A field adviser to the army when US involvement was just beginning, he quickly became appalled at the corruption of the S. Vietnamese regime, their incompetence in fighting the Communists & their brutal alienation of their own people. Finding his superiors too blinded by political lies to understand the war was being thrown away, he secretly briefed reporters on what was really happening. One of those reporters was Neil Sheehan.--Amazon (edited) Neil Sheehan was a Vietnam War correspondent for United Press International & the NY Times & won a number of awards for reporting. In 1971 he obtained the Pentagon Papers, which brought the Times the Pulitzer gold medal for meritorious public service. A Bright Shining Lie won the National Book Award & the Pulitzer Prize for Non-Fiction. He lives in Washington DC.MapsThe funeral Going to war Antecedents to a confrontation The Battle of Ap Bac Taking on the system Antecedents to the man A second time aroundJohn Vann staysAcknowledgmentsInterviewsDocumentsSource NotesBibliographyIndexAbout the Author

    A collection of astonishing originality and intensity, it spoke of politics, sexual emancipation, and what it meant to be an American. From the joyful “Song of Myself” and “I Sing the Body Electric” to the elegiac “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s art fuses oratory, journalism, and song in a vivid celebration of humanity. Containing all Whitman’s known poetic work, this edition reprints the final, or “deathbed,” edition of Leaves of Grass (1891–92). Earlier versions of many poems are also given, including the 1855 “Song of Myself.”Features a completely new—and fuller—introduction discussing the development of Whitman's poetic career, his influence on later American poets, and his impact on the American cultural sensibilityIncludes chronology, updated suggestions for further reading, and extensive notes

    Included are his Pulitzer Prize and National Book Award winners The Walking, Words for the Wind, and The Far Field.

    Witness the exploits of Jim and Tammy Faye Bakker, Elvis, Liz, Di, Tricky Dicky and Bill Clinton!

    In this wise and intimate telling—which carries us through the seasons when her marriage was ending—Sharon Olds opens her heart to the reader, sharing the feeling of invisibility that comes when we are no longer standing in love’s sight; the surprising physical bond that still exists between a couple during parting; the loss of everything from her husband’s smile to the set of his hip. Olds is naked before us, curious and brave and even generous toward the man who was her mate for thirty years and who now loves another woman. As she writes in the remarkable “Stag’s Leap,” “When anyone escapes, my heart / leaps up.  Even when it’s I who am escaped from, / I am half on the side of the leaver.” Olds’s propulsive poetic line and the magic of her imagery are as lively as ever, and there is a new range to the music—sometimes headlong, sometimes contemplative and deep. Her unsparing approach to both pain and love makes this one of the finest, most powerful books of poetry Olds has yet given us.

    It is a book which throws light on many features of the American character. Its concern is not merely to portray the scorners of intellect in American life, but to say something about what the intellectual is, and can be, as a force in a democratic society.Hofstadter set out to trace the social movements that altered the role of intellect in American society from a virtue to a vice. In so doing, he explored questions regarding the purpose of education and whether the democratization of education altered that purpose and reshaped its form.In considering the historic tension between access to education and excellence in education, Hofstadter argued that both anti-intellectualism and utilitarianism were consequences, in part, of the democratization of knowledge.Moreover, he saw these themes as historically embedded in America's national fabric, an outcome of her colonial European and evangelical Protestant heritage. Anti-intellectualism and utilitarianism were functions of American cultural heritage, not necessarily of democracy.

    One was that of his father, wedding him to the rhythm of the seasons, the harsh beauty of the land, the ecstasy of the drug called peyote. The other was the world of the twentieth century, goading him into a compulsive cycle of sexual exploits, dissipation, and disgust. Home from a foreign war, he was a man being torn apart, a man descending into hell.

    Since then, five volumes of Edmund Wilson's diaries have been published, as well as a volume of Nabokov's correspondence with other people and Brian Boyd's definitive two-volume biography of Nabokov. The additional letters and a considerable body of new annotations clarify the correspondence, tracing in greater detail the two decades of close friendship between the writers.

    Unconventional in both style and content, it shattered the myths of small town American life. A collection of epitaphs of residents of a small town, a full understanding of Spoon River requires the reader to piece together narratives from fragments contained in individual poems."

    The novel moves through a single year and, at the same time, a decade of years, from the spring arrival of the family at their mortgaged farm to the winter 10 years later, when the ravages of drought, fire, and personal anguish have led to the deaths of two of the five. Like Ethan Frome, the relatively brief, intense story evokes the torment possible among people isolated and driven by strong feelings of love and hate that, unexpressed, lead inevitably to doom. Reviewers in the thirties praised the novel, calling its prose "profoundly moving music," expressing incredulity "that this mature style and this mature point of view are those of a young women in her twenties," comparing the book to "the luminous work of Willa Cather," and, with prescience, suggesting that it "has that rare quality of timelessness which is the mark of first-rate fiction."

