What do all these people have in common? Fame, of course, and undeniable talent. But most of all, they were cool. Birth of the Cool is a stunningly illustrated, brilliantly written cultural history of the American avant-garde in the 1940s and 1950s -- the decades in which cool was born. From intimate interviews with cool icons like poet Allen Ginsberg, bop saxophonist Jackie McLean, and Living Theatre cofounder Judith Malina, award-winning journalist and poet Lewis MacAdams extracts the essence of cool. Taking us inside the most influential and experimental art movements of the twentieth century -- from the Harlem jazz joints where Dizzy Gillespie and Charlie Parker invented bebop to the back room at Max's Kansas City when Andy Warhol was holding court to backstage at the Newport Folk Festival the night Bob Dylan went electric, from Surrealism to the Black Mountain School to Zen -- MacAdams traces the evolution of cool from the very fringes of society to the mainstream. Born of World War II, raised on atomic-age paranoia, cast out of the culture by the realities of racism and the insanity of the Cold War, cool is now, perversely, as conventional as you can get. Allen Ginsberg suited up for Gap ads. Volvo appropriated a phrase from Jack Kerouac's On the Road for its TV commercials. How one became the other is a terrific story, and it is presented here in a gorgeous package, rich with the coolest photographs of the black-and-white era from Robert Doisneau, Henri Cartier-Bresson, Man Ray, and many others. Drawing a direct line between Lester Young wearing his pork-pie hat and his crepe-sole shoes staring out his hotel window at Birdland to the author's three-year-old daughter saying "cool" while watching a Scooby-Doo cartoon at the cusp of a new millennium, Birth of the Cool is a cool book about a hot subject...maybe even the coolest book ever.

    Its rhythms are those of the seasons. Its memories are savored, it losses lamented. Baseball's graceful athleticism, formal strategy, and democratic spirit have ensured the devotion of Americans for generations, and writers have been drawn to this sport as to no other. With Baseball: A Literary Anthology, The Library of America presents a vivid panorama of the game that is, in Roger Angell's words, "one of the reasons that summer exists." It offers a lively mix of stories, memoirs, poems, news reports, and insider accounts about all aspects of the great American game, from its pastoral 19th-century beginnings to its apotheosis as the undisputed national pastime. Here are the major leaguers and the bush leaguers, the umpires and broadcasters, the wives and girlfriends and would-be girlfriends, fans meticulously observant and lovingly, fanatically obsessed. Here too are the teams of storied greatness--the Yankees, the Dodgers, the Red Sox--and the luminaries who made them legendary.Unforgettable portraits of icons such as Christy Matthewson, Babe Ruth, Ted Williams, and Jackie Robinson are joined by glimpses of lesser-known characters such as the erudite Moe Berg, who could speak a dozen languages "but couldn't hit in any of them." Poems included in Baseball: A Literary Anthology include indispensable works whose phrases have entered the language--Ernest Thayer's "Casey at the Bat" and Franklin P. Adams's "Baseball's Sad Lexicon"--as well as more recent offerings from May Swenson, Yusef Komunyakaa, and Martin Espada. Testimonies from classic oral histories offer insights into the players who helped enshrine the sport in the American imagination. Spot reporting by Heywood Broun and Damon Runyon stands side by side with journalistic profiles that match baseball legends with some of our finest writers: John Updike on Ted Williams, Gay Talese on Joe DiMaggio, Red Smith on Lefty Grove.

    Beginning with Gimpel the Fool, whose title story brought Singer to sudden prominence in America when translated by Saul Bellow in 1953, and concluding with The Death of Methuselah, the collection published three years before his death in 1991, this three-volume edition brings together for the first time all the story collections Singer published in English in the versions he called his "second originals"--translations he supervised and collaborated on, revising as he worked. In addition, Collected Stories includes previously uncollected or unpublished stories from his manuscripts in the Ransom Center collections, providing a rare glimpse into the workshop of a literary genius. Here are nearly 200 stories--the full range of Singer's vision--encompassing Old World shtetl and New World exile. Born in Poland in 1904 into a family of rabbis, Singer was raised in a traditional culture that perished at the hands of the Nazis during the Second World War, and his haunting stories testify to the richness of that vanished world. Singer's Old World tales reveal a wild, mischievous, often disturbing supernaturalism evocative of local storytelling traditions. After his immigration to America, Singer's stories increasingly explore the daily lived reality and imaginative boundaries of Jewish culture as it was transplanted to the United States, revealing him to be the emblematic immigrant American writer, a writer whose vision and insights enlarged our idea of what it is to be an American.

