Spanning a period of forty years, David Lynch's widely respected films and television series include "Eraserhead, The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway," and "Mulholland Drive," However, his prolific visual art production, which began even before his films, has rarely been seen. This catalogue of his artistic output, published on the occasion of a large-scale exhibition at the Fondation Cartier in Paris, covers a wide variety of disciplines: painting, photography, drawings, sculpture, furniture, music, and "moving pictures." His art echoes his films in theme and aesthetic, yet offers viewers a fresh and more intimate glimpse into his singular universe. The book also contains several essays that analyze his artworks, as well as a conversation with Lynch, interviewed within the context of the show. 469 illustrations in color.

    From the Twin Bing to the Idaho Spud, the Valomilk to the Abba-Zaba, and discontinued bars such as the Caravelle, Marathon, and Choco-Lite, Almond uncovers a trove of singular candy bars made by unsung heroes working in old-fashioned factories to produce something they love. And in true candyfreak fashion, Almond lusciously describes the rich tastes that he has loved since childhood and continues to crave today. Steve Almond has written a comic but ultimately bittersweet story of how he grew up on candy-and how, for better and worse, the candy industry has grown up, too. Candyfreak is the delicious story of one man's lifelong obsession with candy and his quest to discover its origins in America.

    When she was fourteen years old, Maud wrote in her journal, "I love books. I hope when I grow up to be able to have lots of them." Not only did Maud grow up to own lots of books, she wrote twenty-four of them herself as L. M. Montgomery, the world-renowned author of Anne of Green Gables. For many years, not a great deal was known about Maud’s personal life. Her childhood was spent with strict, undemonstrative grandparents, and her reflections on writing, her lifelong struggles with anxiety and depression, her "year of mad passion," and her difficult married life remained locked away, buried deep within her unpublished personal journals. Through this revealing and deeply moving biography, kindred spirits of all ages who, like Maud, never gave up "the substance of things hoped for" will be captivated anew by the words of this remarkable woman.

    But as Karina Longworth reminds us, long before the Harvey Weinsteins there was Howard Hughes—the Texas millionaire, pilot, and filmmaker whose reputation as a cinematic provocateur was matched only by that as a prolific womanizer.His supposed conquests between his first divorce in the late 1920s and his marriage to actress Jean Peters in 1957 included many of Hollywood’s most famous actresses, among them Billie Dove, Katharine Hepburn, Ava Gardner, and Lana Turner. From promoting bombshells like Jean Harlow and Jane Russell to his contentious battles with the censors, Hughes—perhaps more than any other filmmaker of his era—commoditized male desire as he objectified and sexualized women. Yet there were also numerous women pulled into Hughes’s grasp who never made it to the screen, sometimes virtually imprisoned by an increasingly paranoid and disturbed Hughes, who retained multitudes of private investigators, security personnel, and informers to make certain these actresses would not escape his clutches.Vivid, perceptive, timely, and ridiculously entertaining, Seduction is a landmark work that examines women, sex, and male power in Hollywood during its golden age—a legacy that endures nearly a century later.

    A person's clothing, whether it's a sari, kimono, or business suit, is an essential key to his or her culture, class, personality, or even religion. The Kyoto Costume Institute recognizes the importance of understanding clothing sociologically, historically, and artistically. Founded in 1978, the KCI holds one of the world's most extensive clothing collections and has curated many exhibitions worldwide. With an emphasis on Western women's clothing, the KCI has amassed a wide range of historical garments, underwear, shoes, and fashion accessories dating from the 18th century to the present day. Showcasing a vast selection of skilled photographs from the Institute's archives, depicting the clothing expertly displayed and arranged on custom-made mannequins, Fashion is a fascinating excursion through the last three centuries of clothing trends.From a rare treasure such as a 17th century iron corset with embroidered bodice to modern-day outfits by such designers as Yves Saint Laurent and Calvin Klein, the collection provides an extensive overview of the evolution of women's fashion. The KCI believes that "clothing is an essential manifestation of our very being" and their passion and dedication positively radiate from every page of this book. It offers an opportunity to see how our ancestors dressed, to consider the amazing accomplishments of contemporary fashion, and to imagine how our descendants may dress in the distant future as clothing design continues on its tireless evolutionary path.

    This giant tome provides a timely look at the fascinating women who created and inhabit the SG community. With an introduction by SG founder, Missy Suicide and images of hundreds of SuicideGirls world-wide, this title shines a light on a new female aesthetic - a look reminiscent of vintage Betty Page and Bunny Yeager photos, but with a decisively 21st century edge. "There's no other place in the media to see girls (like these) who are tremendously smart and beautiful in their own way" says Missy, "Everywhere you look you just see the super-thin, super-tall, bleach blonde Baywatch babe. There are a lot of people out there who want to see a different kind of beauty."

