In Major Labels, Sanneh distills a career's worth of knowledge about music and musicians into a brilliant and omnivorous reckoning with popular music--as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. He explains the history of slow jams, the genius of Shania Twain, and why rappers are always getting in trouble.Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. The opposite of a modest proposal, Major Labels pays in full.

    Cole Moreton tells the story of the Blaskets through the eyes of the Kearney family, who lived there for generations until 1947 when they paid a terrible price for their isolation-a young man's life. Moreton discovers a few survivors still alive within sight of the Great Blasket, but most had left Ireland for America, settling in Massachusetts. Hungry for Home is a beautifully written and gripping account of a quest for a vanished people, and the Kearneys' incredible journey into the twentieth century is "a moving, atmospheric testament to the mythic lure of home". Entertainment Weekly.

    Yet Irene managed to overcome these obstacles to seek a life that she believed would be better for her and her children. She made a bold step into the "outside world" and into a freedom she never knew existed.The details of her harrowing experience will appall, astonish, and in the end, greatly inspire. This dramatic story reveals how far religion can be stretched and abused, and how one woman and her children found their way into truth and redemption.

    Now, Carl Hoffman uncovers startling new evidence that finally tells the full, astonishing story.Despite exhaustive searches, no trace of Rockefeller was ever found. Soon after his disappearance, rumors surfaced that he'd been killed and ceremonially eaten by the local Asmat—a native tribe of warriors whose complex culture was built around sacred, reciprocal violence, head hunting, and ritual cannibalism. The Dutch government and the Rockefeller family denied the story, and Michael's death was officially ruled a drowning. Yet doubts lingered. Sensational rumors and stories circulated, fueling speculation and intrigue for decades. The real story has long waited to be told—until now.Retracing Rockefeller's steps, award-winning journalist Carl Hoffman traveled to the jungles of New Guinea, immersing himself in a world of headhunters and cannibals, secret spirits and customs, and getting to know generations of Asmat. Through exhaustive archival research, he uncovered never-before-seen original documents and located witnesses willing to speak publically after fifty years.In Savage Harvest he finally solves this decades-old mystery and illuminates a culture transformed by years of colonial rule, whose people continue to be shaped by ancient customs and lore. Combining history, art, colonialism, adventure, and ethnography, Savage Harvest is a mesmerizing whodunit, and a fascinating portrait of the clash between two civilizations that resulted in the death of one of America's richest and most powerful scions.

    She spent her life teaching others how the spirit speaks through the Dream, how the spirit heals, and how the spirit demands to be heard.Greg Sarris weaves together stories from Mabel McKay's life with an account of how he tried, and she resisted, telling her story straight—the white people's way. Sarris, an Indian of mixed-blood heritage, finds his own story in his search for Mabel McKay's. Beautifully narrated, Weaving the Dream initiates the reader into Pomo culture and demonstrates how a woman who worked most of her life in a cannery could become a great healer and an artist whose baskets were collected by the Smithsonian.Hearing Mabel McKay's life story, we see that distinctions between material and spiritual and between mundane and magical disappear. What remains is a timeless way of healing, of making art, and of being in the world.

    . . A prison warder from Kerala is worshipped as an incarnate deity for two months of every year . . . A Jain nun tests her powers of detachment watching her closest friend ritually starve herself to death . . . The twenty-third in a centuries-old line of idol makers struggles to reconcile with his son’s wish to study computer engineering . . . An illiterate goatherd keeps alive in his memory an ancient 200,000-stanza sacred epic . . . A temple prostitute, who resisted her own initiation into sex work, pushes her daughters into the trade she nonetheless regards as a sacred calling.William Dalrymple tells these stories, among others, with expansive insight and a spellbinding evocation of remarkable circumstance, giving us a dazzling travelogue of both place and spirit

    Drawing on photos, anecdotes, and, most important, the way he hears the music, Dyer imaginatively reconstructs scenes from the embattled lives of some of the world's greats: Lester Young fading away in a hotel room; Charles Mingus storming down the streets of New York on a too-small bicycle; Thelonius Monk creating his own private language on the piano. However, music is the driving force of But Beautiful, and Dyer brings it to life in luminescent and wildly metaphoric prose that mirrors the quirks, eccentricity, and brilliance of each musician’s style.