    A prolific journalist who made himself a dominant figure in the emerging literary culture of postwar san Francisco, Bierce developed a style of slashing sarcasm that made him a feared antagonist. As a short story writer—whether drawing on wartime experiences or exploring realms of supernatural and psychological horror—he used extreme situations to give voice to his uniquely engrossing brand of pessimism.This volume gathers the most celebrated and significant of Bierce’s writings. In the Midst of Life (Tales of Soldiers and Civilians), his collection of short fiction about the Civil War, which includes the masterpieces “An Occurrence at Owl Creek Bridge” and “Chickamauga,” is suffused with a fiercely ironic sense of the horror and randomness of war. Close-up portraits of life in camp and on the battlefield offer unique, often startling, perspectives on the war whose after-echoes pervade Bierce’s writing.Can Such Things Be? brings together “The Death of Halpin Frayser,” “The Damned Thing,” “The Moonlit Road,” and other tales of terror that make Bierce the genre’s most significant American practitioner between Poe and Lovecraft. These tales are notable, in editor S. T. Joshi’s words, for “the meticulous etching of the precise effects of the supernatural upon the sensitive consciousness of his fear-raddled protagonists.”The Devil’s Dictionary, the brilliant lexicon of subversively cynical definitions on which Bierce worked for decades, displays to the full his corrosive wit.In Bits of Autobiography, the series of memoirs that includes the memorable “What I Saw of Shiloh,” he recreates his experiences in the war and its aftermath. The volume is rounded out with a selection of the best stories not gathered in the two major collections. Acclaimed Bierce scholar Joshi provides detailed notes and a newly researched chronology of Bierce’s life and mysterious disappearance.

    A small-town 1940s America of restrictive social pressures and foreclosed opportunities provides the novel’s background.The publication of the hilarious Portnoy’s Complaint (1969) was a cultural event that turned Roth into a reluctant celebrity. The confession of a bewildered psychoanalytic patient thrust through life by his unappeasable sexuality yet held back by the iron grip of his unforgettable childhood, Portnoy unleashed Roth’s comic virtuosity and opened new avenues for American fiction.In Our Gang (1971), described by Anthony Burgess as a “brilliant satire in the real Swift tradition,” Roth effects a savage takedown of the administration of Richard Nixon (who figures here as Trick E. Dixon). Written before the revelations of the Watergate scandal, Our Gang continues to resonate as a broad and outraged response to the clownish hypocrisy and moral theatrics of the American political scene.The Kafkaesque excursion The Breast (1972) introduces David Kepesh in the first volume of a trilogy that continues with The Professor of Desire (1977) and The Dying Animal (2001). The Breast prompted Cynthia Ozick to remark, “One knows when one is reading something that will permanently enter the culture.”Publisher’s series: Library of America #158

    Includes a detailed chronology of the war, historical maps, a glossary of military terms, and photos and illustrations.

    Moving beyond the pulp magazines, science fiction writers stretched their imaginations at novel length, ushering in an era of stylistic experiment and freewheeling speculation that responded in wildly inventive ways to the challenges and perplexities of an era of global threat and rapid technological change. Long unnoticed or dismissed by the literary establishment, these “outsider” novels are now recognized as American classics.This, the first of two volumes surveying the decade’s peaks, presents four very different visions of uncertain futures and malleable selves. Frederik Pohl and C. M. Kornbluth’s The Space Merchants (1953), acclaimed in its day by Kingsley Amis as “the best science fiction novel so far,” brought a ferocious, satiric edge to its depiction of a future world dominated by multinational advertising agencies. In Theodore Sturgeon’s More Than Human (1953), a group of damaged individuals finds a strange new fulfillment in what may be the next stage of evolution.Leigh Brackett was one of the first women to make her mark as a science fiction novelist. In The Long Tomorrow (1955), she pits anti-urban technophobes against the remnants of a civilization that destroyed itself through nuclear war. The hero of Richard Matheson’s fable-like The Shrinking Man (1956), condemned to grow ever smaller by a mysterious cloud, moves through humiliations and perils toward what Peter Straub calls “a real surprise . . . a fresh, wide-eyed step into a world both beautiful and new.”Here are four classic novels that, each in a different way, open fresh territory, broaching untried possibilities and brimming with the energies of an age fearfully conscious of standing on the brink of the unknown.

