"Douglas Brinkley brings to this magnificent story of Theodore Roosevelt's crusade on behalf of America's national parks the same qualities that made TR so fascinating a figure—an astonishing range of knowledge, a superb narrative skill, a wonderfully vivid writing style and an inexhaustible energy." —Doris Kearns Goodwin, author of Team of RivalsA vast, inspiring, and enormously entertaining book.” — New York Times Book ReviewFrom New York Times bestselling historian Douglas Brinkley comes a sweeping historical narrative and eye-opening look at the pioneering environmental policies of President Theodore Roosevelt, avid bird-watcher, naturalist, and the founding father of America’s conservation movement—now approaching its 100th anniversary.

    Brazen drug use. Fantastical costumes. Celebrities. Wannabes. Gender-bending club kids. Pulse-pounding beats. Sinful orgies. Botched police raids. Depraved criminals. Murder. Welcome to the decadent nineties club scene. In 1995, journalist Frank Owen began researching a story on Special K, a designer drug that fueled the after-midnight club scene.  He went to buy and sample the drug at the internationally notorious Limelight, a crumbling church converted into a Manhattan disco, where mesmerizing music, ecstatic dancers, and uninhibited sideshows attracted long lines of hopeful onlookers.  Owen discovered a world where reckless hedonism was elevated to an art form, and where the ever-accelerating party finally spun out of control in the hands of notorious club owner Peter Gatien and his minions. In Clubland, Owen reveals how a lethal drug ring operated in a lawless, black-lit realm of fantasy, and how, when the lights came up, their excesses left countless victims in their wake.  Praised for his risk-taking and exhilarating writing style, Frank Owen has spawned a hybrid of literary nonfiction and true crime, capturing the zeitgeist of a world that emerged in the spirit of “peace, love, unity and respect,” and ended in tragedy.

     We meet the people who most influenced Goodwin’s early life: her mother, who taught her the joy of books but whose debilitating illness left her housebound: and her father, who taught her the joy of baseball and to root for the Dodgers of Jackie Robinson, Roy Campanella, Pee Wee Reese, Duke Snider, and Gil Hodges. Most important, Goodwin describes with eloquence how the Dodgers’ leaving Brooklyn in 1957, and the death of her mother soon after, marked both the end of an era and, for her, the end of childhood.

    There was nothing surprising about men turning up dead in the Second City. Life was cheaper than a quart of illicit gin in the gangland capital of the world. But two murders that spring were special - worthy of celebration. So believed Maurine Watkins, a wanna-be playwright and a "girl reporter" for the Chicago Tribune, the city's "hanging paper." Newspaperwomen were supposed to write about clubs, cooking and clothes, but the intrepid Miss Watkins, a minister's daughter from a small town, zeroed in on murderers instead. Looking for subjects to turn into a play, she would make "Stylish Belva" Gaertner and "Beautiful Beulah" Annan - both of whom had brazenly shot down their lovers - the talk of the town. Love-struck men sent flowers to the jail and newly emancipated women sent impassioned letters to the newspapers. Soon more than a dozen women preened and strutted on "Murderesses' Row" as they awaited trial, desperate for the same attention that was being lavished on Maurine Watkins's favorites. In the tradition of Erik Larson's The Devil in the White City and Karen Abbott's Sin in the Second City, Douglas Perry vividly captures Jazz Age Chicago and the sensationalized circus atmosphere that gave rise to the concept of the celebrity criminal. Fueled by rich period detail and enlivened by a cast of characters who seemed destined for the stage, The Girls of Murder City is crackling social history that simultaneously presents the freewheeling spirit of the age and its sober repercussions.

    Lesy has collected and arranged photographs taken between 1890 and 1910 by a Black River Falls photographer, Charles Van Schaik.

    The guitarist and de facto leader of the Grateful Dead was a gregarious talker, keenly engaged with the new world exploding around him. In 1972, Garcia was visited by Charles Reich, a Yale law professor, and Jann Wenner, the founder of Rolling Stone. Garcia was just thirty-one years old but already viewed--to his lasting dismay--as a social avatar for the new sensibility sweeping the land, an anarchist streak with a populist undercurrent that had roots in Ken Kesey's pranksters, the writers of the Beat Generation, and the libertine tradition of the American transcendentalists. In this interview, Garcia reveals how he is a combination of these and other influences, a high-school dropout and autodidact blessed with a gift for eloquent turns of phrase and a refreshing directness. He speaks of the saga of the Grateful Dead and his hoodlum youth growing up in San Francisco's Mission district. He delves into fascinating discourses on the music that shaped his own playing and writing, and freely discusses his use of drugs and explains why he felt it was important to stay high. Like the Grateful Dead's best music, Garcia: A Signpost to New Space is familiar, friendly, and inviting.

