the light the ways that these striking songs fall through time and circumstance, gaining momentum and meaning, astonishing us by upending our presumptions and prejudices. This book, by a founder of contemporary rock criticism—and its most gifted and incisive practitioner—is destined to become an enduring classic.