The McGann's passionate and insightful writing evokes the raucous cast of riders, promoters, and journalists thrusting through highs and lows worthy of opera. This volume stands out as a must-read book for anyone seeking to appreciate cycling's race of races." -Peter Joffre Nye, author of The Six-Day Bicycle Races: America's Jazz Age Sport and Hearts of Lions "There are LOTS of books on the Tour de France. An increasing number of them are actually written in English. However, of those, none educates Americans about this grand spectacle�s rich past. The Tour de France has a history as fascinating and sordid as Rome�s and it is high time someone undertook to explain this to our American sensibility. Our guide for the trip is a man with a ravenous appetite for both world history and bicycle racing, just the sort of person to paint a Tour champion with the dramatic grandiosity befitting Hannibal himself." -Pat Brady, Editor, Asphalt Magazine At the dawn of the 20th Century, French newspapers used bicycle races as promotions to build readership. Until 1903 these were one-day events. Looking to deliver a coup de grace in a vicious circulation war, Henri Desgrange�editor of the Parisian sports magazine L�Auto�took the suggestion of one of his writers to organize a race that would last several days longer than anything else, like the 6-day races on the track, but on the road. That�s exactly what happened. For almost 3 weeks the riders in the first Tour de France rode over dirt roads and cobblestones in a grand circumnavigation of France. The race was an electrifying success. Held annually (suspended only during the 2 World Wars), the Tour grew longer and more complex with an ever-changing set of rules, as Desgrange kept tinkering with the Tour, looking for the perfect formula for his race. Each year a new cast of riders would assemble to contest what has now become the greatest sporting event in the world.

    Anxious about the prognosis, lost in a blur of technical jargon, and fatigued from worry or pain, people who are ill are easily overwhelmed by treatment choices. Told through eight gripping clinical dramas, Second Opinions reveals the forces at play in making critical medical decisions. Dr. Jerome Groopman illuminates the world of medicine where knowledge is imperfect, no therapy is without risks, and no outcome is fully predictable. He portrays moments of astute diagnosis and misguided perception, of lifesaving triumphs and shattering failures.These real-life lessons prepare us to navigate the uncertain terrain of illness, and enable us to balance intuition and information, and thereby make the best possible decisions about our health and future.

    . . have different rights, different values than do ordinary people because we have different needs which put us . . . above their moral standards.” —ModiglianiAmedeo (“Beloved of God”) Modigliani was considered to be the quintessential bohemian artist, his legend almost as infamous as Van Gogh’s. In Modigliani’s time, his work was seen as an oddity: contemporary with the Cubists but not part of their movement. His work was a link between such portraitists as Whistler, Sargent, and Toulouse-Lautrec and that of the Art Deco painters of the 1920s as well as the new approaches of Gauguin, Cézanne, and Picasso.Jean Cocteau called Modigliani “our aristocrat” and said, “There was something like a curse on this very noble boy. He was beautiful. Alcohol and misfortune took their toll on him.”In this major new biography, Meryle Secrest, one of our most admired biographers—whose work has been called “enthralling” (The Wall Street Journal); “rich in detail, scrupulously researched, and sympathetically written” (The New York Review of Books) —now gives us a fully realized portrait of one of the twentieth century’s master painters and sculptors: his upbringing, a Sephardic Jew from an impoverished but genteel Italian family; his going to Paris to make his fortune; his striking good looks (“How beautiful he was, my god how beautiful,” said one of his models) . . . his training as an artist . . .and his influences, including the Italian Renaissance, particularly the art of Botticelli; Nietzsche’s theories of the artist as Übermensch, divinely endowed, divinely inspired; the monochromatic backgrounds of Van Gogh and Cézanne; the work of the Romanian sculptor Brancusi; and the primitive sculptures of Africa and Oceania with their simplified, masklike triangular faces, elongated silhouettes, puckered lips, low foreheads, and heads on exaggeratedly long necks. We see the ways in which Modigliani’s long-kept-secret illness from tuberculosis (it almost killed him as a young man) affected his work and his attitude toward life ; how consumption caused him to embrace fatalism and idealism, creativity and death; and how he used alcohol and opium with laudanum as an antispasmodic to hide the symptoms of the disease and how, because of it, he came to be seen as a dissolute alcoholic.And throughout, we see the Paris that Modigliani lived in, a city in dynamic flux where art was still a noble cause; how Modigliani became part of a life in the streets and a world of art and artists then in a transforming revolution; Monet, Cézanne, Degas, Renoir, et al.—and others more radical—Matisse, Derain, etc., all living within blocks of one another.Secrest’s book, written with unprecedented access to letters, diaries, and photographs never before seen, is an extraordinary revelation of a life lived in art . . . Here is Modigliani, the man and the artist, seemingly shy, delicate, a man on a desperate mission, masquerading as an alcoholic, cheating death again and again, and calculating what he had to do in order to go on working and concealing his secret for however much time remained . . .

