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.

    From extraordinary highs - patronage by the Medicis, friendship with Galileo and, most importantly of all, beautiful and outstandingly original paintings - to rape by her father's colleague, torture by the Inquisition, life-long struggles for acceptance by the artistic Establishment, and betrayal by the men she loved, Artemisia was a bold and brilliant woman who lived as she wanted, and paid a high price.

    A brilliantly creative work that established the reputation of Dutch historian John Huizinga (1872-1945), the book argues that the era of diminishing chivalry reflected the spirit of an age and that its figures and events were neither a prelude to the Renaissance nor harbingers of a coming culture, but a consummation of the old.Among other topics, the author examines the violent tenor of medieval life, the idea of chivalry, the conventions of love, religious life, the vision of death, the symbolism that pervaded medieval life, and aesthetic sentiment. We view the late Middle Ages through the psychology and thought of artists, theologians, poets, court chroniclers, princes, and statesmen of the period, witnessing the splendor and simplicity of medieval life, its courtesy and cruelty, its idyllic vision of life, despair and mysticism, religious, artistic, and practical life, and much more.Long regarded as a landmark of historical scholarship, The Waning of the Middle Ages is also a remarkable work of literature. Of its author, the New York Times said, "Professor Huizinga has dressed his imposing and variegated assemblage of facts in the colorful garments characteristic of novels, and he parades them from his first page to the last in a vivid style."An international success following its original publication in 1919 and subsequently translated into several languages, The Waning of the Middle Ages will not only serve as an invaluable reference for students and scholars of medieval history but will also appeal to general readers and anyone fascinated by life during the Middle Ages.

    The eccentric Margaret wrote and published volumes of poems, philosophy, feminist plays, and utopian science fiction at a time when “being a writer” was not an option open to women. As one of the Queen’s attendants and the daughter of prominent Royalists, she was exiled to France when King Charles I was overthrown. As the English Civil War raged on, Margaret met and married William Cavendish, who encouraged her writing and her desire for a career. After the War, her work earned her both fame and infamy in England: at the dawn of daily newspapers, she was “Mad Madge,” an original tabloid celebrity. Yet Margaret was also the first woman to be invited to the Royal Society of London—a mainstay of the Scientific Revolution—and the last for another two hundred years.Margaret the First is very much a contemporary novel set in the past, rather than “historical fiction.” Written with lucid precision and sharp cuts through narrative time, it is a gorgeous and wholly new narrative approach to imagining the life of a historical woman.

    And after a lifetime of being clueless, Druckerman can finally grasp the subtext of conversations, maintain (somewhat) healthy relationships and spot narcissists before they ruin her life.What are the modern forties, and what do we know once we reach them? What makes someone a "grown-up" anyway? And why didn't anyone warn us that we'd get cellulite on our arms? Part frank memoir, part hilarious investigation of daily life, There Are No Grown-Ups diagnoses the in-between decade when...- Everyone you meet looks a little bit familiar. - You're matter-of-fact about chin hair. - You can no longer wear anything ironically.- There's at least one sport your doctor forbids you to play. - You become impatient while scrolling down to your year of birth. - Your parents have stopped trying to change you.- You don't want to be with the cool people anymore; you want to be with your people. - You realize that everyone is winging it, some just do it more confidently. - You know that it's ok if you don't like jazz.Internationally best-selling author and New York Times contributor Pamela Druckerman leads us on a quest for wisdom, self-knowledge and the right pair of pants. A witty dispatch from the front lines of the forties, There Are No Grown-ups is a (midlife) coming-of-age story, and a book for anyone trying to find their place in the world.

    With his band The Blockheads, he exploded onto the television screen in 1978, appearing on "Top of the Pops" with his hit single 'What a Waste', followed later that year by 'Hit Me With Your Rhythm Stick'. By now Ian was thirty-six and had worked hard for many years to reach this moment, struggling all the while to find acceptance inspite of the disability he suffered as a result of childhood polio. And yet fame, when it came, almost destroyed him. This groundbreaking and authoritative book gives the first in-depth and compelling account of the life of this charismatic yet complex artist. Author Will Birch interviewed Dury several times during his lifetime, and has also spoken to more than sixty people who were extremely close to Ian, including family members, fellow musicians, friends, lovers and business associates.

    Now, in her memoir, Cash writes compellingly about her upbringing in Southern California as the child of country legend Johnny Cash, and of her relationships with her mother and her famous stepmother, June Carter Cash. In her account of her development as an artist she shares memories of a hilarious stint as a twenty-year-old working for Columbia Records in London, recording her own first album on a German label, working her way to success, her marriage to Rodney Crowell, a union that made them Nashville's premier couple, her relationship with the country music establishment, taking a new direction in her music and leaving Nashville to move to New York. As well as motherhood, dealing with the deaths of her parents, in part through music, the process of songwriting, and the fulfillment she has found with her current husband and musical collaborator, John Leventhal. Cash has written an unconventional and compelling memoir that, in the tradition of M. F. K. Fisher's The Gastronomical Me and Frank Conroy's Stop-Time, is a series of linked pieces that combine to form a luminous and brilliant whole.

    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.

    What emerges is the study of a man caught in conflicts between family loyalties and his own passionate nature, between the call to political action and devotion to his art, between his support of the native Algerians and his identification with the forgotten poor whites. Exploring Camus's impoverished childhood in the Algerian city of Belcourt, his underground activities during the Occupation in Paris, the intrigues of the French literati who embraced him after the publication of his first novel, L'Etranger, Todd uncovers the solitary private man behind the mask of his celebrity. He shows us a writer isolated by his own success, crippled by the charms of women he could not resist, debilitated by the tuberculosis that did not kill him. The auto accident that did adds only to the ironies in the life of this international giant of twentieth-century literature.

