Powell was a prolific letter writer, and her correspondence provides an intimate look at the woman about whom The New York Times recently said: "[She] is wittier than Dorothy Parker, dissects the rich better than F. Scott Fitzgerald, is more plaintive than Willa Cather in her evocation of the heartland, and has more supple control of satirical voice than Evelyn Waugh."Living most of her life in Greenwich Village, Powell supported herself as a writer through the Great Depression and two world wars while nursing an autistic son, an alcoholic husband, and her own parade of illnesses. In her correspondence, including gossip-filled letters to such luminaries as Edmund Wilson, John Dos Passos, and the legendary editor Max Perkins, we find the record of a courageous and dramatic woman who produced fifteen novels, ten plays, and more than one hundred stories.

    So, she dedicated herself to visiting 31 houses of worship over a period of as many weeks. A Month of Sundays is the story of her enlightening spiritual pilgrimage.In each chapter, Mars takes readers to a different scene -- whether it's a synagogue, a Baptist church, or a mosque -- and with each visit readers are able to piece together a more complete, heartfelt picture of faith, God, and the search for meaning. Along the way, a poignant memoir of the relationship between two sisters unfolds.Drifting in and out of her memories with her sister, a grief-stricken Mars weaves between past and present, moving readers along her narrative path. Her story spills out like that of an old friend sitting at the kitchen table, fanning out her photos, sharing her struggles. A generosity and lack of judgment season her tale, full of joy and loss. Early on in her memoir, Mars says of her dying sister, "I consider it an honor and a privilege to be with her, every day, as she reflects on the state of her soul." We could say the same of Julie Mars. (Summer 2005 Selection)

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    Terrifying yet tender, darkly humorous and deeply moving, Nervous System is a tale of literary madness like no other.

    Compiled by the staff and contributors of Mojo magazine, The Mojo Collection tells the stories behind the greatest albums of all time and the artists who made them.

    Although many critics have commented on the poetic quality of Dickinson's letters, William Shurr is the first to draw fully developed poems from them. In this remarkable volume, he presents nearly 500 new poems that he and his associates excavated from her correspondence, thereby expanding the canon of Dickinson's known poems by almost one-third and making a remarkable addition to the study of American literature. Here are new riddles and epigrams, as well as longer lyrics that have never been seen as poems before. While Shurr has reformatted passages from the letters as poetry, a practice Dickinson herself occasionally followed, no words, punctuation, or spellings have been changed. Shurr points out that these new verses have much in common with Dickinson's well-known poems: they have her typical punctuation (especially the characteristic dashes and capitalizations); they use her preferred hymn or ballad meters; and they continue her search for new and unusual rhymes. Most of all, these poems continue Dickinson's remarkable experiments in extending the boundaries of poetry and human sensibility.

    He also gave it a figure of enduring romantic allure–fiery, restless, extravagant, a prodigal gambler and inveterate seducer of women. Having forged a dazzling, controversial career that cost him the enmity of one tsar and won him the patronage of another, he died at the age of thirty-eight, following a duel with a French officer who was paying unscrupulous attention to his wife.In his magnificent, prizewinning Pushkin, T. J. Binyon lifts the veil of the iconic poet’s myth to reveal the complexity and pathos of his life while brilliantly evoking Russia in all its nineteenth-century splendor. Combining exemplary scholarship with the pace and detail of a great novel, Pushkin elevates biography to a work of art.

    News professionals are inclined to blame themselves, but the real culprit is technology and its competing demands on the public's time. The Internet is just the latest in a long series of new information technologies that have scattered the mass audience that newspapers once held. By isolating and describing the factors that made journalism work as a business in the past, Meyer provides a model that will make it work with the changing technologies of the present and future. He backs his argument with empirical evidence, supporting key points with statistical assessments of the quality and influence of the journalist's product, as well as its effects on business success.

    As she puts it: “The economic game is not supposed to be rigged like some shady ring toss on a carnival midway.” Yet it has been, allowing corporate crooks to bilk the public out of trillions of dollars, magically making our pensions and 401(k)s disappear and walking away with astronomical payouts and absurdly lavish perks-for-life.The media have put their fingers on pieces of the sordid puzzle, but Pigs at the Trough presents the whole ugly picture of what’s really going on for the first time—a blistering, wickedly witty portrait of exactly how and why the worst and the greediest are running American business and government into the ground.Tyco’s Dennis Kozlowski, Adelphia’s John Rigas, and the Three Horsemen of the Enron Apocalypse—Ken Lay, Jeff Skilling, and Andrew Fastow—are not just a few bad apples. They are manifestations of a megatrend in corporate leadership—the rise of a callous and avaricious mind-set that is wildly out of whack with the core values of the average American. WorldCom, Enron, Adelphia, Tyco, AOL, Xerox, Merrill Lynch, and the other scandals are only the tip of the tip of the corruption iceberg.Making the case that our public watchdogs have become little more than obedient lapdogs, unwilling to bite the corporate hand that feeds them, Arianna Huffington turns the spotlight on the tough reforms we must demand from Washington. We need, she argues, to go way beyond the lame Corporate Responsibility Act if we are to stop the voracious corporate predators from eating away at the very foundations of our democracy.Devastatingly funny and powerfully indicting, Pigs at the Trough is a rousing call to arms and a must-read for all those who are outraged by the scandalous state of corporate America.From the Hardcover edition.

