Their essays often begin as love stories do, with the passion of something newly discovered: the crush of subway crowds, the streets filled with manic energy, and the sudden, unblinking certainty that this is the only place on Earth where one can become exactly who she is meant to be.They also share the grief that comes like a gut-punch, when the grand metropolis loses its magic and the pressures of New York's frenetic life wear thin for even the most dedicated dwellers. As friends move away, rents soar, and love—still—remains just out of reach, each writer's goodbye is singular and universal, just like New York itself.

    Meanwhile, the titanically talented Babe Ruth was beginning his assault on the home run record, which would culminate on September 30 with his sixtieth blast, one of the most resonant and durable records in sports history. In between those dates a Queens housewife named Ruth Snyder and her corset-salesman lover garroted her husband, leading to a murder trial that became a huge tabloid sensation. Alvin “Shipwreck” Kelly sat atop a flagpole in Newark, New Jersey, for twelve days—a new record. The American South was clobbered by unprecedented rain and by flooding of the Mississippi basin, a great human disaster, the relief efforts for which were guided by the uncannily able and insufferably pompous Herbert Hoover. Calvin Coolidge interrupted an already leisurely presidency for an even more relaxing three-month vacation in the Black Hills of South Dakota. The gangster Al Capone tightened his grip on the illegal booze business through a gaudy and murderous reign of terror and municipal corruption. The first true “talking picture,” Al Jolson’s The Jazz Singer, was filmed and forever changed the motion picture industry. The four most powerful central bankers on earth met in secret session on a Long Island estate and made a fateful decision that virtually guaranteed a future crash and depression.     All this and much, much more transpired in that epochal summer of 1927, and Bill Bryson captures its outsized personalities, exciting events, and occasional just plain weirdness with his trademark vividness, eye for telling detail, and delicious humor. In that year America stepped out onto the world stage as the main event, and One Summer transforms it all into narrative nonfiction of the highest order.

    Thrown into a profession of gallows humor and vivid characters (both living and very dead), Caitlin learned to navigate the secretive culture of those who care for the deceased.Smoke Gets in Your Eyes tells an unusual coming-of-age story full of bizarre encounters and unforgettable scenes. Caring for dead bodies of every color, shape, and affliction, Caitlin soon becomes an intrepid explorer in the world of the dead. She describes how she swept ashes from the machines (and sometimes onto her clothes) and reveals the strange history of cremation and undertaking, marveling at bizarre and wonderful funeral practices from different cultures.Her eye-opening, candid, and often hilarious story is like going on a journey with your bravest friend to the cemetery at midnight. She demystifies death, leading us behind the black curtain of her unique profession. And she answers questions you didn’t know you had: Can you catch a disease from a corpse? How many dead bodies can you fit in a Dodge van? What exactly does a flaming skull look like?Honest and heartfelt, self-deprecating and ironic, Caitlin's engaging style makes this otherwise taboo topic both approachable and engrossing. Now a licensed mortician with an alternative funeral practice, Caitlin argues that our fear of dying warps our culture and society, and she calls for better ways of dealing with death (and our dead).

    What really happened in 1969? In 1999, when Tom O'Neill was assigned a magazine piece about the thirtieth anniversary of the Manson murders, he worried there was nothing new to say. Weren't the facts indisputable? Charles Manson had ordered his teenage followers to commit seven brutal murders, and in his thrall, they'd gladly complied. But when O'Neill began reporting the story, he kept finding holes in the prosecutor Vincent Bugliosi's narrative, long enshrined in the best-selling Helter Skelter. Before long, O'Neill had questions about everything from the motive to the manhunt. Though he'd never considered himself a conspiracy theorist, the Manson murders swallowed the next two decades of his career. He was obsessed. Searching but never speculative, CHAOS follows O'Neill's twenty-year effort to rebut the "official" story behind Manson. Who were his real friends in Hollywood, and how far would they go to hide their ties? Why didn't law enforcement act on their many chances to stop him? And how did he turn a group of peaceful hippies into remorseless killers? O'Neill's hunt for answers leads him from reclusive celebrities to seasoned spies, from the Summer of Love to the shadowy sites of the CIA's mind-control experiments, on a trail rife with cover-ups and coincidences. Featuring hundreds of new interviews and dozens of never-before-seen documents from the LAPD, the FBI, and the CIA, CHAOS mounts an argument that could be, according to Los Angeles Deputy District Attorney Stephen Kay, strong enough to overturn the verdicts on the Manson murders. In those two dark nights in Los Angeles, O'Neill finds the story of California in the sixties: when charlatans mixed with prodigies, free love was as possible as brainwashing, and utopia-or dystopia-was just an acid trip away.