    A biography of a pioneer in country rock discusses Parson's privileged childhood, fame, friendship with Keith Richards and Mick Jagger, drug problem, and mysterious death.

    It was long ago, but not as long as it seems: The Berlin Wall fell and the Twin Towers collapsed. In between, one presidential election was allegedly decided by Ross Perot while another was plausibly decided by Ralph Nader. In the beginning, almost every name and address was listed in a phone book, and everyone answered their landlines because you didn't know who it was. By the end, exposing someone's address was an act of emotional violence, and nobody picked up their new cell phone if they didn't know who it was. The '90s brought about a revolution in the human condition we're still groping to understand. Happily, Chuck Klosterman is more than up to the job. Beyond epiphenomena like Cop Killer and Titanic and Zima, there were wholesale shifts in how society was perceived: the rise of the internet, pre-9/11 politics, and the paradoxical belief that nothing was more humiliating than trying too hard. Pop culture accelerated without the aid of a machine that remembered everything, generating an odd comfort in never being certain about anything. On a '90s Thursday night, more people watched any random episode of Seinfeld than the finale of Game of Thrones. But nobody thought that was important; if you missed it, you simply missed it. It was the last era that held to the idea of a true, hegemonic mainstream before it all began to fracture, whether you found a home in it or defined yourself against it. In The Nineties, Chuck Klosterman makes a home in all of it: the film, the music, the sports, the TV, the politics, the changes regarding race and class and sexuality, the yin/yang of Oprah and Alan Greenspan. In perhaps no other book ever written would a sentence like, "The video for 'Smells Like Teen Spirit' was not more consequential than the reunification of Germany" make complete sense. Chuck Klosterman has written a multi-dimensional masterpiece, a work of synthesis so smart and delightful that future historians might well refer to this entire period as Klostermanian.

    Once there, the police discovered six members of the DeFeo family -- father, mother and four of their five children -- shot and killed execution style. The surviving son, Ronald "Butch" DeFeo Jr., was eventually charged and tried for the murder of his family and now is serving six concurrent life sentences. Some said a strong supernatural force in the DeFeo home drove Butch DeFeo to kill his family, while others claimed Butch DeFeo killed to receive an inheritance. The Night the DeFeos Died offers the true story behind this tragedy and exposes Butch DeFeo did not act alone in the commission of this crime. It also shows that the supernatural stories created about the famed Amityville house were nothing, but a ruse concocted for Butch DeFeo's defense that later grew into a cottage industry. The whole truth regarding the story has never been revealed, until the publication of Ric Osuna's book. From mob involvement to a corrupt judicial system, The Night the DeFeos Died reveals the full details of the DeFeo murders, including how they were a culmination of substance abuse and domestic violence.

    Croswell as they gathered to sort out a bloody war of succession.For years, FBI director J. Edgar Hoover had adamantly denied the existence of the Mafia, but young Robert Kennedy immediately recognized the shattering importance of the Appalachian summit. As attorney general when his brother JFK became president, Bobby embarked on a campaign to break the spine of the mob, engaging in a furious turf battle with the powerful Hoover.Detailing mob killings, the early days of the heroin trade, and the crusade to loosen the hold of organized crime, fans of Gus Russo and Luc Sante will find themselves captured by this momentous story. Reavill scintillatingly recounts the beginning of the end for the Mafia in America and how it began with a good man in the right place at the right time.

