For a few years in the early 1960s the CIA seemed to be running a perfect covert war in Laos - quiet, inexpensive, just enough arms to help Meo tribesmen defend their home territory from the Communist Pathet Lao. Then the big American war next door in Vietnam spilled across the border. How the perfect covert war ballooned into sorrow and disaster is the story Roger Warner tell in Shooting at the Moon, awarded the Cornelius Ryan Award for 1995's Best Book on Foreign Affairs by the Overseas Press Club.Warner describes his characters with a novelist's touch - soldiers and diplomats busy with war-making; CIA field officers from bareknuckle warriors to the quiet men pulling strings in the shadows; and above all the Meo as they realized they had been led down the garden path.This is a book about war, about secrecy, and its illusions, about the cruel sacrifice of small countries for the convenience of large ones. Nothing better has been written about the CIA in the years when it thought a handful of Americans in sunglasses could do anything with planeloads of arms and money to burn.

    Fascinated by this charismatic young figure, Mick Brown traveled to meet him, and found himself drawn into the labyrinthine web of intrigue surrounding the 17th Karmapa's recognition and early life.

    Kerr turns what we thought we knew about Kyoto inside-out, revealing the inner ideas behind simple things like walls, floors, and sliding doors. After this book, one can never walk through a Zen gate in the same way again.

    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.

    Surrounded by men and women whose skills–as doctors, nurses, and therapists–seemed eminently more practical than her own, Rodriguez, a hairdresser and mother of two from Michigan, despaired of being of any real use. Yet she soon found she had a gift for befriending Afghans, and once her profession became known she was eagerly sought out by Westerners desperate for a good haircut and by Afghan women, who have a long and proud tradition of running their own beauty salons. Thus an idea was born. With the help of corporate and international sponsors, the Kabul Beauty School welcomed its first class in 2003. Well meaning but sometimes brazen, Rodriguez stumbled through language barriers, overstepped cultural customs, and constantly juggled the challenges of a postwar nation even as she learned how to empower her students to become their families’ breadwinners by learning the fundamentals of coloring techniques, haircutting, and makeup.Yet within the small haven of the beauty school, the line between teacher and student quickly blurred as these vibrant women shared with Rodriguez their stories and their hearts: the newlywed who faked her virginity on her wedding night, the twelve-year-old bride sold into marriage to pay her family’s debts, the Taliban member’s wife who pursued her training despite her husband’s constant beatings. Through these and other stories, Rodriguez found the strength to leave her own unhealthy marriage and allow herself to love again, Afghan style.With warmth and humor, Rodriguez details the lushness of a seemingly desolate region and reveals the magnificence behind the burqa. Kabul Beauty School is a remarkable tale of an extraordinary community of women who come together and learn the arts of perms, friendship, and freedom.From the Hardcover edition.

    In a body of work spanning over a half-century, he was variously a draughtsman, a printmaker, a sculptor and a painter. This short book is both a biography and a guide to his art. It focuses on the extraordinary works that Henri Matisse made during the last period of his life - the large-scale cut-outs on coloured paper, including his famous Blue Nudes, The Snail and Large Composition with Masks.

    He made pilgrimages to true time capsules like a remote lagoon in Western Australia, spent time in research collections photographing forms of microscopic life, and even found ways to create visual parallels between the growth of organs in the human body and the patterns seen on the surface of the earth. The resulting volume is a glorious picture book of planet earth depicting the amazing biodiversity that surrounds us all. Lanting's true gift lies beyond his technical mastery: it is his eye for geometry in the beautiful chaos of nature that allows him to show us the world as it has never been seen before. From crabs to jellyfish, diatoms to vast geological formations, jungles to flowers, monkeys to human embryos, LIFE is a testament to the magical beauty of life in all its forms and is Lanting's most remarkable achievement to date. The photographer: Dutch-born Frans Lanting has been hailed as one of the great nature photographers of our time. For the past two decades he has documented wildlife and our relationship with nature in environments from the Amazon to Antarctica. Exhibits of his photographs have been shown at major museums in Paris, Milan, Tokyo, New York, Madrid, and Amsterdam. Lanting's previous TASCHEN titles include Eye to Eye, Jungles, and Penguin. The editor: Christine Eckstrom is a writer and editor specializing in natural history. She collaborates with Lanting on fieldwork, books, and other publishing projects from their home base in California.

    Yet the life of any structure is neither fixed nor timeless. Outliving their original contexts and purposes, buildings are forced to adapt to each succeeding age. To survive, they must become shape-shifters. In an inspired refashioning of architectural history, Edward Hollis recounts more than a dozen stories of such metamorphosis, highlighting the way in which even the most familiar structures all change over time into “something rich and strange.” The Parthenon, that epitome of a ruined temple, was for centuries a working church and then a mosque; the cathedral of Notre Dame was “restored” to a design that none of its original makers would have recognized. Remains of the Berlin Wall, meanwhile, which was once gleefully smashed and bulldozed, are now treated as precious relics. Altered layer by layer with each generation, buildings become eloquent chroniclers of the civilizations they’ve witnessed. Their stories, as beguiling and captivating as folktales, span the gulf of history.