    It is our greatest national drama, at once heroic, tragic, and epic—our Iliad, but also our Bible, a story of sin and judgment, suffering and despair, death and resurrection in a “new birth of freedom.” Drawn from letters, diaries, speeches, articles, poems, songs, military reports, legal opinions, and memoirs, The Civil War: The First Year brings together over 120 pieces by more than sixty participants to create a unique firsthand narrative of this great historical crisis.Beginning on the eve of Lincoln’s election in 1860 and ending in January 1862 with the appointment of Edwin M. Stanton as secretary of war, signaling a new energy and determination to the Union war effort, this volume collects writing by figures well-known—Ulysses S. Grant, Robert E. Lee, Mary Chesnut, Frederick Douglass, and Lincoln himself among them—and less familiar, like pro-slavery advocate J.D.B. DeBow, Lieutenants Charles B. Haydon of the 2nd Michigan Infantry and Henry Livermore Abbott of the 20th Massachusetts Volunteer Infantry Regiment, and plantation mistresses Catherine Edmondston of North Carolina and Kate Stone of Mississippi. Together, the selections provide a powerful sense of the immediacy, uncertainty, and urgency of events as the nation was torn asunder. Secessionist appeals by Georgia Governor Joseph E. Brown and Alabama legislator Stephen F. Hale give voice to the intense racial fears that helped drive the South toward disunion; Union corporal Samuel J. English and Confederate surgeon Lunsford P. Yandell evoke the shock, confusion, and horror of battle in Virginia and Missouri; memoirist Sallie Brock candidly records the impact of war on Richmond society; and Sam Mitchell recounts his liberation from slavery when the South Carolina Sea Islands fell to Union soldiers.The Civil War: The First Year includes headnotes, a chronology of events, biographical and explanatory endnotes, endpaper maps, and an index.

    Kennedy, Groucho Marx, Charles Dickens, Katharine Hepburn, Mick Jagger, Steve Martin, Clementine Churchill, Ray Bradbury, Kurt Vonnegut and many more.

    Alone in his apartment, he reads stories aloud to the point he has them memorized. Sometimes he fantasizes that he wrote them. Sometimes, when they’re his very favorite stories, he’ll fantasize about reading them in front of an audience and taking credit for them. The audience in these fantasies always loves him and gives him the respect he deserves.David Sedaris didn’t write the stories in Children Playing Before a Statue of Hercules . But he did read them. And he liked them enough to hand pick them for this collection of short fiction. Featuring such notable writers as Lorrie Moore, Alice Munro, Joyce Carol Oates, Jean Thompson, and Tobias Wolff, Children Playing Before a Statue of Hercules includes some of the most influential and talented short story writers, contemporary and classic.Perfect for fans who suffer from Sedaris fever, Children Playing Before a Statue of Hercules will tide them over and provide relief.2 hrs 56 mins

    Today her groundbreaking works, suffused with the culture and traditions of African-Americans and the poetry of black speech, have won her recognition as one of the most significant African-American writers. This volume, with its companion, Zora Neale Hurston: Folklore, Memoirs & Other Writings brings together for the first time all of Hurston's best writings in one authoritative set. "Folklore is the arts of the people," Hurston wrote, "before they find out that there is any such thing as art."

    As a military aide to George Washington, forceful critic of the Articles of Confederation, persuasive proponent of ratification of the Constitution, first Secretary of the Treasury, and leader of the Federalist party, Hamilton devoted himself to the creation of a militarily and economically powerful American nation guided by a strong republican government. His public and private writings demonstrate the perceptive intelligence, confident advocacy, driving ambition, and profound concern for honor and reputation that contributed both to his rise to fame and to his tragic early death.Arranged chronologically, Writings contains more than 170 letters, speeches, essays, reports, and memoranda written between 1769 and 1804. Included are all 51 of Hamilton's contributions to The Federalist, as well as subsequent writing calling for a broad construction of federal power under the Constitution; his famous speech to the Constitutional Convention, which gave rise to accusations that he favored monarchy; early writings supporting the Revolutionary cause and a stronger central government; his visionary reports as Treasury secretary on the public credit, a national bank, and the encouragement of American manufactures; a detailed confession of adultery made by Hamilton in order to defend himself against charges of official misconduct; and his self-destructive attack on John Adams during the 1800 campaign. An extensive selection of private letters illuminates Hamilton's complex relationship with George Washington, his deep affection for his wife andchildren, his mounting fears during the 1790s regarding the Jeffersonian opposition and the French Revolution, and his profound distrust of Aaron Burr. Included in an appendix are conflicting eyewitness accounts of the Hamilton-Burr duel.

