In Bingo Night at the Fire Hall, Holland recounts her adventures and misadventures adjusting to life in a rural community, as her small town adjusts to the inevitable encroachment of suburbia. Whether writing obituaries for the local paper or learning how to handle a chainsaw, Holland shares the triumphs and travails of being a newcomer to an old land with a rich history, a beautiful place sadly losing ground to subdivisions and four-lane highways. Filled with wonderful anecdotes, humor, and insight, Bingo Night at the Fire Hall is a fascinating portrait of a paradisical yet disappearing world.

    Now, at a time of self-reflection in America following a bitter election campaign that has left the country divided, McCullough has collected some of his most important speeches in a brief volume designed to identify important principles and characteristics that are particularly American. The American Spirit reminds us of core American values to which we all subscribe, regardless of which region we live in, which political party we identify with, or our ethnic background. This is a book about America for all Americans that reminds us who we are and helps to guide us as we find our way forward.

    L. Mencken's astonishing career as the premier American social critic of the twentieth century. Gathered by Mencken himself before he died in 1956, this second chrestomathy ("a collection of selected literary passages," with the accent on the tom) contains writings about a variety of subjects - politics, war, music, literature, men and women, lawyers, brethren of the cloth. Some of his essays have beguiling titles - "Notes for an Honest Autobiography," "The Commonwealth of Morons," "Le Vice Anglais," "Acres of Babble," "Hooch for the Artist." All of them are a pleasure to read, and we are reminded that what Mencken wrote in the early years of this century remains applicable to a very different America.Publishers WeeklyThis book's precursor, A Mencken Chrestomathy (collection), was a bestseller in 1949; this anthology of 238 short excerpts from a range of works, selected and annotated by Mencken but unfinished, lay undisturbed in a Baltimore library until Teachout, an arts columnist for the New York Daily News, found it in 1992, while working on a Mencken biography. Teachout considers Mencken's work still immediate. Indeed, quotable lines abound: ``His public life is an endless series of evasions and false pretenses,'' writes Mencken on ``the politician under democracy.'' Baltimore's bard can be magnificent and maddening in the same passage, damning American idiocies while disparaging immigrants. But what impresses most about this collection is Mencken's breadth; few contemporary writers would assume such a broad brief, writing not only about politics, law and the clergy but also about geography, literature, music and drink. To apply a Mencken sobriquet, he was no lesser eminento. (Jan.)Library JournalSelected as a continuation of the original chrestomathy by the Baltimore iconoclast himself before his death, this logically organized sampling of his pre-Depression credos (mostly from The Smart Set and American Mercury) suggests why Mencken was to a whole generation of American youth not just a witty newspaperman with a dazzling style but a force gleefully battering America's deep-rooted Puritan inhibitions. An early champion of Sinclair Lewis, Eugene O'Neill, and Theodore Dreiser, Mencken ridiculed America's institutions, from Rotary Clubs to Harvard professors to the Senate. Sometimes wrongheaded in his judgments, he was unschooled but self-educated in music and politics. His views are sometimes racist and sexist, but they're seldom dull and-in an age of self-conscious "niceness"-never polite. Well worth dipping into.-Charles C. Nash, Cottey Coll., Nevada, Mo.Gilbert TaylorFollowing My Life as Author and Editor" (1993) and Fred Hobson's biography , the Menckenian revival continues apace with this sparkling successor to the first chrestomathy, which was a best-seller in 1949. More than an anthology, the second volume represents pieces (some previously unpublished) that Mencken himself selected and revised before his stroke aborted the project; another proposal to publish came to nought in 1963. Over 60 percent of the 238 items, many from Mencken's magazines Smart Set" and American Mercury", are not available elsewhere, which in itself makes the publication of this title something of a literary event. That it parades again the sage of Baltimore in his incisive, if often irksome, eloquence only confirms him as one of the better belletrists of the century. The job of discriminator of taste exists to be seized in any age, and in the teens and twenties, Mencken extolled and excoriated with idiosyncratic abandon. The books and music he reviewed have faded from memory, but his satirical exfoliations remain fresh, for example, in praise of a bartender's memoir of the bibulous arts or in contempt for a Rotarian's history of his organization. Edited by New York critic Terry Teachout, who is preparing his own biography of the provocateur, this entertaining, exasperating collection captures Mencken's gloomy view of human nature and his bright delight in stripping from it all cant and concealment.