    In May 1974, one year after Patty Hearst and her captors robbed Hibernia National Bank, a second kidnapping took place, far from the glare of the headlines. Virginia Holman's mother, in the thrall of her first psychotic episode, believed she'd been inducted into a secret army. On command of the voices in her head, she spirited her two daughters to the family cottage on the Virginia Peninsula, painted the windows black, and set up the house as a field hospital. They remained there for four years, waiting for a war that never came. At first, it was easy to explain away her mother's symptoms in the context of the changing times -- her mother was viewed as "finding herself" in the spirit of the decade. When challenged about her delusion of the secret war, she invoked the name of Martha Mitchell. When she exhibited florid psychosis, her aunt, influenced by Hollywood's smash hit movie The Exorcist, seriously suggested that an exorcism might be in order. Even after she was hospitalized and diagnosed with schizophrenia in the early 1980s, Holman's mother retained just enough lucidity to appease caseworkers in a system seemingly more concerned with protecting a patient's rights than with halting the progress of a woman's desperately dangerous illness. Rescuing Patty Hearst is an unflinching account of the dark days during which Holman's family was held hostage by her mother's delusions and the country was beset by the folly of the Watergate era. It is a startling memoir of a daughter's harrowing sojourn in the prison of her mother's mind. And, finally, it lingers as a moving portrait of a young woman defined by her mother's illness -- until at last she rekindles a family love that had lost its way.

    Combining science with a sense of adventure, she conveys the sheer excitement of her work, from riding the tail of a white whale to saving animals harmed by drift nets or toxic spills.

    Includes 200 pages of songs, incidental music and dialogue cues.

    The Little Locksmith begins in 1895 when a specialist straps five-year-old Katharine, then suffering from spinal tuberculosis, to a board with halters and pulleys in a failed attempt to prevent her being a "hunchback." Her mother says that she should be thankful that her parents are able to have her cared for by a famous surgeon; otherwise, she would grow up to be like the "little locksmith," who does jobs at their home; he has a "strange, awful peak in his back." Forced to endure "a horizontal life of night and day," Katharine remains immobile until age fifteen, only to find that she, too, has a hunched back and is "no larger than a ten-year-old child." The Little Locksmith charts Katharine's struggle to transcend physical limitations and embrace her life, her body and herself in the face of debilitating bouts of frustration and shame. Her spirit and courage prevail, and she succeeds in expanding her world far beyond the boundaries prescribed by her family and society: she attends Radcliffe College, forms deep friendships, begins to write, and in 1921, purchases a house of her own in Castine, Maine. There she creates her home, room by room, fashioning it as a space for guests, lovers, and artists. The Little Locksmith stands as a testimony to Katharine's aspirations and desires-for independence, for love, and for the pursuit of her art."We tend to forget nowadays that there is more than one variety of hero (and heroine). Katharine Butler Hathaway, who died last Christmas Eve, was the kind of heroine whose deeds are rarely chronicled. They were not spectacular and no medal would have been appropriate for her. All she did was to take a life which fate had cast in the mold of a frightful tragedy and redesign it into a quiet, modest work of art. The life was her own.

    In addition to the novels and memoirs for which she is best remembered, she was also a tireless literary and social critic. Starting out as a theater reviewer for "Partisan Review" in 1937, she quickly distinguished herself for her witty and fearless commentary on topics ranging from McCarthyism to the French New Novel to women's fashion magazines. McCarthy was an eager controversialist, unsparing in her dissection of anything she found phony or hypocritical. Her reviews are sharp, sometimes malicious, and often very funny, but her criticism is also informed by deep erudition and enlivened by an inexhaustible capacity for enthusiasm. Her political writings, critical in equal measure of the Cold War consensus and of its critics, are less concerned with finding correct positions than with exploring the often absurd circumstances in which agonizing moral decisions are made. While the soundness of McCarthy's judgments can sometimes be doubted, her curiosity and intelligence cannot. The intellectual brio and acute judgment that characterizes her best fiction is vividly displayed in this selection of essays, which span McCarthy's career from the late 1930s to the late 1970s. It includes her writings on topics such as fashion magazines, Eugene O'Neill, "A Streetcar Named Desire," "Look Back in Anger," "Pale Fire," J.D. Salinger, Madame Bovary, Italo Calvino, and Watergate. The volume constitutes not only a valuable record of the ideological and cultural controversies that dominated American intellectual life from the Moscow trials to the Watergate hearings, but will also introduce a new generation of readers to a uniquelyforthright and vibrant critical voice.

    At its core are the candid assessments of former Secretary of the Treasury Paul O'Neill, the only member of Bush's cabinet to leave and speak frankly about how and why the administration has come to its core policies and decisions -- from cutting taxes for the rich to conducting preemptive war.O'Neill's account is supported by Pulitzer Prize-winning journalist Ron Suskind's interviews with numerous participants in the administration, by transcripts of meetings, and by voluminous documents. The result is a disclosure of breadth and depth unparalleled for an ongoing presidency. As readers are taken to the very epicenter of government, Suskind presents an astonishing picture of a president so carefully managed in his public posture that he is a mystery to most Americans. Now, he is revealed.