Today it has the greatest concentration of antebellum mansions in the South, and a culture full of unexpected contradictions. Prominent white families dress up in hoopskirts and Confederate uniforms for ritual celebrations of the Old South, yet Natchez is also progressive enough to elect a gay black man for mayor with 91% of the vote. Much as John Berendt did for Savannah in Midnight in the Garden of Good and Evil and the hit podcast S-Town did for Woodstock, Alabama, so Richard Grant does for Natchez in The Deepest South of All. With humor and insight, he depicts a strange, eccentric town with an unforgettable cast of characters. There’s Buzz Harper, a six-food-five gay antique dealer famous for swanning around in a mink coat with a uniformed manservant and a very short German bodybuilder. There’s Ginger Hyland, “The Lioness,” who owns 500 antique eyewash cups and decorates 168 Christmas trees with her jewelry collection. And there’s Nellie Jackson, a Cadillac-driving brothel madam who became an FBI informant about the KKK before being burned alive by one of her customers. Interwoven through these stories is the more somber and largely forgotten account of Abd al Rahman Ibrahima, a West African prince who was enslaved in Natchez and became a cause célèbre in the 1820s, eventually gaining his freedom and returning to Africa. With an “easygoing manner” (Geoff Dyer, National Book Critics Circle Award–winning author of Otherwise Known as the Human Condition), this book offers a gripping portrait of a complex American place, as it struggles to break free from the past and confront the legacy of slavery.

    Henry Clay, Daniel Webster, Dolley Madison, Henry James as a boy with his father, Horace Greeley, Edgar Allan Poe, the Prince of Wales, and Jenny Lind were among the dignitaries photographed in Mathew Brady's studio. But it was during the Civil War that he became the founding father of what is now called photojournalism and his photography became an enduring part of American history.The Civil War was the first war in history to leave a detailed photographic record, and Mathew Brady was the war's chief visual historian. Previously, the general public had never seen in such detail the bloody particulars of war--the strewn bodies of the dead, the bloated carcasses of horses, the splintered remains of trees and fortifications, the chaos and suffering on the battlefield. Brady knew better than anyone of his era the dual power of the camera to record and to excite, to stop a moment in time and to draw the viewer vividly into that moment.He was not, in the strictest sense, a Civil War photographer. As the director of a photographic service, he assigned Alexander Gardner, James F. Gibson, and others to take photographs, often under his personal supervision; he also distributed Civil War photographs taken by others not employed by him. Ironically, Brady had accompanied the Union army to the first major battle at Bull Run, but was so shaken by the experience that throughout the rest of the war he rarely visited battlefields, except well before or after a major battle. The famous Brady photographs at Antietam were shot by Gardner and Gibson.Few books about Brady have gone beyond being collections of the photographs attributed to him, accompanied by a biographical sketch. MATHEW BRADY will be the biography of an American legend--a businessman, an accomplished and innovative technician, a suave promoter, a celebrated portrait artist, and, perhaps most important, a historian who chronicled America during its finest and gravest moments of the 19th century.

    Tete a Tete is a remarkable arrangement of his most memorable portraits, including Pablo Picasso, Truman Capote, Marilyn Monroe, Lucien Freud, William Faulkner, Robert Kennedy, Che Guevara, Martin Luther King Jr., Coco Chanel, and the Dalai Lama. Beyond these famous names there are also anonymous portraits, chosen for their striking and unusual features, and a selection of pencil drawings, including a self-portrait. Cartier-Bresson supervised the design of the book and the juxtaposition of all the photographs. The result is a distinguished collection of his work, diverse in its range of extraordinary and ordinary personalities from the 1930s to the 1990s. Tete a Tete reveals Cartier-Bresson as a photographer who is as skillful in recording the subtleties of the individual portrait as he is renowned for his masterful ability to capture the decisive moment.

    The image didn t just bring revered faces together for the first time; it marked the beginning of a new fashion era and a new understanding of female beauty. Coinciding with his major retrospective at the Kunsthal in Rotterdam, the Netherlands, this book gathers more than 400 images from four decades of Lindbergh s photography to celebrate his unique and game-changing storytelling and the new romantic and narrative vision it brought to art and fashion. Whether in striking single portraits or dramatic situations of figure and setting, we trace the photographer s cinematic inflections and his provocative play with female archetypes as subjects adopt the guise of dancers, actresses, heroines, and femmes fatales. Raw and seductive at once, we see how Lindbergh s trademark monochrome pictures also redefined standards of beauty by emphasizing spirit and personality as much as looks, celebrating the elegance and sensuality of older women, and privileging natural and authentic beauty in an era of pervasive retouching. In a testimony to Lindbergh s illustrious status in the fashion world, his images are contextualized by commentaries from collaborators such as Jean Paul Gaultier, Nicole Kidman, Grace Coddington, Cindy Crawford, and Anna Wintour, who chose Lindbergh to shoot her first US Vogue cover. Their tributes explain what makes Lindbergh s images so unique and powerful. Exhibition Peter Lindbergh. A Different History of Fashion at Kunsthal, Rotterdam, The Netherlands, September 10, 2016 February 12, 2017Text in English, French, and German"