    In Queen of Fashion, Caroline Weber shows how Marie Antoinette developed her reputation for fashionable excess, and explains through lively, illuminating new research the political controversies that her clothing provoked. Weber surveys Marie Antoinette's "Revolution in Dress," covering each phase of the queen's tumultuous life, beginning with the young girl, struggling to survive Versailles's rigid traditions of royal glamour (twelve-foot-wide hoopskirts, whalebone corsets that crushed her organs). As queen, Marie Antoinette used stunning, often extreme costumes to project an image of power and wage war against her enemies. Gradually, however, she began to lose her hold on the French when she started to adopt "unqueenly" outfits (the provocative chemise) that, surprisingly, would be adopted by the revolutionaries who executed her. Weber's queen is sublime, human, and surprising: a sometimes courageous monarch unwilling to allow others to determine her destiny. The paradox of her tragic story, according to Weber, is that fashion--the vehicle she used to secure her triumphs--was also the means of her undoing. Weber's book is not only a stylish and original addition to Marie Antoinette scholarship, but also a moving, revelatory reinterpretation of one of history's most controversial figures.

    After his arrest, followed by four months of solitary confinement in a Nazi prison, Liebster plummets headlong into the nightmare

    Her mother was a figure, a name, Irène Némirovsky, a once popular novelist, a Russian émigré from an immensely rich family, a Jew who didn’t consider herself one and who even contributed to collaborationist periodicals, and a woman who died in Auschwitz because she was a Jew. To her daughter she was a tragic enigma and a stranger. It was to come to terms with that stranger that Gille wrote, in The Mirador, her mother’s memoirs. The first part of the book, dated 1929, the year David Golder made Némirovsky famous, takes us back to her difficult childhood in Kiev and St. Petersburg. Her father is doting, her mother a beautiful monster, while Irene herself is bookish and self-absorbed. There are pogroms and riots, parties and excursions, then revolution, from which the family flees to France, a country of “moderation, freedom, and generosity,” where at last she is happy. Some thirteen years later Irène picks up her pen again. Everything has changed. Abandoned by friends and colleagues, she lives in the countryside and waits for the knock on the door. Written a decade before the publication of Suite Française made Irène Némirovsky famous once more (something Gille did not live to see), The Mirador is a haunted and a haunting book, an unflinching reckoning with the tragic past, and a triumph not only of the imagination but of love.

    It was also the first age of cultural globalization—an epoch when mass communications and high-speed rail travel brought Europe together, overcoming the barriers of nationalism and facilitating the development of a truly European canon of artistic, musical, and literary works. By 1900, the same books were being read across the continent, the same paintings reproduced, the same music played in homes and heard in concert halls, the same operas performed in all the major theatres.Drawing from a wealth of documents, letters, and other archival materials, acclaimed historian Orlando Figes examines the interplay of money and art that made this unification possible. At the center of the book is a poignant love triangle: the Russian writer Ivan Turgenev; the Spanish prima donna Pauline Viardot, with whom Turgenev had a long and intimate relationship; and her husband Louis Viardot, an art critic, theater manager, and republican activist. Together, Turgenev and the Viardots acted as a kind of European cultural exchange—they either knew or crossed paths with Delacroix, Berlioz, Chopin, Brahms, Liszt, the Schumanns, Hugo, Flaubert, Dickens, and Dostoyevsky, among many other towering figures.As Figes observes, nearly all of civilization’s great advances have come during periods of heightened cosmopolitanism—when people, ideas, and artistic creations circulate freely between nations. Vivid and insightful, The Europeans shows how such cosmopolitan ferment shaped artistic traditions that came to dominate world culture.

    But sometimes the best way to move forward is to look back. Philip Barlag shows us that Julius Caesar is one of the most compelling leaders of the past to study—a man whose approach was surprisingly modern and extraordinarily effective. History is littered with leaders hopelessly out of touch with their people and ruthlessly pursuing their own ambitions or hedonistic whims. But Caesar, who rose from impoverished beginnings, proved by his words and deeds that he never saw himself as being above the average Roman citizen. And he had an amazing ability to generate loyalty, to turn enemies into allies and allies into devoted followers. Barlag uses dramatic and colorful incidents from Caesar's career—being held hostage by pirates, charging headlong alone into enemy lines, pardoning people he knew wanted him dead—to illustrate what Caesar can teach leaders today. Central to Barlag's argument is the distinction between force and power. Caesar avoided using brute force on his followers, understanding that fear never generates genuine loyalty. He exercised a power deeply rooted in his demonstrated personal integrity and his intuitive understanding of people's deepest needs and motivations. His supporters followed him because they wanted to, not because they were compelled to. Over 2,000 years after Caesar's death, this is still the kind of loyalty every leader wants to inspire. Barlag shows how anyone can learn to lead like Caesar.

    You will read about men who were political leaders and men who were activists and cultural tastemakers. These men have been lauded for generations for creating the most exciting and influential city in the world. But that's not the whole story.The Women Who Made New York reveals the untold stories of the phenomenal women who made New York City the cultural epicenter of the world. Many were revolutionaries and activists, like Zora Neale Hurston and Audre Lorde. Others were icons and iconoclasts, like Fran Lebowitz and Grace Jones. There were also women who led quieter private lives but were just as influential, such as Emily Warren Roebling, who completed the construction of the Brooklyn Bridge when her engineer husband became too ill to work. Paired with striking, contemporary illustrations by artist Hallie Heald, The Women Who Made New York offers a visual sensation -- one that reinvigorates not just New York City's history but its very identity.