    Over the next five decades of reporting, he often returned to scenes of racial tension. Now, for the first time, the best of Trillin’s pieces on race in America have been collected in one volume.   In the title essay of Jackson, 1964, we experience Trillin’s riveting coverage of the pathbreaking voter registration drive known as the Mississippi Summer Project—coverage that includes an unforgettable airplane conversation between Martin Luther King, Jr., and a young white man sitting across the aisle. (“I’d like to be loved by everyone,” King tells him, “but we can’t always wait for love”).   In the years that follow, Trillin rides along with the National Guard units assigned to patrol black neighborhoods in Wilmington, Delaware, long after the riots there have ended; looks into a Boston disco whose doormen ask black patrons for more photo IDs than most people carry; reports on the case of a black homeowner accused of manslaughter in the death of a white teenager in an overwhelmingly white Long Island suburb; and chronicles the remarkable fortunes of the Zulu Social Aid & Pleasure Club, a black carnival krewe in New Orleans whose members parade on Mardi Gras in blackface.   He takes on issues that are as relevant today as they were when he wrote about them. Excessive sentencing is examined in a 1970 piece about a black militant in Houston sentenced to thirty years in prison for giving away one marijuana cigarette. The role of race in the use of deadly force by police is highlighted in a 1975 article about an African American shot by a white policeman in Seattle.   Uniting all these pieces is Trillin’s unflinching eye and graceful prose. Jackson, 1964 is an indispensable account of a half-century of race and racism in America, through the lens of a master journalist and writer who was there to bear witness.  Praise for Calvin Trillin  “[A writer] of painterly, impeccably crafted journalism.”—People   “There can never be enough of Calvin Trillin. He has become a literary treasure over the past four decades.”—The Washington Times   “Without false rhetoric . . . [Trillin] can suddenly bring into focus the whole confused story of Civil Rights by examining in detail one particularly significant episode.”—The Times Literary Supplement

    Along the way, he reunites with an old acquaintance—the influential provocateur and conspiracy talk-show host Alex Jones—who draws him, unexpectedly, into one of the most bizarre presidential campaigns in American history.From the private Winnebago where conspiracy theorists and fearmongers discuss key campaign decisions, to a chance encounter with notorious political operative Roger Stone, Ronson’s picaresque journey into Donald Trump’s atmosphere introduces us to the people who orbit the campaign machine, and discovers what makes them tick—and what ticks them off. Whimsical, hilarious and often downright terrifying, The Elephant in the Room captures a defining moment in our time as only Jon Ronson could see it.

    Soon Gen Xers will be the only cohort of Americans who remember life as it was lived before the arrival of the Internet. They are, as Hennessey dubs them, “the last adult generation,” the sole remaining link to a time when childhood was still a bit dangerous but produced adults who were naturally resilient. More than a decade into the social media revolution, the American public is waking up to the idea that the tech sector’s intentions might not be as pure as advertised. The mountains of money being made off our browsing habits and purchase histories are used to fund ever-more extravagant and utopian projects that, by their very natures, will corrode the foundations of free society, leaving us all helpless and digitally enslaved to an elite crew of ultra-sophisticated tech geniuses. But it’s not too late to turn the tide. There’s still time for Gen X to write its own future. A spirited defense of free speech, eye contact, and the virtues of patience, Zero Hour for Gen X is a cultural history of the last 35 years, an analysis of the current social and historical moment, and a generational call to arms.

    O’Rourke has had a prolific career as one of America’s most celebrated humorists. But that career almost didn’t happen. As he tells it, “I began to write for pay in the spring of 1970. To tell the truth I didn’t even mean to be a writer, I meant to be a race car driver, but I didn’t have a race car.”Fortunately for us, he had to settle for writing. From his early pieces for the National Lampoon, through his classic reporting as Rolling Stone’s International Affairs editor in the 80s and 90s, and his brilliant, inimitable political journalism and analysis, P.J. has been entertaining and provoking readers with high octane prose, a gonzo Republican attitude and a rare ability to make you laugh out loud. Chris Buckley once described his work as “S.J. Perlman on acid” and when Penguin first published its Dictionary of Modern Humorous Quotations PJ had more entries than any living writer.For the first time Thrown Under the Omnibus brings together his funniest, most outrageous, most controversial and most loved pieces in the definitive P.J. reader. Handpicked and introduced by the humorist himself, Thrown Under the Omnibus is the essential P.J. O’Rourke anthology.

