Most observers record the immediate shock of vanished jobs, but few stay around long enough to notice what happens next, when a community with a can-do spirit tries to pick itself up.Pulitzer Prize winner Amy Goldstein has spent years immersed in Janesville, Wisconsin where the nation’s oldest operating General Motors plant shut down in the midst of the Great Recession, two days before Christmas of 2008. Now, with intelligence, sympathy, and insight into what connects and divides people in an era of economic upheaval, she makes one of America’s biggest political issues human. Her reporting takes the reader deep into the lives of autoworkers, educators, bankers, politicians, and job re-trainers to show why it’s so hard in the twenty-first century to recreate a healthy, prosperous working class. For this is not just a Janesville story or a Midwestern story. It’s an American story.

    The government’s ferocious response, and the refusal of the demonstrators to back down, sparked a brutal civil war that over the past five years has escalated into the worst humanitarian catastrophe of our times.Yet despite all the reporting, the video, and the wrenching photography, the stories of ordinary Syrians remain unheard, while the stories told about them have been distorted by broad brush dread and political expediency. This fierce and poignant collection changes that. Based on interviews with hundreds of displaced Syrians conducted over four years across the Middle East and Europe, We Crossed a Bridge and It Trembled is a breathtaking mosaic of first-hand testimonials from the frontlines. Some of the testimonies are several pages long, eloquent narratives that could stand alone as short stories; others are only a few sentences, poetic and aphoristic. Together, they cohere into an unforgettable chronicle that is not only a testament to the power of storytelling but to the strength of those who face darkness with hope, courage, and moral conviction.

    In this fascinating and revealing study, Thomas Frank shows how the youthful revolutionaries were joined—and even anticipated —by such unlikely allies as the advertising industry and the men's clothing business."[Thomas Frank is] perhaps the most provocative young cultural critic of the moment."—Gerald Marzorati, New York Times Book Review"An indispensable survival guide for any modern consumer."—Publishers Weekly, starred review"Frank makes an ironclad case not only that the advertising industry cunningly turned the countercultural rhetoric of revolution into a rallying cry to buy more stuff, but that the process itself actually predated any actual counterculture to exploit."—Geoff Pevere, Toronto Globe and Mail"The Conquest of Cool helps us understand why, throughout the last third of the twentieth century, Americans have increasingly confused gentility with conformity, irony with protest, and an extended middle finger with a populist manifesto. . . . His voice is an exciting addition to the soporific public discourse of the late twentieth century."—T. J. Jackson Lears, In These Times"An invaluable argument for anyone who has ever scoffed at hand-me-down counterculture from the '60s. A spirited and exhaustive analysis of the era's advertising."—Brad Wieners, Wired Magazine"Tom Frank is . . . not only old-fashioned, he's anti-fashion, with a place in his heart for that ultimate social faux pas, leftist politics."—Roger Trilling, Details

    Throughout his remarkable career in the dramatic arts, as well as his occasionally explosive personal life, Sean Penn has proved he rarely plays by the rules. A tumultuous marriage to Madonna, stints in jail, and other forms of hell-raising marked Penn's younger years, along with some stunning performances on film. Later, Penn emerged as a brilliant director, devoted father, contentious political activist…and reluctant actor, capable nevertheless of breathtaking performances (Dead Man Walking, Sweet and Lowdown, Mystic River, and 21 Grams). Illustrated with over seventy-five black and white photographs and drawing on exclusive interviews with Penn and his family, friends and colleagues (Jack Nicholson, Dennis Hopper, Woody Allen, Susan Sarandon, Bono, Christopher Walken, Angelica Huston, and many more), Kelly creates an engaging, richly detailed and multi-faceted portrait of an uncompromising American artist in this exclusive and engrossing authorized biography.

    He references his own contributions to the canon of popular music, and he provides fascinating insider portraits of the industry and its protagonists. But above all, he questions our ideas of music and our attitude to sound, introducing us throughout this provocative and superbly written book to his current work, The17.

