He reveals the fraught foundations of Hemingway's persona: his father's self-destructive battle with depression and his mother's fierce independence and spiritualism. He brings Hemingway through World War I, where he was frustrated by being too far away from the action and glory, despite his being wounded and nursed to health by Agnes Von Kurowsky—the older woman with whom he fell terribly in love.

    They range from a United States senator to a Native American to a first lady. Most wore bonnets and long skirts; few had college degrees; and only a handful stepped into a voting booth. But these women spoke the same language as their sisters today. Truman's look into the past pays tribute to the courage of American women from the Revolution to the present.

    Tinder, Bumble, Match.com, OkCupid—I tried them all.  My thirty-two-year-old self clicked and swiped her little heart out, leading to more dates than I could count, and more disappointment than I was prepared for.Maybe you can relate. Maybe you know all too well the perils of modern dating. But let’s say, eventually, you meet someone. You think to yourself, “Wow, they’re perfect! Take me off the market, put a ring on it, knock me up, the whole enchilada, because they are ‘the one.’” Let’s also say that they “feel the same way” about you. Your life starts to make sense! All the pain, heartbreak, and frustration from past failed relationships was worth it.  Slow clap.That’s how I felt about Milos. He was from Europe, a doctor, wealthy, athletic.  He had an accent and a dog.  Milos was textbook marriage material.For him it was “love at first sight,” but for me, it was “anxiety on every date.”Something was telling me to run—but for two years, the only running I did was straight into his arms.If only I would have listened.This isn’t a love story.It’s my story of survival.

    Her fearlessness made it all the more shocking when she committed suicide in 2004 at age thirty-six. Longtime friend and confidante Paula Kamen, author of the critically acclaimed All in My Head, reveals for the first time the private woman behind the bold international celebrity. She offers a tribute to the lost heroine while attempting to explain Iris' tragic psychological decline. Through letters, diaries, her own memories, and investigative journalism, Kamen fills in the surprising gaps in Chang's personal transformation from awkward teen, to world-class writer and lecturer, and finally, into mental illness and paranoia. Finding Iris Chang is a portrait of a real, vulnerable woman who changed the world.

    He often came across as a man possessed, holding forth on culture and politics while mixing in personal revelations – all with mercurial, tongue-twisting intensity as he inhabited and shed one character after another with lightning speed.But as Dave Itzkoff shows in this revelatory biography, Williams’s comic brilliance masked a deep well of conflicting emotions and self-doubt, which he drew upon in his comedy and in celebrated films like Dead Poets Society; Good Morning, Vietnam; The Fisher King; Aladdin; and Mrs. Doubtfire, where he showcased his limitless gift for improvisation to bring to life a wide range of characters. And in Good Will Hunting he gave an intense and controlled performance that revealed the true range of his talent.Itzkoff also shows how Williams struggled mightily with addiction and depression – topics he discussed openly while performing and during interviews – and with a debilitating condition at the end of his life that affected him in ways his fans never knew. Drawing on more than a hundred original interviews with family, friends, and colleagues, as well as extensive archival research, Robin is a fresh and original look at a man whose work touched so many lives.

