Tender and joyous, it is a celebration of art's power to transform the darkest of human experience and give voice to the grandest of human hopes.

    The infectious excitement in his voice, his boyish love of the game, and his uncanny ability to anticipate the play have earned him the affection of generations of fans, induction into the Hall of Fame, and the unofficial title of best hockey broadcaster ever.Now, for the first time, readers will see Cole at the centre of the story rather than watching it from the broadcast booth. We meet the young man growing up in Newfoundland in the years before it joins Canada. We see him talk his way into Foster Hewitt's office and into his first job. And of course we see some of the most cherished players in the game backstage: on the plane back from Russia in 1972, rubbing elbows with Bobby Orr; in the hallway on the old Montreal Forum, running into Jean Beliveau; meeting young players like Steve Stamkos, who grew up listening to him on Hockey Night in Canada.Written with the expert help of massively bestselling author and respected broadcaster Stephen Brunt, these stories come to life with the charm and detail of a conversation with Cole. They sound like Cole.No one has been closer to the game over the years than Cole, and no one is more closely associated with all we love about the game than the man whose eyes we've seen it though. Now we will see so much more through those same eyes and in that unforgettable voice.

    

    David Hockney has worked in almost every medium - painting, drawing, stage design, photography and printmaking. He has undertaken an ambitious experiment with ways of seeing and ways of representing sight - ranging from his paintings, with their challenges to perspective and brilliant colours, to his vivid multi-dimensional photo-collages and his fax art, computer printings and coloured laser prints.

    It covered jazz, of course, but it also included Davis’s ruminations on race, politics and culture. Fascinated, Hef sent the writer—future Pulitzer-Prize-winning author Alex Haley, an unknown at the time—back to glean even more opinion and insight from Davis. The resulting exchange, published in the September 1962 issue, became the first official Playboy Interview and kicked off a remarkable run of public inquisition that continues today—and that has featured just about every cultural titan of the last half century.To celebrate the Interview’s 50th anniversary, the editors of Playboy have culled 50 of its most (in)famous Interviews and will publish them over the course of 50 weekdays (from September 4, 2012 to November 12, 2012) via Amazon’s Kindle Direct platform. Here is the interview with the novelist and philosopher Ayn Rand from the March 1964 issue.

    It reproduces extensive extracts from his correspondence and is illustrated with his paintings, drawings and facsimile letters. Van Gogh's letters are a testimony to his struggle to survive and work. Here, the combination of letters and illustrations, concentrating on the period when he painted his greatest works, aims to provide an insight into his daily life in Arles and St-Remy, his spiritual torment and the process of artistic creation itself. The author is an "Observer" journalist specializing in the arts, and has published four previous books, including "Young Vincent: The Story of Van Gogh's Years in England".

    Sometimes wacky, sometimes profound, the title is always entertaining, with the odd bit of sleaze.

    In an era of cultural civil war, the Clinton administration fed the public an almost daily diet of scandal and misfortune.Who is Bill Clinton, though, and how did this baby-boom saga begin? Clinton’s upbringing in Arkansas and his student years at Georgetown, Oxford, and Yale universities help us to see his life not only as a personal story but as the story of modern America. Behind the closed doors of the house on the hill above Park Avenue in Hot Springs, the struggle between Clinton’s stepfather and mother became ultimately unbearable, causing Virginia to move out and divorce Roger Clinton. Dreading confrontation, Bill Clinton excelled in almost every field save athletics. But the fabled success of the scholarship boy would be marred by the decisions he came to make regarding Vietnam and military service—choices that haunt him to this day.We watch with a mixture of alarm, fascination, and awe as Bill Clinton does so much that is right—and so much that is wrong. He sets his cap for the star student at Yale, young Hillary Rodham, seducing her with his dreams of a better America and an aw-shucks grin. Wherever he goes, he charms and disarms—young and old, men and women...and more women. He becomes a law professor straight out of college; he contests a congressional election in his twenties—and almost wins it. He becomes attorney general of his state and within two years is set to become the youngest-ever governor of Arkansas, at only thirty-two.Yet, always, there is a curse, a drive toward personal self-destruction—and with that the destruction of all those who are helping him on his legendary path. His affair with Gennifer Flowers strains his marriage and later nearly scuttles his bid for the presidency. He is thrown out of the governor’s office after only one term and suffers a life-shaking crisis of confidence. Though with the stalwart help of a female chief of staff he regains his crown, it is clear that Bill Clinton’s charismatic career is a ceaseless tightrope walk above the forces that threaten to pull him down—the most potent of them residing in his own being.Imbued with sympathy, deep intelligence, and the storyteller’s art, this extraordinary biography helps us, at last, to understand the real Bill Clinton as he stumbles and withdraws from the 1988 presidential nomination race but enters it four years later, to make one of the most astonishing bids for the presidency in the twentieth century: the climax of this gripping political, social, and scandalous journey.From the Hardcover edition.