    Woodward draws from hundreds of hours of interviews with firsthand sources, meeting notes, personal diaries, files and documents. The focus is on the explosive debates and the decision-making in the Oval Office, the Situation Room, Air Force One and the White House residence.Fear is the most intimate portrait of a sitting president ever published during the president’s first years in office.

    We see how they rebrand themselves as saviors of the poor; how they lavishly reward "thought leaders" who redefine "change" in winner-friendly ways; and how they constantly seek to do more good, but never less harm. We hear the limousine confessions of a celebrated foundation boss; witness an American president hem and haw about his plutocratic benefactors; and attend a cruise-ship conference where entrepreneurs celebrate their own self-interested magnanimity.Giridharadas asks hard questions: Why, for example, should our gravest problems be solved by the unelected upper crust instead of the public institutions it erodes by lobbying and dodging taxes? He also points toward an answer: Rather than rely on scraps from the winners, we must take on the grueling democratic work of building more robust, egalitarian institutions and truly changing the world. A call to action for elites and everyday citizens alike.

    In 1936, Shostakovitch, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will be exiled to Siberia (or, more likely, executed on the spot), Shostakovitch reflects on his predicament, his personal history, his parents, various women and wives, his children—and all who are still alive themselves hang in the balance of his fate. And though a stroke of luck prevents him from becoming yet another casualty of the Great Terror, for decades to come he will be held fast under the thumb of despotism: made to represent Soviet values at a cultural conference in New York City, forced into joining the Party and compelled, constantly, to weigh appeasing those in power against the integrity of his music. Barnes elegantly guides us through the trajectory of Shostakovitch's career, at the same time illuminating the tumultuous evolution of the Soviet Union. The result is both a stunning portrait of a relentlessly fascinating man and a brilliant exploration of the meaning of art and its place in society.

    Katharine's account of her years as subservient daughter and wife is so painful that by the time she finally asserts herself at the Post following Phil's suicide in 1963 (more than halfway through the book), readers will want to cheer. After that, Watergate is practically an anticlimax.

    She visited forty states with the candidate, made more than 3,800 live television reports, listened to endless loops of Elton John’s "Tiny Dancer"—a Trump rally playlist staple.From day 1 to day 500, Tur documented Trump’s inconsistencies, fact-checked his falsities, and called him out on his lies. In return, Trump repeatedly singled out Tur. He tried to charm her, intimidate her, and shame her. At one point, he got a crowd so riled up against her, Secret Service agents had to walk her to her car.None of it worked. Facts are stubborn. So was Tur. She was part of the first women-led politics team in the history of network news. The Boys on the Bus became the Girls on the Plane--but the circus remained. Through all the long nights, wild scoops, naked chauvinism, dodgy staffers, and fevered debates, no one had a better view than Tur.Unbelievable is her darkly comic, fascinatingly bizarre, and often scary story of how America sent a former reality show host to the White House. It’s also the story of what it was like for Tur to be there as it happened, inside a no-rules world where reporters were spat on, demeaned, and discredited. Tur was a foreign correspondent who came home to her most foreign story of all.FROM THE RECIPIENT OF THE  2017 Walter Cronkite Award for Excellence in Journalism

    The book behind the successful comedy show.Guy Pratt came of age just as playing bass became cool, with the likes of Paul Simonon and Bruce Foxton. Having dallied with Funkapolitan, Pratt suddenly found himself on Top of the Pops and supporting David Bowie with smooth Australian outfit Icehouse. At a ludicrously young age Guy Pratt became a sought after bass player to the stars, finding himself crawling from studio to bar, from hotel to stadium portacabin with Robert Palmer, Womack & Womack, Bernard Edwards, Bryan Ferry and David Crosby, etc. The eighties were in their prime, and with a number of Crolla-suited appearances in windswept videos behind him, he was invited to join Pink Floyd for a series of stadium of extravaganzas to make Bono & co look fairly modest. Pratt has recorded with Madonna, and spent time in the studio with Michael Jackson. He was in The Smiths for a week, has travelled through customs in a wheelchair after a flight with Jimmy Page, and has lived to tell all. MY BASS AND OTHER ANIMALS emerges from the successful stand-up tour of the same name. It charts his journey from a Mod band in Southend to playing with Roxy Music at Live 8.