    Eva Hoffman spent her early years in Cracow, among family friends who, like her parents, had escaped the Holocaust and were skeptical of the newly imposed Communist state. Hoffman's parents managed to immigrate to Canada in the 1950s, where Eva was old enough to feel like a stranger--bland food, a quieter life, and schoolmates who hardly knew where Poland was. Still, there were neighbors who knew something of Old World ways, and a piano teacher who was classically Middle European in his neurotic enthusiasm for music. Her true exile came in college in Texas, where she found herself among people who were frightened by and hostile to her foreignness. Later, at Harvard, Hoffman found herself initially alienated by her burgeoning intellectualism; her parents found it difficult to comprehend. Her sense of perpetual otherness was extended by encounters with childhood friends who had escaped Cracow to grow up in Israel, rather than Canada or the United States, and were preoccupied with soldiers, not scholars. Lost in Translation is a moving memoir that takes the specific experience of the exile and humanizes it to such a degree that it becomes relevant to the lives of a wider group of readers.

    He's the one-time pelt smuggler, professional hockey goalie (possibly the worst in the sport's history), pen salesman, Zamboni driver, gravedigger, church painter, roulette addict, building superintendent, whiskey drinker, and native of Transylvania who's decided that the best thing to do with his time is to rob as many banks as possible.His rival: Lajos Varjú, the Inspector Clouseau of the Iron Curtain, whose knowledge of police work comes from Hungarian-dubbed episodes of Columbo. His deputy is nicknamed "Mound of Asshead" because of his propensity for crashing police cars. His forensics expert, known as "Dance Instructor" for his lucrative side career teaching ballet, wears a top hat and tails on the job.Welcome to Julian Rubinstein's uproariously funny and unforgettable account of crime in the heart of the new Europe. With a supporting cast that includes car wash owners, exotic dancers, drunk army generals, cocaine-snorting Hungarian rappers, the Johnnie Cochran of Budapest, and a hockey team that seems to spend as much time breaking the law as it does practicing, Ballad of the Whiskey Robber gives us the most charming outlaw-hero since the Sundance Kid—and the Sundance Kid didn't play hockey.As the Eastern bloc slips off its communist skin and replaces it with leopard-skin hot pants, Ballad of the Whiskey Robber is here to screw in the pink lightbulbs. Part Unbearable Lightness of Being, part Pink Panther, and part Slap Shot, Julian Rubinstein's tale is a spectacular literary debut—and a story so outrageous that it could only be true.

    MacLeod and her husband encountered their dream while vacationing on a remote island in the Scottish Hebrides. Enthralled by its windswept beauty, they soon were the proud owners of a near-derelict croft house--a farmer's stone cottage--on "a small acre" of land. Mary assumed duties as the island's district nurse. Call the Nurse is her account of the enchanted years she and her family spent there, coming to know its folk as both patients and friends.In anecdotes that are by turns funny, sad, moving, and tragic, she recalls them all, the crofters and their laird, the boatmen and tradesmen, young lovers and forbidding churchmen. Against the old-fashioned island culture and the grandeur of mountain and sea unfold indelible stories: a young woman carried through snow for airlift to the hospital; a rescue by boat; the marriage of a gentle giant and the island beauty; a ghostly encounter; the shocking discovery of a woman in chains; the flames of a heather fire at night; an unexploded bomb from World War II; and the joyful, tipsy celebration of a ceilidh. Gaelic fortitude meets a nurse's compassion in these wonderful true stories from rural Scotland.

    She contributes regularly to The New Yorker and the New York Review of Books on a range of subjects, and each piece of hers is a literary event in its own right.Arranged into five sections--In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free--this new collection poses questions we immediately recognize. What is The Social Network--and Facebook itself--really about? "It's a cruel portrait of us: 500 million sentient people entrapped in the recent careless thoughts of a Harvard sophomore." Why do we love libraries? "Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay." What will we tell our granddaughters about our collective failure to address global warming? "So I might say to her, look: the thing you have to appreciate is that we'd just been through a century of relativism and deconstruction, in which we were informed that most of our fondest-held principles were either uncertain or simple wishful thinking, and in many areas of our lives we had already been asked to accept that nothing is essential and everything changes--and this had taken the fight out of us somewhat."Gathering in one place for the first time previously unpublished work, as well as already classic essays, such as, "Joy," and, "Find Your Beach," Feel Free offers a survey of important recent events in culture and politics, as well as Smith's own life. Equally at home in the world of good books and bad politics, Brooklyn-born rappers and the work of Swiss novelists, she is by turns wry, heartfelt, indignant, and incisive--and never any less than perfect company. This is literary journalism at its zenith.