    Even today remembered primarily as the mentor and lover of Robert Mapplethorpe, the once infamous photographer, Wagstaff, in fact, had an incalculable—and largely overlooked—influence on the world of contemporary art and photography, and on the evolution of gay identity in the latter part of the twentieth century.  Born in New York City in 1921 into a notable family, Wagstaff followed an arc that was typical of a young man of his class. He attended both Hotchkiss and Yale, served in the navy, and would follow in step with his Ivy League classmates to the "gentleman's profession," as an ad executive on Madison Avenue. With his unmistakably good looks, he projected an aura of glamour and was cited by newspapers as one of the most eligible bachelors of the late 1940s. Such accounts proved deceiving, for Wagstaff was forced to live in the closet, his homosexuality only revealed to a small circle of friends. Increasingly uncomfortable with his career and this double life, he abandoned advertising, turned to the formal study of art history, and embarked on a radical personal transformation that was in perfect harmony with the tumultuous social, cultural, and sexual upheavals of the 1960s.Accordingly, Wagstaff became a curator, in 1961, at Hartford's Wadsworth Atheneum, where he mounted both "Black, White, and Gray"—the first museum show of minimal art—and the sculptor Tony Smith's first museum show, while lending his early support to artists Andy Warhol, Ray Johnson, and Richard Tuttle, among many others. Later, as a curator at the Detroit Institute of Arts, he brought the avant-garde to a regional museum, offending its more staid trustees in the process.After returning to New York City in 1972, the fifty-year-old Wagstaff met the twenty-five-year-old Queens-born Robert Mapplethorpe, then living with Patti Smith. What at first appeared to be a sexual dalliance became their now historic lifelong romance, in which Mapplethorpe would foster Wagstaff's own burgeoning interest in contemporary photography and Wagstaff would help secure Mapplethorpe's reputation in the art world. In spite of their profound class differences, the artistic union between the philanthropically inclined Wagstaff and the prodigiously talented Mapplethorpe would rival that of Stieglitz and O’Keefe, or Rivera and Kahlo, in their ability to help reshape contemporary art history.Positioning Wagstaff's personal life against the rise of photography as a major art form and the simultaneous formation of the gay rights movement, Philip Gefter's absorbing biography provides a searing portrait of New York just before and during the age of AIDS. The result is a definitive and memorable portrait of a man and an era.

     For the next four months he spent his life on the frontline, witnessing and recording what the American men were doing, saying and thinking in the fight against the communist forces of Northern Vietnam. Tregaskis exposes the confusion of the conflict as he climbs on board Marine and Army helicopters and goes on missions to search out their deadly foes that seem to disappear into the jungle as soon as they are seen. Vietnam Diary is a remarkable book that takes the reader to the heart of what it was like to be fighting in this vicious war. Through the course of the book Tregaskis develops deep friendships with many of the troops who begin to open up to him and explain their experiences that they have been through since the beginning of the war. “He discusses in typical Tregaskis style his observations and experiences during the time he spent with the Marine and Army helicopter units, the Special Forces, the MAAG personnel, and the Junk fleet.” R. C. Rosacker, Lieutenant Colonel, U. S. Marine Corps, Naval War College Review Tregaskis won the George Polk Award for first-person reporting under hazardous conditions shortly after publishing Vietname Diary. This book is essential reading for anyone interested in the Vietnam War as well as the lives of the soldiers who fought within it. Richard Tregaskis was an American journalist and author who served as a war correspondent during World War Two, the Korean War, and the Vietnam War. He was no stranger to danger as he frequently put himself in the firing line to report and during the Second World War while in Italy a shell fragment pierced his helmet and his skull and nearly killed him. His book Vietnam Diary was first published in 1963 and he passed away in Hawaii in 1973.