    This dual biography of Albert Einstein and Sigmund Freud— and their parallel journeys of discovery that altered forever our understanding of the very nature of reality. Einstein and Freud were the foremost figures in search of the next level of scientific knowledge—evidence we can’t see. Here on the frontier of the invisible, their investigations reached unprecedented realms—relativity and the unconscious—and spawned the creation of two new sciences, cosmology and psychoanalysis. Together they have allowed us for more than a hundred years to explore previously unimaginable universes without and within.

    Combining quality scholarship and sacred spiritual instruction, Living Judaism is a thought-provoking reference and guide for those already steeped in Jewish life, and a comprehensive introduction for those exploring the richness and grandeur of Judaism.

    He was an effective military strategist and an adept diplomat, who staked the fate of the Bolshevik revolution on the meager foundation of a Europe-wide Communist upheaval. He was a master politician who played his cards badly in the momentous struggle for power against Stalin in the 1920s. And he was an assimilated, indifferent Jew who was among the first to foresee that Hitler’s triumph would mean disaster for his fellow European Jews, and that Stalin would attempt to forge an alliance with Hitler if Soviet overtures to the Western democracies failed.Here, Trotsky emerges as a brilliant and brilliantly flawed man. Rubenstein offers us a Trotsky who is mentally acute and impatient with others, one of the finest students of contemporary politics who refused to engage in the nitty-gritty of party organization in the 1920s, when Stalin was maneuvering, inexorably, toward Trotsky’s own political oblivion.As Joshua Rubenstein writes in his preface, “Leon Trotsky haunts our historical memory. A preeminent revolutionary figure and a masterful writer, Trotsky led an upheaval that helped to define the contours of twentieth-century politics.” In this lucid and judicious evocation of Trotsky’s life, Joshua Rubenstein gives us an interpretation for the twenty-first century.

    Our protagonist, a single man, writes a regular op-ed column for a Belgrade newspaper and spends the rest of his time with his best friend, smoking pot and talking about sex, politics, and life in general. One day on the shore of the Danube he spots a man slapping a beautiful woman. Intrigued, he follows the woman into the tangled streets of the city until he loses sight of her. A few days later he receives a mysterious manuscript whose contents seem to mutate each time he opens it. To decipher the manuscript—a collection of fragments on the Kabbalah and the history of the Jews of Zemun and Belgrade—he contacts an old schoolmate, now an eccentric mathematician, and a group of men from the Jewish community. As the narrator delves deeper into arcane topics, he begins to see signs of anti-Semitism, past and present, throughout the city and he feels impelled to denounce it. But his increasingly passionate columns erupt in a scandal culminating in murder. Following in the footsteps of Foucault’s Pendulum, Leeches is a cerebral adventure into the underground worlds of secret societies and conspiracy theories.

    . . galvanic and intoxicating.” —The New YorkerFima lives in Jerusalem, but feels he ought to be somewhere else. In his life he has had secret love affairs, good ideas, and written a book of poems that aroused expectations. He has thought about the purpose of the universe and where the country lost its way. He has felt longings of all sorts, and the constant desire to pen a new chapter. And here he is now, in his early fifties in a shabby apartment on a gloomy wet morning, engaged in a humiliating struggle to release his shirt from the zipper of his fly. With wit and insight, Amos Oz portrays a man—and a generation—dreaming noble dreams but doing nothing.“One of Oz’s most memorable fictional creations . . . Fima is a cross between Chekhov’s Uncle Vanya and Joyce’s Leopold Bloom.” — Washington Post

    The Daily Mail was the first newspaper to tag Evans’s team as the Spice Boys.Yet despite their flaws, this was a rare group of individuals: mavericks, playboys, goal-scorers and luckless defenders. Wearing off-white Armani suits, their confident personalities were exemplified in their pre-match walk around Wembley before the 1996 FA Cup final (a 1-0 defeat to Manchester United).In stark contrast to the media-coached, on-message interviews given by today’s top stars, the blunt, ribald and sometimes cutting recollections of the footballers featured in Men in White Suits provide a rare insight into this fascinating era in Liverpool’s long and illustrious history.