      We swim in freezing Arctic waters and piranha-infested rivers to test our limits. We swim for pleasure, for exercise, for healing. But humans, unlike other animals that are drawn to water, are not natural-born swimmers. We must be taught. Our evolutionary ancestors learned for survival; now, in the twenty-first century, swimming is one of the most popular activities in the world.Why We Swim is propelled by stories of Olympic champions, a Baghdad swim club that meets in Saddam Hussein’s palace pool, modern-day Japanese samurai swimmers, and even an Icelandic fisherman who improbably survives a wintry six-hour swim after a shipwreck. New York Times contributor Bonnie Tsui, a swimmer herself, dives into the deep, from the San Francisco Bay to the South China Sea, investigating what about water—despite its dangers—seduces us and why we come back to it again and again.

    Jensen--you just never knew it. As the owner of the world's largest disaster management company, he has spent most of his adult life responding to tragedy. From the Oklahoma City bombing, 9/11, the Bali bombings, the 2004 South Asian Tsunami, Hurricane Katrina to the 2010 Haitian Earthquake and the Grenfell Tower Fire, Jensen is at the practical level of international incidents, assisting with the recovery of bodies, identifying victims, and repatriating and returning their personal effects to the surviving family members. He is also, crucially, involved in the emotional recovery that comes after a disaster: helping guide the families, governments, and companies involved, telling them what to expect and managing the unmanageable. As he puts it, "If journalists write the first rough draft of history, I put the punctuation on the past."Personal Effects is an unsparing, up-close look at the difficult work Jensen does behind the yellow tape and the lessons he learned there. The chronicle of an almost impossible and grim job, Personal Effects also tells Jensen's own story, how he came to this line of work, how he manages the chaos that is his life, and the personal toll the repeated exposure to mass death brings, in becoming what GQ called "the best at the worst job in the world."A rare glimpse into a world we all see but many know nothing about, Personal Effects is an inspiring and heartwarming story of survival and the importance of moving forward. Jensen allows his readers to see over his shoulder as he responds to disaster sites, uncovers the deceased, and cares for families to show how a strong will and desire to do good can become a path through the worst the world can throw at us.

    Trump, journalist Seyward Darby went looking for the women of the so-called alt-right--really just white nationalism with a new label. The mainstream media depicted the alt-right as a bastion of angry white men, but was it? As women headlined resistance to the Trump administration's bigotry and sexism, most notably at the women's marches, Darby wanted to know why others were joining a movement espousing racism and anti-feminism. Who were these women, and what did their activism reveal about America's past, present, and future? Darby researched dozens of women across the country before settling on three: Corinna Olsen, Ayla Stewart, and Lana Lokteff. Each was born in 1979 and became a white nationalist in the post-9/11 era. Their respective stories of radicalization upend much of what we assume about women, politics, and political extremism.

    Buzz had thought that he would only need to sacrifice one weekend a month and two weeks a year for training to earn the money that would help pay for his college tuition. He had no idea that even the newest reservists could find themselves on the battlefield in a matter of weeks. "Spare Parts recounts Williams's harrowing deployment to the Persian Gulf after only four weeks of combat training. Enduring both the condescension of full-time Marines and the danger of his limited preparation, he manages to form a core group that struggles to gain respect from a military machine that views them as mere "spare parts." In gripping, you-are-there detail, "Spare Parts articulates the grueling physical and emotional trials that Williams and his comrades must face on the killing fields of Kuwait--where some of the woefully underprepared men are able to rise to the challenge and others are broken by the horrors of battle. A compelling portrait of the more than 1.2 million reservists who stand ready to leave civilian life to defend our nation at a moment's notice, "Spare Parts adds a moving new perspective to the literature of war.

    Eve Babitz was the ultimate factory girl, a pure product of LA.The goddaughter of Igor Stravinsky and a graduate of Hollywood High, Babitz posed in 1963, at age twenty, playing chess with the French artist Marcel Duchamp. She was naked; he was not. The photograph, cheesecake with a Dadaist twist, made her an instant icon of art and sex. Babitz spent the rest of the decade rocking and rolling on the Sunset Strip, honing her notoriety. There were the album covers she designed: for Buffalo Springfield and the Byrds, to name but a few. There were the men she seduced: Jim Morrison, Ed Ruscha, Harrison Ford, to name but a very few.Then, at nearly thirty, her It girl days numbered, Babitz was discovered—as a writer—by Joan Didion. She would go on to produce seven books, usually billed as novels or short story collections, always autobiographies and confessionals. Under-known and under-read during her career, she’s since experienced a breakthrough. Now in her mid-seventies, she’s on the cusp of literary stardom and recognition as an essential—as the essential—LA writer. Her prose achieves that American ideal: art that stays loose, maintains its cool, and is so sheerly enjoyable as to be mistaken for simple entertainment.For Babitz, life was slow days, fast company until a freak fire in the 90s turned her into a recluse, living in a condo in West Hollywood, where Lili Anolik tracked her down in 2012. Anolik’s elegant and provocative new book is equal parts biography and detective story. It is also on dangerously intimate terms with its subject: artist, writer, muse, and one-woman zeitgeist, Eve Babitz.