    . . have different rights, different values than do ordinary people because we have different needs which put us . . . above their moral standards.” —ModiglianiAmedeo (“Beloved of God”) Modigliani was considered to be the quintessential bohemian artist, his legend almost as infamous as Van Gogh’s. In Modigliani’s time, his work was seen as an oddity: contemporary with the Cubists but not part of their movement. His work was a link between such portraitists as Whistler, Sargent, and Toulouse-Lautrec and that of the Art Deco painters of the 1920s as well as the new approaches of Gauguin, Cézanne, and Picasso.Jean Cocteau called Modigliani “our aristocrat” and said, “There was something like a curse on this very noble boy. He was beautiful. Alcohol and misfortune took their toll on him.”In this major new biography, Meryle Secrest, one of our most admired biographers—whose work has been called “enthralling” (The Wall Street Journal); “rich in detail, scrupulously researched, and sympathetically written” (The New York Review of Books) —now gives us a fully realized portrait of one of the twentieth century’s master painters and sculptors: his upbringing, a Sephardic Jew from an impoverished but genteel Italian family; his going to Paris to make his fortune; his striking good looks (“How beautiful he was, my god how beautiful,” said one of his models) . . . his training as an artist . . .and his influences, including the Italian Renaissance, particularly the art of Botticelli; Nietzsche’s theories of the artist as Übermensch, divinely endowed, divinely inspired; the monochromatic backgrounds of Van Gogh and Cézanne; the work of the Romanian sculptor Brancusi; and the primitive sculptures of Africa and Oceania with their simplified, masklike triangular faces, elongated silhouettes, puckered lips, low foreheads, and heads on exaggeratedly long necks. We see the ways in which Modigliani’s long-kept-secret illness from tuberculosis (it almost killed him as a young man) affected his work and his attitude toward life ; how consumption caused him to embrace fatalism and idealism, creativity and death; and how he used alcohol and opium with laudanum as an antispasmodic to hide the symptoms of the disease and how, because of it, he came to be seen as a dissolute alcoholic.And throughout, we see the Paris that Modigliani lived in, a city in dynamic flux where art was still a noble cause; how Modigliani became part of a life in the streets and a world of art and artists then in a transforming revolution; Monet, Cézanne, Degas, Renoir, et al.—and others more radical—Matisse, Derain, etc., all living within blocks of one another.Secrest’s book, written with unprecedented access to letters, diaries, and photographs never before seen, is an extraordinary revelation of a life lived in art . . . Here is Modigliani, the man and the artist, seemingly shy, delicate, a man on a desperate mission, masquerading as an alcoholic, cheating death again and again, and calculating what he had to do in order to go on working and concealing his secret for however much time remained . . .

    He was fortunate to have been taught to read by his slave owner mistress, and he would go on to become one of the major literary figures of his time. His very existence gave the lie to slave owners: with dignity and great intelligence he bore witness to the brutality of slavery.Initially mentored by William Lloyd Garrison, Douglass spoke widely, using his own story to condemn slavery. By the Civil War, Douglass had become the most famed and widely travelled orator in the nation. In his unique and eloquent voice, written and spoken, Douglass was a fierce critic of the United States as well as a radical patriot. After the war he sometimes argued politically with younger African Americans, but he never forsook either the Republican party or the cause of black civil and political rights.In this biography, David Blight has drawn on new information held in a private collection that few other historian have consulted, as well as recently discovered issues of Douglass’s newspapers.

    Gandhi is one of the most inspiring figures of our time. In his classic autobiography he recounts the story of his life and how he developed his concept of active nonviolent resistance, which propelled the Indian struggle for independence and countless other nonviolent struggles of the twentieth century.In a new foreword, noted peace expert and teacher Sissela Bok urges us to adopt Gandhi's "attitude of experimenting, of testing what will and will not bear close scrutiny, what can and cannot be adapted to new circumstances," in order to bring about change in our own lives and communities. All royalties earned on this book are paid to the Navajivan Trust, founded by Gandhi, for use in carrying on his work.