     Breathing new life into a story that has been rife with controversy and prejudice for over two centuries, the film follows the rise of the visionary Virginian slave, Nat Turner. Hired out by his owner to preach to and placate slaves on drought-plagued plantations, Turner eventually transforms into an inspired, impassioned, and fierce anti-slavery leader. Beautifully illustrated with stills from the movie and original illustrations, the book also features an essay by writer/director, Nate Parker, contributions by members of the cast and crew, and commentary by educator Brian Favors and historians Erica Armstrong Dunbar and Daina Ramey Berry who place Nat Turner and the rebellion he led into historical context. The Birth of a Nation reframes the way we think about slavery and resistance as it explores the passion, determination, and faith that inspired Nat Turner to sacrifice everything for freedom.

    With Humankind, he brings that mentality to bear against one of our most entrenched ideas: namely, that human beings are by nature selfish and self-interested.By providing a new historical perspective of the last 200,000 years of human history, Bregman sets out to prove that we are in fact evolutionarily wired for cooperation rather than competition, and that our instinct to trust each other has a firm evolutionary basis going back to the beginning of Homo sapiens. Bregman systematically debunks our understanding of the Milgram electrical-shock experiment, the Zimbardo prison experiment, and the Kitty Genovese "bystander effect."In place of these, he offers little-known true stories: the tale of twin brothers on opposing sides of apartheid in South Africa who came together with Nelson Mandela to create peace; a group of six shipwrecked children who survived for a year and a half on a deserted island by working together; a study done after World War II that found that as few as 15% of American soldiers were actually capable of firing at the enemy.The ultimate goal of Humankind is to demonstrate that while neither capitalism nor communism has on its own been proven to be a workable social system, there is a third option: giving "citizens and professionals the means (left) to make their own choices (right)." Reorienting our thinking toward positive and high expectations of our fellow man, Bregman argues, will reap lasting success. Bregman presents this idea with his signature wit and frankness, once again making history, social science and economic theory accessible and enjoyable for lay readers.

    As a human behavior hacker, Vanessa Van Edwards created a research lab to study the hidden forces that drive us. And she’s cracked the code. In Captivate, she shares shortcuts, systems, and secrets for taking charge of your interactions at work, at home, and in any social situation. These aren’t the people skills you learned in school. This is the first comprehensive, science backed, real life manual on how to captivate anyone—and a completely new approach to building connections. Just like knowing the formulas to use in a chemistry lab, or the right programming language to build an app, Captivate provides simple ways to solve people problems. You’ll learn, for example… · How to work a room: Every party, networking event, and social situation has a predictable map. Discover the sweet spot for making the most connections.· How to read faces: It’s easier than you think to speed-read facial expressions and use them to predict people’s emotions.· How to talk to anyone: Every conversation can be memorable—once you learn how certain words generate the pleasure hormone dopamine in listeners.When you understand the laws of human behavior, your influence, impact, and income will increase significantly. What’s more, you will improve your interpersonal intelligence, make a killer first impression, and build rapport quickly and authentically in any situation—negotiations, interviews, parties, and pitches. You’ll never interact the same way again.

    In his gripping and controversial new work, New York Times bestselling author Steven Pinker shows that despite the ceaseless news about war, crime, and terrorism, violence has actually been in decline over long stretches of history. Exploding myths about humankind's inherent violence and the curse of modernity, this ambitious book continues Pinker's exploration of the essence of human nature, mixing psychology and history to provide a remarkable picture of an increasingly enlightened world.

    Secrets unfold in the official companion book to the new exhibition cosponsored by National Geographic, opening in Philadelphia in May 2010 and touring the United States for several years. Written by the inimitable Zahi Hawass in collaboration with underwater archaeologist Franck Goddio, this richly illustrated book chronicles the life of Cleopatra and the centuries-long quest to learn more about the queen and her tumultuous era, the last pharaonic period of Egyptian history. For the crowds nationwide who will visit the blockbuster exhibit—as well as the huge readership for popular illustrated histories such as this—Cleopatra and the Lost Treasures of Egypt holds rare glimpses and stunning revelations from the life of a star-crossed queen.