    This one-of-a-kind anthology captures the spine tingling adventures of daring men and women who venture into Alaska's vast wilderness and look death in the eye. Danger Stalks the Land relates gripping episodes of animal attacks, avalanches, aircraft disasters, fishing, hunting, and skiing accidents, and chronicles risky climbs and reckless mountaineering amid Alaska's fantastic peaks. Through exhaustive research and interviews, author Larry Kaniut has captured in one volume, the terror and beauty of man's attempt to explore a vast and unforgiving land.

    Written at the height of the Cold War and in the wake of America's greatest experiment with big government, the New Deal, Goldwater's message was not only remarkable, but radical. He argued for the value and importance of conservative principles--freedom, foremost among them--in contemporary political life. Using the principles he espoused in this concise but powerful book, Goldwater fundamentally altered the political landscape of his day--and ours.

    Should we care? In this well-argued book, Romila Thapar and others tell us why we should. Thapar begins by defining the critical role that such individuals play in our societies today. Collectively, they are the objective, fearless, constructive voice that asks the awkward questions when government, industry, religious leaders and other bulwarks of society stray from their roles of ensuring the proper functioning of a country whose hallmarks are (or should be) social and economic equality, justice for all, and the liberty to say, think and profess the fundamental requirements of good citizenship. Through the lens of history, philosophy, science, and politics, she shows us the key role enlightened thinkers and activists have played in India, Europe and elsewhere. Today, as the liberal space in India is threatened by religious fundamentalism, big business, and, worryingly, a government that appears to be tacitly (and sometimes overtly) encouraging the attack on freedom of expression, secular values and rational readings of history, there could be no book as timely as this one. With contributions from writers and scholars in the fields of philosophy, science, history, journalism and social activism, The Public Intellectual in India shows us why it is important to have independent voices to protect the underprivileged, ensure human rights and social justice, and watch over the smooth functioning of our liberal, secular democracy.

    Rothko’s other written works have yet to be brought together into a major publication. Writings on Art fills this significant void; it includes some 90 documents—including short essays, letters, statements, and lectures—written by Rothko over the course of his career. The texts are fully annotated, and a chronology of the artist’s life and work is also included. This provocative compilation of both published and unpublished writings from 1934--69 reveals a number of things about Rothko: the importance of writing for an artist who many believed had renounced the written word; the meaning of transmission and transition that he experienced as an art teacher at the Brooklyn Jewish Center Academy; his deep concern for meditation and spirituality; and his private relationships with contemporary artists (including Newman, Motherwell, and Clyfford Still) as well as journalists and curators. As was revealed in Rothko’s The Artist’s Reality, what emerges from this collection is a more detailed picture of a sophisticated, deeply knowledgeable, and philosophical artist who was also a passionate and articulate writer.

    The young artist asked a selection of his heroes, Is it possible to maintain one's integrity and freedom of thought and still participate in the art world? Responding artists--including Gregory Amenoff, Jo Baer, John Baldessari, Jimmie Durham, Joan Jonas, Adrian Piper, William Pope Lawrence Weiner and Richard Tuttle wrote back with advice (Gregory Amenoff: Keep away from art fairs.); encouragement (Joan Jonas: The answer is the Work. To Work. To care about the Work.); and cautionary tales (Adrian Piper: Young artist, it is highly unlikely that you will be rewarded professionally for reaching this point. Nor will it make you popular. On the contrary: you will develop a reputation for being 'difficult, ' 'uncooperative, ' 'inflexible, ' or even 'self-destructive;' and treated [or mistreated, or ostracized, or blacklisted] accordingly.). Twelve of these letters were originally published in Art on Paper. This book expands considerably upon that proje