    George directly influenced the likes of Muhammad Ali, who took his bragging and boasting from George; James Brown, who began to wear sequined capes onstage after seeing George on TV; John Waters, whose films featured the outrageous drag queen Divine as an homage to George; and too many wrestlers to count. Amid these pop culture discoveries are firsthand accounts of the pro wrestling game from the 1930s to the 1960s.The ideal American male used to be stoic, quiet, and dignified. But for a young couple struggling to make ends meet, in the desperation born of the lingering Depression and wartime rationing, an idea was hatched that changed the face of American popular culture, an idea so bold, so over-the-top and absurd, that it was perfect. That idea transformed journeyman wrestler George Wagner from a dark-haired, clean-cut good guy to a peroxide-blond braggart who blatantly cheated every chance he got. Crowds were stunned—they had never seen anything like this before—and they came from miles around to witness it for themselves.Suddenly George—guided by Betty, his pistol of a wife—was a draw. With his golden tresses grown long and styled in a marcel, George went from handsome to . . . well . . . gorgeous overnight, the small, dank wrestling venues giving way to major arenas. As if the hair wasn't enough, his robes—unmanly things of silk, lace, and chiffon in pale pinks, sunny yellows, and rich mauves—were but a prelude to the act: the regal entrance, the tailcoat-clad valet spraying the mat with perfume, the haughty looks and sneers for the "peasants" who paid to watch this outrageously prissy hulk prance around the ring. How they loved to see his glorious mane mussed up by his manly opponents. And how they loved that alluringly alliterative name . . . Gorgeous George . . . the self-proclaimed Toast of the Coast, the Sensation of the Nation!All this was timed to the arrival of that new invention everyone was talking about—television. In its early days, professional wrestling and its larger-than-life characters dominated prime-time broadcasts—none more so than Gorgeous George, who sold as many sets as Uncle Miltie.Fans came in droves—to boo him, to stick him with hatpins, to ogle his gowns, and to rejoice in his comeuppance. He was the man they loved to hate, and his provocative, gender-bending act took him to the top of the entertainment world. America would never be the same again.

    But when she saw him perform in front of thousands of screaming fans for the first time, she knew that rock stardom was meant to be for her son. And as Virginia watched her son's star rise, she often wondered about the other mothers who raised sons and daughters who became rock stars. Were they as surprised as she was about their children's fame? Did they worry about their children's livelihood and wellbeing in an industry fraught with drugs and other dangers? Did they encourage their children's passions despite the odds against success, or attempt to dissuade them from their grandiose dreams? Do they remind their kids to pack a warm coat when they go on tour?Virginia decided to seek out other rock star mothers to ask these questions, and so began a two-year odyssey in which she interviewed such women as Verna Griffin, Dr. Dre's mother; Marianne Stipe, Michael Stipe of REM's mother; Janis Winehouse, Amy Winehouse's mother; Patsy Noah, Adam Levine's mother; Donna Haim, mother of the Haim sisters; Hester Diamond, Mike D of The Beastie Boys' mother.With exclusive family photographs and a foreword by Dave Grohl, From Cradle to Stage will appeal to mothers and rock fans everywhere.

    Paul Gerry created the greatest fortune in America - and came close to destroying his own family in the process. Of his four sons who reached manhood, only one survived relatively unscathed. One killed himself, one became a drug-addicted recluse and the third had to bear the stigma all his life of being disinherited in childhood.The unhappiness continued into the next generation, with the name Getty, as one journalist put it, 'becoming synonymous for family dysfunction'. Getty's once favourite grandson John Paul Getty III was kidnapped by the Italian mafia who cut off his ear to raise a ransom and, after a lifetime of drink and drugs, became a paraplegic. His granddaughter Aileen has AIDS. And the Getty family itself has been torn apart by litigation over their poisoned inheritance.But did the disaster have to happen? John Pearson, who has specialized in biographies of families as varied as the Churchills, the British Royal Family, the Devonshires and the Krays, sets out to find the answer. The result, first published in 1995, is a fascinating saga of an extraordinary dynasty.He traces much of the trouble to the bizarre character of the avaricious, sex-obsessed billionaire, J. Paul Getty himself - and demonstrates how much of his behaviour has been repeated in succeeding generations. He describes the famous kidnapping of his grandson in graphic detail, revealing how the old man's attitude added considerably to the boy's sufferings. And he shows how the family has coped with the latest modern scourges: drugs and AIDS.For Painfully Rich is not a hopeless story. While some of the family have been damaged by the Getty legacy, others have saved themselves from disaster, most notably the cricket-loving philanthropist, J. Paul Getty Jr. Pearson's moving story of his recovery from drugs and deep personal tragedy shows that there is hope for future generations of this stricken family - and demonstrates that money can be used to buy survival and even happiness.