    Our Founding Fathers doodled, and so did Andrew Jackson. Benjamin Harrison accomplished almost nothing during his time in the White House, but he left behind some impressive doodles. During the twentieth century--as the federal bureaucracy grew and meetings got longer--the presidential doodle truly came into its own. Theodore Roosevelt doodled animals and children, while Dwight Eisenhower doodled weapons and self-portraits. FDR doodled gunboats, and JFK doodled sailboats. Ronald Reagan doodled cowboys and football players and lots of hearts for Nancy. The nation went wild for Herbert Hoover's doodles: A line of children's clothing was patterned on his geometric designs. The creators of Cabinet magazine have spent years scouring archives and libraries across America. They have unearthed hundreds of presidential doodles, and here they present the finest examples of the genre. Historian David Greenberg sets these images in context and explains what they reveal about the inner lives of our commanders in chief. Are Kennedy's dominoes merely squiggles, or do they reflect deeper anxieties about the Cold War? Why did LBJ and his cabinet spend so much time doodling caricatures of one another? Smart, revealing, and hilarious -- Presidential Doodles is the ideal gift for anyone interested in politics or history. And for anyone that doodles!

    A member of the prestigious Magnum agency since 1954, he has photographed all over the world and his images have been the subject of many books and exhibitions.Containing over 500 pictures, over half of which have never been published before, Elliott Erwitt Snaps is a unique and comprehensive survey of his work. From famous images such as Nikita Khrushchev and Richard Nixon arguing in Moscow in 1959 and Marilyn Monroe with the cast of the movie The Misfits, to his many more personal images of places, things, people and animals, Erwitt's unmistakable, often witty, style gives us a snapshot of the famous and the ordinary, the strange and the mundane over a period of more than half a century, through the lens of one of the period's finest image-makers.The book is arranged in nine chapters, each with a one-word title: Look, Move, Play, Read, Rest, Touch, Tell, Point, Stand. For Erwitt, whose photography is a study and celebration of life, these are the basic actions of life - the things people do. The photographs are not intended to illustrate the words, but the words act as a means of grouping and organizing, making broad connections and also playing with pun and ambiguity, in keeping with the visual games Erwitt plays.

    Its roots stem from a heady blend of horror movies, heavy metal music, Satanism, Paganism, and adolescent angst. In the early-mid 1990s, members of this extremist underground committed murder, burned down medieval wooden churches, and desecrated graveyards. What started as juvenile frenzy came to symbolize the start of a war against Christianity, a return to the worship of the ancient Norse gods, and the complete rejection of mainstream society.

    Friedman shows that we have entered an age of dizzying acceleration--and explains how to live in it. Due to an exponential increase in computing power, climbers atop Mount Everest enjoy excellent cell-phone service and self-driving cars are taking to the roads. A parallel explosion of economic interdependency has created new riches as well as spiraling debt burdens. Meanwhile, Mother Nature is also seeing dramatic changes as carbon levels rise and species go extinct, with compounding results.How do these changes interact, and how can we cope with them? To get a better purchase on the present, Friedman returns to his Minnesota childhood and sketches a world where politics worked and joining the middle class was an achievable goal. Today, by contrast, it is easier than ever to be a maker (try 3-D printing) or a breaker (the Islamic State excels at using Twitter), but harder than ever to be a leader or merely "average." Friedman concludes that nations and individuals must learn to be fast (innovative and quick to adapt), fair (prepared to help the casualties of change), and slow (adept at shutting out the noise and accessing their deepest values). With vision, authority, and wit, Thank You for Being Late establishes a blueprint for how to think about our times.

    People are waking up to the seedy history of the world's art collections, and are starting to ask difficult questions about what the future of museums should look like. In The Whole Picture, art historian and Uncomfortable Art Tour guide Alice Procter provides a manual for deconstructing everything you thought you knew about art, and fills in the blanks with the stories that have been left out of the art history canon for centuries. The book is divided into four chronological sections, named after four different kinds of art space:The Palace The Classroom The Memorial The Playground Each section tackles the fascinating and often shocking stories of five different art pieces, including the propaganda painting that the East India Company used to justify its control in India; the Maori mokomokai skulls that were traded and collected by Europeans as 'art objects'; and Kara Walker's controversial contemporary sculpture A Subtlety, which raised questions about 'appropriate' interactions with art. Through these stories, Alice brings out the underlying colonial narrative lurking beneath the art industry today, and suggests different ways of seeing and thinking about art in the modern world.The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.

    New hardcover with dust jacket