    At fourteen, Rachel knows that she wants more from life than the traditional role of wife and mother. She has dreams of being a writer. But everything is put on hold when a young Christian man is murdered and Rachel is forced to keep the murderer’s identity a secret. Tensions mount as the Christians’ distrust of the Jews is fueled by prejudice and rumour.While Rachel keeps the truth to herself, she watches as lies and anti-Jewish propaganda leap off the pages of the local newspaper, inciting Christians to riot against the Jews. Violence breaks out on Easter Sunday, 1903, and when it finally ends, Rachel finds that the person she loves most is dead and that her home has been destroyed. As she struggles to survive the aftermath of the riots – or pogroms – support comes from someone totally unexpected, when a young Christian named Sergei turns against his father, a police officer complicit in the riots, to help Rachel.With everything against them, the two young people find comfort in the bond that is growing between them, one of the few signs of goodness and hope in a time of chaos and violence.

    It created a heroic myth out of the disastrous Charge of the Light Brigade and, in Florence Nightingale, it produced one of history's great heroes. The war was a watershed in world history and pointed the way to what mass warfare would be like in the twentieth century. New weapons were introduced; trench combat became a fact of daily warfare outside Sebastopol; medical innovation saved countless soldiers' lives that would otherwise have been lost. Ultimately, by failing to solve the Eastern Question, the war paved the way for the greater conflagration which broke out in 1914 and greatly prefigured the current situation in Eastern Europe.

    Read's enthralling account is filled with acts of courage - and also bumbling confusion, secrecy, lies, and coverups. Read spent many months in Russia interviewing hundreds of survivors and experts.

    The place was called Birobidzhan.The idea of an autonomous Jewish region was championed by Jewish Communists, Yiddishists, and intellectuals, who envisioned a haven of post-oppression Jewish culture. By the mid-1930s tens of thousands of Soviet Jews, as well as about a thousand Jews from abroad, had moved there. The state-building ended quickly, in the late 1930s, with arrests and purges instigated by Stalin. But after the Second World War, Birobidzhan received another influx of Jews--those who had been dispossessed by the war. In the late 1940s a second wave of arrests and imprisonments swept through the area, traumatizing Birobidzhan's Jews into silence and effectively shutting down most of the Jewish cultural enterprises that had been created. Where the Jews Aren't is a haunting account of the dream of Birobidzhan--and how it became the cracked and crooked mirror in which we can see the true story of the Jews in twentieth-century Russia.(Part of the Jewish Encounters series)

    Born in 1905 to a wealthy family in the oil-boom city of Baku, at the edge of the czarist empire, Lev escaped the Russian Revolution in a camel caravan. He found refuge in Germany, where, writing under the names Essad Bey and Kurban Said, his remarkable books about Islam, desert adventures, and global revolution, became celebrated across fascist Europe. His enduring masterpiece, Ali and Nino–a story of love across ethnic and religious boundaries, published on the eve of the Holocaust–is still in print today.But Lev's life grew wilder than his wildest stories. He married an international heiress who had no idea of his true identity–until she divorced him in a tabloid scandal. His closest friend in New York, George Sylvester Viereck–also a friend of both Freud's and Einstein's–was arrested as the leading Nazi agent in the United States. Lev was invited to be Mussolini's official biographer–until the Fascists discovered his "true" identity. Under house arrest in the Amalfi cliff town of Positano, Lev wrote his last book–discovered in a half a dozen notebooks never before read by anyone–helped by a mysterious half-German salon hostess, an Algerian weapons-smuggler, and the poet Ezra Pound. Tom Reiss spent five years tracking down secret police records, love letters, diaries, and the deathbed notebooks. Beginning with a yearlong investigation for The New Yorker, he pursued Lev's story across ten countries and found himself caught up in encounters as dramatic and surreal, and sometimes as heartbreaking, as his subject's life. Reiss's quest for the truth buffets him from one weird character to the next: from the last heir of the Ottoman throne to a rock opera-composing baroness in an Austrian castle, to an aging starlet in a Hollywood bungalow full of cats and turtles.As he tracks down the pieces of Lev Nussimbaum's deliberately obscured life, Reiss discovers a series of shadowy worlds–of European pan-Islamists, nihilist assassins, anti-Nazi book smugglers, Baku oil barons, Jewish Orientalists–that have also been forgotten. The result is a thoroughly unexpected picture of the twentieth century–of the origins of our ideas about race and religious self-definition, and of the roots of modern fanaticism and terrorism. Written with grace and infused with wonder, The Orientalist is an astonishing book.

    Bok leaves his village to try his luck in Kiev, and after denying his Jewish identity, finds himself working for a member of the anti-Semitic Black Hundreds Society. When the boy is found nearly drained of blood in a cave, the Black Hundreds accuse the Jews of ritual murder. Arrested and imprisoned, Bok refuses to confess to a crime that he did not commit.