    When her 17-year-old boyfriend, Kevin O'Brien, gives her a diamond ring the summer before her senior year, she feels as if her life is perfect. But her pregnancy changes everything. Kevin's parents don't want him to start a family at such a young age, and Mrs. O'Brien tells Judith to get an abortion. As a Catholic and an adopted child, Judith must look within her own heart and decide what to do. This beautifully written coming-of-age story will appeal to students of women's studies as well as teenagers and their parents and grandparents."Believe in Me is the honest and courageous story of 16-year-old Judith's transformation into a responsible young woman. Highly recommended reading for teens, parents, and educators."--Joyce Allan, R.N., author of Because I Love YouReviewDickerman-Nelson takes the reader along with her 16-year-old self on the roller coaster of joy, confusion, pain, rejection and hope she rode during her senior year of high school. Although the book is a story about teen pregnancy, it touches on many themes and situations to which a wide audience can relate, including adoption, adolescence, young love and the conflict between maturing teens and their parents, and within the teens themselves. --The Lowell Sun About the AuthorJudith Dickerman-Nelson became a mother at age 17. She later earned her B.A. in English from the University of Massachusetts in Lowell and her MFA from Emerson College. For 15 years, she worked with young parents at the Cambodian Mutual Assistance Association in Lowell, Mass. A poet and educator, she lives in Townshend, Vermont, with her husband, Bill.

    How it came about. How it ended. The compromises that were made. The regrets, the rows, the deeply inappropriate comedy.Making news is an essential but imperfect art, and it rarely goes according to plan.I never expected to find myself wandering around the Maharani of Jaipur's bedroom with Bill Clinton or invited to the Miss USA beauty pageant by its owner, Donald Trump. I never expected to be thrown into a provincial Cuban jail, or to be drinking red wine at Steve Bannon's kitchen table or spend three hours in a lift with Alan Partridge.I certainly didn't expect the Dalai Lama to tell me the story of his most memorable poo.The beauty of television is its ability to simplify, but that's also its weakness: it can distil everything down to one snapshot, one soundbite. Then the news cycle moves on.

    The repercussions of what went down politically both in the USAand UK back then are still very much felt today.”—Kosmo Vinyl, former manager of The Clash“The Clash are remembered as much for their blistering music as their gritty yet hopeful message to listeners worldwide. In this first serious look at The Clash’s music and meaning, post–commercial success, the authors mix thoughtful reflection with grassroots political analysis in an effort to inspire a new generation of music fans and activists to Cut the Crap.”—Craig O’Hara, author of The Philosophy of Punk: More than Noise! The Clash was an incendiary paradox of revolutionary conviction, musical ambition, and commercial drive. We Are The Clash is a gripping tale of how the band—fractured by its Top 10 success—fought to reinvent and purify itself as George Orwell’s 1984 loomed. This extraordinary effort crashed headlong into a wall of internal contradictions, personal tragedy, and rising rightwing power as personified by Ronald Reagan and Margaret Thatcher.While the world teetered on the nuclear abyss, British miners waged a life-or-death strike, and tens of thousands died from US guns in Central America, Clash cofounders Joe Strummer and Paul Simonon set out to rebuild the band after ejecting guitarist Mick Jones and drummer Topper Headon. Bolstered by coconspirators Bernard Rhodes and Kosmo Vinyl, and three twentysomething recruits—drummer Peter Howard and guitarists Nick Sheppard and Vince White—The Clash launched a desperate last stand, shattering the band just as its controversial final album, Cut the Crap, was emerging.Authors Andersen and Heibutzki weave together extensive archival research and in-depth original interviews with virtually all of the key players involved to tell a moving story of idealism undone by human frailty amid a climatic turning point for our world.

    Here, Mary Street Alinder--who collaborated with Adams on his memoir and was his assistant in later life--is not reticent about the major emotional episodes in Adams's life, including his marriage and extramarital affairs, and his not-altogether-successful fatherhood. She explores the major artistic influences on his work and gives in-depth profiles of the significant figures in his circle. She also explains the technique and style Adams developed to obtain his unique vision, as well as his uneasiness at becoming a commodity. Ansel Adams: A Biography is an intimate and provocative portrait of the world's most famous photographer.