    And yet, until about ten minutes ago I had no conception of its magnitude, its permanent beauty and its importance." —Franklin Delano Roosevelt, upon first viewing Mount Rushmore, August 30, 1936Now in paperback, The Carving of Mount Rushmore tells the complete story of the largest and certainly the most spectacular sculpture in existence. More than 60 black-and-white photographs offer unique views of this gargantuan effort, and author Rex Alan Smith—a man born and raised within sight of Rushmore—recounts with the sensitivity of a native son the ongoing struggles of sculptor Gutzon Borglum and his workers.

    Otherwise what was it all for?”In 2006, after his father was killed, Gulwali Passarlay was caught between the Taliban who wanted to recruit him, and the Americans who wanted to use him. To protect her son, Gulwali’s mother sent him away. The search for safety would lead the twelve-year-old across eight countries, from the mountains of eastern Afghanistan through Iran and Europe to Britain. Over the course of twelve harrowing months, Gulwali endured imprisonment, hunger, cruelty, brutality, loneliness, and terror—and nearly drowned crossing the Mediterranean Sea. Eventually granted asylum in England, Gulwali was sent to a good school, learned English, won a place at a top university, and was chosen to help carry the Olympic Torch in the 2012 London Games.In The Lightless Sky, Gulwali recalls his remarkable experience and offers a firsthand look at one of the most pressing issues of our time: the modern refugee crisis—the worst displacement of millions of men, women, and children in generations. Few, like Gulwali, make it to a country that offers the chance of freedom and opportunity. A celebration of courage and determination, The Lightless Sky is a poignant account of an exceptional human being who is today an ardent advocate of democracy—and a reminder of our responsibilities to those caught in terrifying and often deadly circumstances beyond their control.

    Exhaustively researched and gracefully written, The King in Exile tells a story of compelling human interest, filled with drama, pathos and tragedy... [It] heralds the arrival of a writer of non-fiction who is both uncommonly talented and exceptionally diligent... One of the great merits of [the book] is that it is completely free of jargon and theorizing. It is in essence a family story, centred on five women whose lives were waylaid by history' Amitav Ghosh in his blog 'The captivity of Burma's last king and the fall of the Konbaung dynasty: a compelling new account'. In 1879, as the king of Burma lay dying, one of his queens schemed for his forty-first son, Thibaw, to supersede his half brothers to the throne. For seven years, King Thibaw and Queen Supayalat ruled from the resplendent, intrigue-infused Golden Palace in Mandalay, where they were treated as demi-gods. After a war against Britain in 1885, their kingdom was lost, and the family exiled to the secluded town of Ratnagiri in British-occupied India. Here they lived, closely guarded, for over thirty-one years. The king's four daughters received almost no education, and their social interaction was restricted mainly to their staff. As the princesses grew, so did their hopes and frustrations. Two of them fell in love with 'highly inappropriate' men. In 1916, the heartbroken king died. Queen Supayalat and her daughters were permitted to return to Rangoon in 1919. In Burma, the old queen regained some of her feisty spirit as visitors came by daily to pay their respects. All the princesses, however, had to make numerous adjustments in a world they had no knowledge of. The impact of the deposition and exile echoed forever in each of their lives, as it did in the lives of their children. Written after years of meticulous research, and richly supplemented with photographs and illustrations, The King in Exile is an engrossing human-interest story of this forgotten but fascinating family.

    They sit behind plate glass: dignified, tastefully lit. Accompanying pieces of card offer a name, date and place of origin. They do not mention that the objects are all stolen.Few artefacts embody this history of rapacious and extractive colonialism better than the Benin Bronzes - a collection of thousands of brass plaques and carved ivory tusks depicting the history of the Royal Court of the Obas of Benin City, Nigeria. Pillaged during a British naval attack in 1897, the loot was passed on to Queen Victoria, the British Museum and countless private collections.The story of the Benin Bronzes sits at the heart of a heated debate about cultural restitution, repatriation and the decolonisation of museums. In The Brutish Museums, Dan Hicks makes a powerful case for the urgent return of such objects, as part of a wider project of addressing the outstanding debt of colonialism.

    This guide does not aim to cover absolutely everything, but to provide a comprehensive overview with a selection of nearly 600 masterpieces from Antiquity to the mid-19th century.

    

    Joel Hafvenstein signed up for a year in Afghanistan in the heart of the country's opium trade, running an American-funded aid program to help thousands of opium poppy farmers make a legal living, and to win hearts and minds away from the former Taliban government. The author was soon caught up in the deadly intrigues of Helmand's drug trafficking warlords. Click here to read the review in The New York Times or for more information on this title go to opiumseason.com.