    Empty Mansions is a rich mystery of wealth and loss, connecting the Gilded Age opulence of the nineteenth century with a twenty-first-century battle over a $300 million inheritance. At its heart is a reclusive heiress named Huguette Clark, a woman so secretive that, at the time of her death at age 104, no new photograph of her had been seen in decades. Though she owned palatial homes in California, New York, and Connecticut, why had she lived for twenty years in a simple hospital room, despite being in excellent health? Why were her valuables being sold off? Was she in control of her fortune, or controlled by those managing her money?   Dedman has collaborated with Huguette Clark’s cousin, Paul Clark Newell, Jr., one of the few relatives to have frequent conversations with her. Dedman and Newell tell a fairy tale in reverse: the bright, talented daughter, born into a family of extreme wealth and privilege, who secrets herself away from the outside world.   Huguette was the daughter of self-made copper industrialist W. A. Clark, nearly as rich as Rockefeller in his day, a controversial senator, railroad builder, and founder of Las Vegas. She grew up in the largest house in New York City, a remarkable dwelling with 121 rooms for a family of four. She owned paintings by Degas and Renoir, a world-renowned Stradivarius violin, a vast collection of antique dolls. But wanting more than treasures, she devoted her wealth to buying gifts for friends and strangers alike, to quietly pursuing her own work as an artist, and to guarding the privacy she valued above all else.   The Clark family story spans nearly all of American history in three generations, from a log cabin in Pennsylvania to mining camps in the Montana gold rush, from backdoor politics in Washington to a distress call from an elegant Fifth Avenue apartment. The same Huguette who was touched by the terror attacks of 9/11 held a ticket nine decades earlier for a first-class stateroom on the second voyage of the Titanic. Empty Mansions reveals a complex portrait of the mysterious Huguette and her intimate circle. We meet her extravagant father, her publicity-shy mother, her star-crossed sister, her French boyfriend, her nurse who received more than $30 million in gifts, and the relatives fighting to inherit Huguette’s copper fortune. Richly illustrated with more than seventy photographs, Empty Mansions is an enthralling story of an eccentric of the highest order, a last jewel of the Gilded Age who lived life on her own terms.The No. 1 New York Times bestseller. Best nonfiction books of the year at Goodreads, Amazon.com, and Barnes & Noble. One of the New York Times critic Janet Maslin's 10 favorite books of 2013.

     Much has been written about the storied New Hollywood of the 1970s, but at the same time as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film-aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, The New York Times's critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age. By the late 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how the much-disparaged horror film became an ambitious art form while also conquering the multiplex. Directors such as Wes Craven, Roman Polanski, John Carpenter, and Brian De Palma- counterculture types operating largely outside the confines of Hollywood-revolutionized the genre, exploding taboos and bringing a gritty aesthetic, confrontational style, and political edge to horror. Zinoman recounts how these directors produced such classics as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre, and Halloween, creating a template for horror that has been imitated relentlessly but whose originality has rarely been matched. This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killers, the dark side of suburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which were often directed by obsessive and insecure young men working on shoestring budgets, were funded by sketchy investors, and starred porn stars. But once The Exorcist became the highest grossing film in America, Hollywood took notice. The classic horror films of the 1970s have now spawned a billion-dollar industry, but they have also penetrated deep into the American consciousness. Quite literally, Zinoman reveals, these movies have taught us what to be afraid of. Drawing on interviews with hundreds of the most important artists in horror, Shock Value is an enthralling and personality-driven account of an overlooked but hugely influential golden age in American film.

    Jay Stevens uses the "curious molecule" known as LSD as a kind of tracer bullet, illuminating one of postwar America's most improbable shadow-histories. His prodigiously researched narrative moves from Aldous Huxley's earnest attempts to "open the doors of perception" to Timothy Leary's surreal experiments at Millbrook; from the CIA's purchase of millions of doses to the thousands of flower children who turned on and burned out in Haight-Ashbury. Along the way, this brilliant, novelistic work of cultural history unites such figures as Allen Ginsberg, Cary Grant, G. Gordon Liddy, and Charles Manson. Storming Heaven irrefutably demonstrates LSD's pivotal role in the countercultural upheavals that shook America in the 1960s and changed the country forever.

    Hitless Wonder measures the price of obscurity. What happens when you chase a dream into middle age and, in doing so, risk losing the people you love?

    A Klansman who became an absolutist advocate of free speech and civil rights. A backcountry lawyer who started off trying cases about cows and went on to conduct the most important international trial ever. A self-invented, tall-tale Westerner who narrowly missed the presidency but expanded individual freedom beyond what anyone before had dreamed. Four more different men could hardly be imagined. Yet they had certain things in common. Each was a self-made man who came from humble beginnings on the edge of poverty. Each had driving ambition and a will to succeed. Each was, in his own way, a genius. They began as close allies and friends of FDR, but the quest to shape a new Constitution led them to competition and sometimes outright warfare. SCORPIONS tells the story of these four great justices: their relationship with Roosevelt, with each other, and with the turbulent world of the Great Depression, World War II, and the Cold War. It also serves as a history of the modern Constitution itself.