    This book is about them, the so-called "mole people" living alone and in communities, in the frescoed waiting rooms of long-forgotten subway tunnels and in pick-axed compartments below busway platforms. It is about how and why people move underground, who they are, and what they have to say about their lives and the treacherous "topside" world they've left behind. There are even the voices of young children taken down to the tunnels by parents who are determined to keep their families together, although as one tunnel dweller explains, "once you go down there, you can't be a child anymore." Though they maintain an existence hidden from the world aboveground, tunnel dwellers form a large and growing sector of the homeless population. They are a diverse group, and they choose to live underground for many reasonssome rejecting society and its values, others reaffirming those values in what they view as purer terms, and still others seeking shelter from the harsh conditions on the streets. Their enemies include government agencies and homeless organizations as well as wandering crack addicts and marauding gangs. In communities underground, however, many homeless people find not only a place but also an identity. On these pages Jennifer Toth visits underground New York with various straight-talking guides, from outreach workers and transit police to vetern tunnel dwellers, graffiti artists, and even the "mayor" of a large, highly structured community several levels down. In addition to chilling and poignant firsthand accounts of tunnel life, she describes the fascinating and labryrinthine physical world beneath the city and discusses the literary allusions and historical points of view that prejudice our culture against those who "go underground". Toth has gained unprecedented access to a strange and frightening world, but The Mole People is not a daredevil jo

    Driving the car is Michael Paterniti, a young journalist from Maine. Sitting next to him is an eighty-four-year-old pathologist named Thomas Harvey who performed the autopsy on Einstein in 1955--and simply removed the brain and took it home. And kept it for over forty years.On a cold February day, the two men and the brain leave New Jersey and light out on I-70 for sunny California, where Einstein's perplexed granddaughter, Evelyn, awaits. And riding along as the imaginary fourth passenger is Einstein himself, an id-driven genius, the original galactic slacker with his head in the stars.Part travelogue, part memoir, part history, part biography, and part meditation, Driving Mr. Albert is one of the most unique road trips in modern literature. With the brain as both cargo and talisman, Paterniti perceives every motel, truck-stop diner, and roadside attraction as a weigh station for the American dream in the wake of the scientist's mind-blowing legacy. Finally, inspired by the man who gave a skeptical world a glimpse of its cosmic origins, this extraordinary writer weaves his own unified field theory of time, love, and the power to believe, once again, in eternity.

    She landed in the New World and lived there for three years, giving birth to a baby before sailing home. Or so the Icelandic sagas say. Even after archaeologists found a Viking longhouse in Newfoundland, no one believed that the details of Gudrid’s story were true. Then, in 2001, a team of scientists discovered what may have been this pioneering woman’s last house, buried under a hay field in Iceland, just where the sagas suggested it could be. Joining scientists experimenting with cutting-edge technology and the latest archaeological techniques, and tracing Gudrid’s steps on land and in the sagas, Nancy Marie Brown reconstructs a life that spanned—and expanded—the bounds of the then-known world. She also sheds new light on the society that gave rise to a woman even more extraordinary than legend has painted her and illuminates the reasons for its collapse.

    their doctors."It was the dog who found me."Such is the stark confession launching the harrowing scene that begins The Asylum for Wayward Victorian Girls as Emilie Autumn, a young musician on the verge of a bright career, attempts suicide by overdosing on the antipsychotics prescribed to treat her bipolar disorder. Upon being discovered, Emilie is revived and immediately incarcerated in a maximum-security psych ward, despite her protestations that she is not crazy, and can provide valid reasons for her actions if someone would only listen.Treated as a criminal, heavily medicated, and stripped of all freedoms, Emilie is denied communication with the outside world, and falls prey to the unwelcome attentions of Dr. Sharp, head of the hospital's psychiatry department. As Dr. Sharp grows more predatory by the day, Emilie begins a secret diary to document her terrifying experience, and to maintain her sanity in this environment that could surely drive anyone mad. But when Emilie opens her notebook to find a desperate letter from a young woman imprisoned within an insane asylum in Victorian England, and bearing her own name and description, a portal to another world is blasted wide open.As these letters from the past continue to appear, Emilie escapes further into this mysterious alternate reality where sisterhoods are formed, romance between female inmates blossoms, striped wallpaper writhes with ghosts, and highly intellectual rats speak the Queen's English.But is it real? Or is Emilie truly as mad as she is constantly told she is?The Asylum for Wayward Victorian Girls blurs harsh reality and magical historical fantasy whilst issuing a scathing critique of society's treatment of women and the mental health care industry's treatment of its patients, showing in the process that little has changed throughout the ages.Welcome to the Asylum. Are you committed?