    Eliot, contains essays from five earlier volumes: Pavannes and Divisions (1918), Instigations(1920), How to Read(1931), Make it New(1934), and Polite Essays(1937). The thirty-three essays contained in this collection are separated into three categories: The Art of Poetry, The Tradition, and Contemporaries. These essays showcase the range of Pound's interests, with topics ranging from modernist poetry to Japanese iconography, troubadour songs, and much more. Pound's influence on the modernist movement and literature as a whole makes this collection an important piece of literary history. With an introduction by T.S. Eliot.

    In fact, the short story, as A. O. Scott wrote in The New York Times Book Review, shows “McInerney in full command of his gifts . . . These stories, with their bold, clean characterizations, their emphatic ironies and their disciplined adherence to sound storytelling principles, reminded me of, well, Fitzgerald and also of Hemingway—of classic stories like ‘Babylon Revisited’ and ‘The Short Happy Life of Francis Macomber.’ They are models of the form.”Only seven of these stories have ever been collected in a book, but all twenty-six unveil and re-create the manic flux of our society. Whether set in New England, Los Angeles, New York or the South, they capture various stages of adulthood, from early to budding to entrenched to resentful: a young man confronting the class system at a summer resort; a young woman holed up in a remote cabin while her (married) boyfriend campaigns for the highest office of all; a couple whose experiments in sexuality cross every line imaginable; an actor visiting his wife in rehab; a doctor contending with both convicts and his own criminal past; a youthful socialite returning home to nurse her mother; an older one scheming for her next husband; a family celebrating the holidays while mired in loss year after year; even Russell and Corrine Calloway, whom we first met in McInerney's novel Brightness Falls.A manifold exploration of delusion, experience and transformation, these stories display a preeminent writer of our time at the very top of his form.

    Lawrence Wright's remarkable book is based on five years of research and hundreds of interviews that he conducted in Egypt, Saudi Arabia, Pakistan, Afghanistan, Sudan, England, France, Germany, Spain, and the United States.The Looming Tower achieves an unprecedented level of intimacy and insight by telling the story through the interweaving lives of four men: the two leaders of al-Qaeda, Osama bin Laden and Ayman al-Zawahiri; the FBI's counterterrorism chief, John O'Neill; and the former head of Saudi intelligence, Prince Turki al-Faisal.As these lives unfold, we see revealed: the crosscurrents of modern Islam that helped to radicalize Zawahiri and bin Laden . . . the birth of al-Qaeda and its unsteady development into an organization capable of the American embassy bombings in Kenya and Tanzania and the attack on the USS Cole . . . O'Neill's heroic efforts to track al-Qaeda before 9/11, and his tragic death in the World Trade towers . . . Prince Turki's transformation from bin Laden's ally to his enemy . . . the failures of the FBI, CIA, and NSA to share intelligence that might have prevented the 9/11 attacks.The Looming Tower broadens and deepens our knowledge of these signal events by taking us behind the scenes. Here is Sayyid Qutb, founder of the modern Islamist movement, lonely and despairing as he meets Western culture up close in 1940s America; the privileged childhoods of bin Laden and Zawahiri; family life in the al-Qaeda compounds of Sudan and Afghanistan; O'Neill's high-wire act in balancing his all-consuming career with his equally entangling personal life--he was living with three women, each of them unaware of the others' existence--and the nitty-gritty of turf battles among U.S. intelligence agencies.Brilliantly conceived and written, The Looming Tower draws all elements of the story into a galvanizing narrative that adds immeasurably to our understanding of how we arrived at September 11, 2001. The richness of its new information, and the depth of its perceptions, can help us deal more wisely and effectively with the continuing terrorist threat.

    Increasingly, though, the disconnect between the chaos of world events and the response at home took on pressing urgency for her. Seeking to understand the Muslim world that had been reduced to scaremongering headlines, she moved to Istanbul.Hansen arrived in Istanbul with romantic ideas about a mythical city perched between East and West, and with a naïve sense of the Islamic world beyond. Over the course of her many years of living in Turkey and traveling in Greece, Egypt, Afghanistan, and Iran, she learned a great deal about these countries and their cultures and histories and politics. But the greatest, most unsettling surprise would be what she learned about her own country—and herself, an American abroad in the era of American decline. It would take leaving her home to discover what she came to think of as the two Americas: the country and its people, and the experience of American power around the world. She came to understand that anti-Americanism is not a violent pathology. It is, Hansen writes, “a broken heart . . . A one-hundred-year-old relationship.”Blending memoir, journalism, and history, and deeply attuned to the voices of those she met on her travels, Notes on a Foreign Country is a moving reflection on America’s place in the world. It is a powerful journey of self-discovery and revelation—a profound reckoning with what it means to be American in a moment of grave national and global turmoil.

    tight binding. No marks on pages.