    Simultaneously channeling the gonzo energy of Hunter S. Thompson and the wit and insight of Joan Didion, Sullivan shows us—with a laidback, erudite Southern charm that’s all his own—how we really (no, really) live now. In his native Kentucky, Sullivan introduces us to Constantine Rafinesque, a nineteenth-century polymath genius who concocted a dense, fantastical prehistory of the New World. Back in modern times, Sullivan takes us to the Ozarks for a Christian rock festival; to Florida to meet the alumni and straggling refugees of MTV’s Real World, who’ve generated their own self-perpetuating economy of minor celebrity; and all across the South on the trail of the blues. He takes us to Indiana to investigate the formative years of Michael Jackson and Axl Rose and then to the Gulf Coast in the wake of Katrina—and back again as its residents confront the BP oil spill. Gradually, a unifying narrative emerges, a story about this country that we’ve never heard told this way. It’s like a fun-house hall-of-mirrors tour: Sullivan shows us who we are in ways we’ve never imagined to be true. Of course we don’t know whether to laugh or cry when faced with this reflection—it’s our inevitable sob-guffaws that attest to the power of Sullivan’s work.

    Lin-Manuel Miranda’s Tony-winning musical has spawned sold-out performances, a triple platinum cast album, and a score so catchy that it is being used to teach U.S. history in classrooms across the country. But just how historically accurate is Hamilton? And how is the show itself making history?Historians on Hamilton brings together a collection of top scholars to explain the Hamilton phenomenon and explore what it might mean for our understanding of America’s history. The contributors examine what the musical got right, what it got wrong, and why it matters. Does Hamilton’s hip-hop take on the Founding Fathers misrepresent our nation’s past, or does it offer a bold positive vision for our nation’s future? Can a musical so unabashedly contemporary and deliberately anachronistic still communicate historical truths about American culture and politics? And is Hamilton as revolutionary as its creators and many commentators claim? Perfect for students, teachers, theatre fans, hip-hop heads, and history buffs alike, these short and lively essays examine why Hamilton became an Obama-era sensation and consider its continued relevance in the age of Trump. Whether you are a fan or a skeptic, you will come away from this collection with a new appreciation for the meaning and importance of the Hamilton phenomenon.

    The stakes could not be higher: a global architecture of behavior modification threatens human nature in the twenty-first century just as industrial capitalism disfigured the natural world in the twentieth.Zuboff vividly brings to life the consequences as surveillance capitalism advances from Silicon Valley into every economic sector. Vast wealth and power are accumulated in ominous new "behavioral futures markets," where predictions about our behavior are bought and sold, and the production of goods and services is subordinated to a new "means of behavioral modification."The threat has shifted from a totalitarian Big Brother state to a ubiquitous digital architecture: a "Big Other" operating in the interests of surveillance capital. Here is the crucible of an unprecedented form of power marked by extreme concentrations of knowledge and free from democratic oversight. Zuboff's comprehensive and moving analysis lays bare the threats to twenty-first century society: a controlled "hive" of total connection that seduces with promises of total certainty for maximum profit--at the expense of democracy, freedom, and our human future.With little resistance from law or society, surveillance capitalism is on the verge of dominating the social order and shaping the digital future--if we let it.Table of contentsINTRODUCTION1. Home or exile in the digital futureI. THE FOUNDATIONS OF SURVEILLANCE CAPITALISM2. August 9, 2011: Setting the stage for Surveillance Capitalism3. The discovery of behavioral surplus4. The moat around the castle5. The elaboration of Surveillance Capitalism: Kidnap, corner, compete6. Hijacked: The division of learning in societyII. THE ADVANCE OF SURVEILLANCE CAPITALISM7. The reality business8. Rendition: From experience to data9. Rendition from the depths10. Make them dance11. The right to the future tenseIII. INSTRUMENTARIAN POWER FOR A THIRD MODERNITY12. Two species of power13. Big Other and the rise of instrumentarian power14. A utopia of certainty15, The instrumentarian collective16. Of life in the hive17. The right to sanctuaryCONCLUSION18. A coup from aboveAcknowledgementsAbout the authorDetailed table of contentsNotesIndex

    We meet people, date, get into and out of relationships, all with the hope of finding someone with whom we share a deep connection. This seems standard now, but it’s wildly different from what people did even just decades ago. Single people today have more romantic options than at any point in human history. With technology, our abilities to connect with and sort through these options are staggering. So why are so many people frustrated?Some of our problems are unique to our time. “Why did this guy just text me an emoji of a pizza?” “Should I go out with this girl even though she listed Combos as one of her favorite snack foods? Combos?!” “My girlfriend just got a message from some dude named Nathan. Who’s Nathan? Did he just send her a photo of his penis? Should I check just to be sure?” But the transformation of our romantic lives can’t be explained by technology alone. In a short period of time, the whole culture of finding love has changed dramatically. A few decades ago, people would find a decent person who lived in their neighborhood. Their families would meet and, after deciding neither party seemed like a murderer, they would get married and soon have a kid, all by the time they were twenty-four. Today, people marry later than ever and spend years of their lives on a quest to find the perfect person, a soul mate.For years, Aziz Ansari has been aiming his comic insight at modern romance, but for Modern Romance, the book, he decided he needed to take things to another level. He teamed up with NYU sociologist Eric Klinenberg and designed a massive research project, including hundreds of interviews and focus groups conducted everywhere from Tokyo to Buenos Aires to Wichita. They analyzed behavioral data and surveys and created their own online research forum on Reddit, which drew thousands of messages. They enlisted the world’s leading social scientists, including Andrew Cherlin, Eli Finkel, Helen Fisher, Sheena Iyengar, Barry Schwartz, Sherry Turkle, and Robb Willer. The result is unlike any social science or humor book we’ve seen before.In Modern Romance, Ansari combines his irreverent humor with cutting-edge social science to give us an unforgettable tour of our new romantic world.