    From the moment the metronomic pulse of a heartbeat thudded out to begin "Speak to Me" to the soaring guitar solo that climaxed "Comfortably Numb," these self-effacing men in their late fifties stole the show. Almost a year later, the death of their troubled founder-member Syd Barrett made headline news worldwide. Both events signaled a kind of closure to the remarkable tale of one of the world's biggest bands. Now, in the first full-length history of the group for more than fifteen years, Mark Blake tells the story of how a group of middle-class Englishmen conquered the world. Drawing on his own interviews with all of the band members, interviews with the group's friends, road crew, producers, former housemates and university colleagues, as well as musical contemporaries including Pete Townshend and Alice Cooper, Comfortably Numb follows Pink Floyd all the way from the early psychedelic nights at UFO in the mid-sixties to the stadium-rock and concept-album zenith of the seventies, and finally the acrimonious schism that sundered the band in the '80s and '90s.

    But now destiny was about to manifest itself. I felt like it was looking right at me and nobody else." So writes Bob Dylan in Chronicles: Volume One, his remarkable book exploring critical junctures in his life and career. Through Dylan's eyes and open mind, we see Greenwich Village, circa 1961, when he first arrives in Manhattan. Dylan's New York is a magical city of possibilities -- smoky, nightlong parties; literary awakenings; transient loves and unbreakable friendships. Elegiac observations are punctuated by jabs of memories, penetrating and tough. With the book's side trips to New Orleans, Woodstock, Minnesota and points west, Chronicles: Volume One is an intimate and intensely personal recollection of extraordinary times.By turns revealing, poetical, passionate and witty, Chronicles: Volume One is a mesmerizing window on Bob Dylan's thoughts and influences. Dylan's voice is distinctively American: generous of spirit, engaged, fanciful and rhythmic. Utilizing his unparalleled gifts of storytelling and the exquisite expressiveness that are the hallmarks of his music, Bob Dylan turns Chronicles: Volume One into a poignant reflection on life, and the people and places that helped shape the man and the art.

    So-called illiberal democracy and authoritarian populism are in the political ascendant; the shelves of our bookshops groan with the work of attention-grabbing thinkers insisting that permissiveness, multiculturalism and 'identity politics' have failed us and that we must now fall back on some notion of tradition. We have had our fun, and now it's time to get serious, to shore our fragments against the ruin of postmodernist meaninglessness. It's not only the usual, conservative suspects who have got on board with this argument. Authentocrats critiques the manner in which post-liberal ideas have been mobilised underhandedly by centrist politicians who, at least notionally, are hostile to the likes of Donald Trump and UKIP. It examines the forms this populism of the centre has taken in the United Kingdom and situates the moderate withdrawal from liberalism within a story which begins in the early 1990s. Blairism promised socially liberal politics as the pay-off for relinquishing commitments to public ownership and redistributive policies: many current centrists insist New Labour's error was not its capitulation to the market, but its unwillingness to heed the allegedly natural conservatism of England's provincial working classes. In this book, we see how this spurious concern for 'real people' is part of a broader turn within British culture by which the mainstream withdraws from the openness of the Nineties under the bad-faith supposition that there's nowhere to go but backwards. The self-anointing political realism which declares that the left can save itself only by becoming less liberal is matched culturally by an interest in time-worn traditional identities: the brute masculinity of Daniel Craig's James Bond, the allegedly 'progressive' patriotism of nature writing, a televisual obsession with the World Wars. Authentocrats charges liberals themselves with fuelling the post-liberal turn, and asks where the space might be found for an alternative.

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