    Now Annie Cohen-Solal, author of the hugely acclaimed Sartre: A Life (“an intimate portrait of the man that possesses all the detail and resonance of fiction”—Michiko Kakutani, The New York Times), recounts his incalculably influential and astonishing life in Leo and His Circle. After emigrating to New York in 1941, Castelli would not open a gallery for sixteen years, when he had reached the age of fifty. But as the first to exhibit the then-unknown Jasper Johns, Castelli emerged as a tastemaker overnight and fast came to champion a virtual Who’s Who of twentieth-century masters: Rauschenberg, Lichtenstein, Warhol, and Twombly, to name a few. The secret of Leo’s success? Personal devotion to the artists, his “heroes”: by putting young talents on stipend and seeking placement in the ideal collection rather than with the top bidder, he transformed the way business was done, multiplying the capital, both cultural and financial, of those he represented. His enterprise, which by 1980 had expanded to an impressive network of satellite galleries in Europe and three locations in New York, thus became the unrivaled commercial institution in American art, producing a generation of acolytes, among them Mary Boone, Jeffrey Deitch, Larry Gagosian, and Tony Shafrazi. Leo and His Circle brilliantly narrates the course of one man’s power and influence. But Castelli had another secret, too: his life as an Italian Jew. Annie Cohen-Solal traces a family whose fortunes rose and fell for centuries before the Castellis fled European fascism. Never hidden but also never discussed, this experience would form the core of a guarded but magnetic character possessed of unfailing old-world charm and a refusal to look backward—traits that ensured Castelli’s visionary precedence in every major new movement from Pop to Conceptual and by which he fostered the worldwide enthusiasm for American contemporary art that is his greatest legacy. Drawing on her friendship with the subject, as well as an uncanny knack for archival excavation, Annie Cohen-Solal gives us in full the elegant, shrewd, irresistible, and enigmatic figure at the very center of postwar American art, bringing an utterly new understanding of its evolution.

    It contains a discography, gig list and a full set of lyrics.

    His sterling academic and legal credentials led to his nomination by President Ronald Reagan to the Court of Appeals for the DC Circuit in 1982. In four short years there, he successfully outmaneuvered the more senior Robert Bork to be appointed to the Supreme Court in 1986.Scalia’s evident legal brilliance and personal magnetism led everyone to predict he would unite a new conservative majority under Chief Justice William Rehnquist and change American law in the process. Instead he became a Court of One. Rather than bringing the conservatives together, Scalia drove them apart. He attacked and alienated his more moderate colleagues Sandra Day O’Connor, then David Souter, and finally Anthony Kennedy. Scalia prevented the conservative majority from coalescing for nearly two decades.Scalia: A Court of One is the compelling story of one of the most polarizing figures ever to serve on the nation’s highest court. It provides an insightful analysis of Scalia’s role on a Court that, like him, has moved well to the political right, losing public support and ignoring public criticism. To the delight of his substantial conservative following, Scalia’s “originalism” theory has become the litmus test for analyzing, if not always deciding, cases. But Bruce Allen Murphy shows that Scalia’s judicial conservatism is informed as much by his highly traditional Catholicism, mixed with his political partisanship, as by his reading of the Constitution. Murphy also brilliantly analyzes Scalia’s role in major court decisions since the mid-1980s and scrutinizes the ethical controversies that have dogged Scalia in recent years. A Court of One is a fascinating examination of one outspoken justice’s decision not to play internal Court politics, leaving him frequently in dissent, but instead to play for history, seeking to etch his originalism philosophy into American law.

    Charles R. Cross vividly recounts the life of Hendrix, from his difficult childhood and adolescence in Seattle through his incredible rise to celebrity in London's swinging sixties. It is the story of an outrageous life--with legendary tales of sex, drugs, and excess--while it also reveals a man who struggled to accept his role as idol and who privately craved the kind of normal family life he never had. Using never-before-seen documents and private letters, and based on hundreds of interviews with those who knew Hendrix--many of whom had never before agreed to be interviewed--Room Full of Mirrors unlocks the vast mystery of one of music's most enduring legends.