    The result is a radical interrogation of work, leisure, and capitalism. Described by The New York Times as a writer who "advances from all sides, like a chess player," Biss brings her approach to the lived experience of capitalism. Ranging from IKEA to Beyoncé to Pokemon, across bars and laundromats and universities, she asks, of both herself and her class, "In what have we invested?"

    Evan is shy, lonely, and bullied for it―teeming with the irrepressible emotions all too familiar with anyone who's ever been a teenager. After a tragedy strikes, Evan's life suddenly gets turned around, but is it ultimately for the better?

    When they began living together, she was 25; he was 58. Three years later, they married, but within a year and a half, she left him, amidst reports of loud arguments and spanking episodes. Their divorce, finalized in 1968, was a major news splash even in that pre-TMZ, pre-internet era. Grant died in 1986, but Cannon has continued to wrestle with the details, the rights, and the wrongs of their relationship. Dear Cary is a memoir that celebrates and scrutinizes the great love of her life.

    Features the complete script and song lyrics, with 4-color spot illustrations throughout, an original introduction by the creators, and a foreword by Mark Harris.The Book of Mormon, which follows a pair of mismatched Mormon boys sent on a mission to a place that's about as far from Salt Lake City as you can get, features book, music, and lyrics by Trey Parker, Robert Lopez and Matt Stone.Parker and Stone are the four-time Emmy Award–winning creators of Comedy Central's landmark animated series South Park. Tony Award–winner Lopez is co-creator of the long-running hit musical comedy Avenue Q. The Book of Mormon is choreographed by three-time Tony Award–nominee Casey Nicholaw (Monty Python's Spamalot, The Drowsy Chaperone) and is directed by Nicholaw and Parker.The book includes • an original foreword by journalist Mark Harris (author of Pictures at a Revolution) • an original introduction by the authors on the genesis of the show • a production history • the complete book and lyrics, with four-color spot illustrations throughout.

    As the creator and star of Mister Rogers’ Neighborhood, he was a champion of compassion, equality, and kindness. Rogers was fiercely devoted to children and to taking their fears, concerns, and questions about the world seriously.The Good Neighbor, the first full-length biography of Fred Rogers, tells the story of this utterly unique and enduring American icon. Drawing on original interviews, oral histories, and archival documents, Maxwell King traces Rogers’s personal, professional, and artistic life through decades of work, including a surprising decision to walk away from the show to make television for adults, only to return to the neighborhood with increasingly sophisticated episodes, written in collaboration with experts on childhood development. An engaging story, rich in detail, The Good Neighbor is the definitive portrait of a beloved figure, cherished by multiple generations.

    It was stolen moments spent with the empowered literary characters of Jane Austen and Louisa May Alcott that helped her to imagine an alternative way of life. Trapped as a teenager in a sexually and emotionally dysfunctional marriage to a man she barely knew, the tension between Deborah’s desires and her responsibilities as a good Satmar girl grew more explosive until she gave birth at nineteen and realized that, for the sake of herself and her son, she had to escape.

    Instead, within ten years, she’d revolutionized morning TV and made household names of her co-hosts: Joy Behar, Star Jones, Meredith Vieira and Elisabeth Hasselbeck. But the daily chatfest didn’t just comment on the news. It became the news. And the headlines barely scratched the surface.Based on stunning interviews with nearly every host and unprecedented access, award-winning journalist Ramin Setoodeh takes you backstage where the stars really spoke their minds. Here's the full story of how Star, then Rosie, then Whoopi tried to take over the show, while Barbara struggled to maintain control of it all, a modern-day Lear with her media-savvy daughters. You'll read about how so many co-hosts had a tough time fitting in, suffered humiliations at the table, then pushed themselves away, feeling betrayed—one nearly quitting during a commercial. Meanwhile, the director was being driven insane, especially by Rosie.Setoodeh uncovers the truth about Star’s weight loss and wedding madness. Rosie’s feud with Trump. Whoopi’s toxic relationship with Rosie. Barbara’s difficulty stepping away. Plus, all the unseen hugs, snubs, tears—and one dead rodent.Ladies Who Punch shows why The View can be mimicked and mocked, but it can never be matched.