    His addresses at Gettysburg and at his inaugurals, his presidential messages and public lectures, are an essential record of the war and have forever shaped the nation’s memories of it. This Library of America volume collects writings from 1859 to 1865 and contains 555 speeches, messages, proclamations, letters, memoranda, and fragments. They record the words and deeds—the order to resupply Fort Sumter, the emancipation of the slaves held in the Confederacy, and proposals to offer the South generous terms of reconstruction—by which he hoped to defend and preserve the Union.The speeches and letters Lincoln wrote in 1859 and 1860 show his unyielding opposition to the spread of slavery and his canny appraisals of the upcoming election in which he was to win the presidency. His victory triggered the secession that he would oppose in his First Inaugural, with its appeal to logic, history, and “the better angels of our nature.”Lincoln’s wartime writings record the nearly overwhelming burdens of office during a fratricidal war, and the added burden of self-seeking Cabinet members, military cliques, and a bitter political opposition. He was savagely criticized both for being too harsh and for being too mild. He ordered the blockade of ports, suspended habeas corpus, jailed dissenters, and applauded Sherman’s devastating march to the sea; at the same time he granted clemency to individual Union deserters and releases to Confederate prisoners. “I expect to maintain this contest until successful,” he declared, and toward that end he was prepared, not without his characteristic drolleries, to suffer the paradoxes of leadership in a nation at war with itself. His writings here include pleas to his own party to spare him their patronage feuds and to generals that they act more resolutely in the field. The struggles that taxed his physical endurance also tempered his prose style, as evidenced in the nobility of his state papers, his sparse words at Gettysburg, and his poignant letter to Mrs. Bixby, consoling her for the deaths of her sons in battle.In a message to Congress in December 1862, Lincoln wrote of the fiery trial through which the nation was passing: “We shall nobly save, or meanly lose, the last best, hope of earth.” By 1865, he was ready to offer the nation his view of the Almighty’s purposes and did so in his Second Inaugural Address with a beauty, clarity, and severity unsurpassed in American letters. Soon after, he fell to an assassin’s bullet, joining six hundred thousand of his countrymen killed in the war. He became part of what he called “the cherished memory of the loved and lost,” all those who had died that “this nation, under God, shall have a new birth of freedom.”

    He was also the dynamic leader of war protesters, artists, Flower Power hippies, musicians, punks, and political radicals.The Essential Ginsberg collects a mosaic of materials that displays the full range of Ginsberg’s mental landscape. His most important poems, songs, essays, letters, journals, and interviews are displayed in chronological order. His poetic masterpieces, “Howl” and “Kaddish,” are presented here along with lesser-known and difficult to find songs and prose. Personal correspondence with William Burroughs and Jack Kerouac is included as well as photographs—shot and captioned by Ginsberg himself—of his friends and fellow rogues William Burroughs, Neal Cassady, and more.Through his essays, journals, interviews, and letters, this definitive volume will inspire readers to delve deeper into a body of work that remains one of the most impressive literary canons in American history.

    Looking for a sure cure to bunkerphobia? It's here. A one-hour golf lesson that's 100 percent guaranteed to make you a better golfer? Ditto. Want to know why you should occasionally leave your big dog in your trunk, how to watch your weight, and what golf and sex have in common? You came to the right book.And while he's busy explaining all these and many other things, Daly also tells you why you should keep your head out of the game, let your belly lead your hands, listen to your right foot, check your ball position—and buy a hybrid (the club, not the car).Following in the spike prints of his 2006 bestselling autobiography, My Life In and Out of the Rough, Golf My Own Damn Way is an off-the-wall and intensely personal yet imminently practical and accessible tip sheet on how to cut ten strokes off your score—now.Two things are certain: you've never seen a golf instructional book quite like this one, and you'll never need another one.Fairways and greens, Pard!