    The story features a world where magic has overwhelmed science. Starring the Phantom Stranger, Deadman, The Challengers Of The Unknown, The Blue Beetle and Klarion The Witch Boy.

    L. King’s On the Down Low, Hung brings a topic previously discussed only in intimate settings out into the open. In a brilliant, multilayered look at the pervasive belief that African American men are prodigiously endowed, Scott Poulson-Bryant interweaves his own experiences as a black man in America with witty analyses of how black male sexuality is expressed in books, film, television, sports, and pornography.“Hung” is a double entendre, referring not only to penis size but to the fact that black men were once literally hung from trees, often for their perceived sexual prowess and the supposed risk it posed to white women. As a poignant reminder, he begins his book with a letter to Emmett Till, the teenager who was lynched in Mississippi in the mid-1950s for whistling at a white woman.For Poulson-Bryant and other men of his generation, society’s deep-seated obsession with the sexual powers of black men has had an enormous, if often deceptive, influence on how they perceive themselves and on the assumptions made by others. His tales of his sexual encounters with both sexes, along with anecdotes about the lives of various friends and colleagues, are wryly and at times shockingly revealing. Enduring racial perceptions have shaped popular culture as well, and Poulson-Bryant offers a thorough, thought-provoking look at media-created images of the “Well-Hung Black Male.” He deftly deconstructs movies like Mandingo and Shaft, articles in the popular press, and edgy works like Robert Mapplethorpe’s Black Book, while also providing distinctive profiles of icons like porn star Lexington Steele and rapper L.L. Cool J.A scintillating mixture of memoir and cultural commentary, Hung is the first and only book to take on phallic fixation and uncover what lies below. Readers may be scandalized, but they’ll also have plenty to ponder about America’s views on how black men measure up.

    John Whitehead, critic and biographer who himself served with the Indian Army in Burma, has provided this in full measure in his entertaining and scholarly Introduction and comprehensive textual Notes. This Centenary Edition of the ballads is unlikely ever to be superseded.

    It presents the full arsenal of ideas with which Marx and Engels hoped to explode the religious foundations of all previous societies. Yet also in these writings, as Reinhold Neibuhr's Introduction reveals, are clues to that remarkable development whereby an irreligion was transmuted into a new political religion, canonized precisely in the writings of Marx as sacred scripture. Included are excerpts from Das Kapital, occasional journalistic pieces, private letters, and more formal philosophical writings.

    Having your mind fucked is quite another. The former is irritating, but the latter is violating and intrusive (unless you give your consent). If someone manipulates your thoughts and emotions, messing with your head, you naturally feel resentment: he or she has distorted your perceptions, disturbed your feelings, maybe even usurped your self. Mindfucking is a prevalent aspect of contemporary culture and the agent can range from an individual to a whole state, from personal mind games to wholesale propaganda. In Mindfucking Colin McGinn investigates and clarifies this phenomenon. Taking in the ancient Greeks, Shakespeare and modern techniques of thought control, McGinn assembles the conceptual components of this most complex of concepts - trust, deception, emotion, manipulation, false belief, vulnerability - and explores its very nature. He elucidates the sexual implications of the metaphor of mindfucking, stressing both its positive and negative features and exposes its essence of psychological upheaval and disorientation. Delusion is the general result, sometimes insanity. How mindfucked are you? It's hard to say from the inside, but being aware of the phenomenon offers at least some protection.

    But as Pascal Bruckner, one of France's leading writers, argues in this lively and provocative reflection on the contradictions of modern love, our new freedoms have also brought new burdens and rules--without, however, wiping out the old rules, emotions, desires, and arrangements: the couple, marriage, jealousy, the demand for fidelity, the war between constancy and inconstancy. It is no wonder that love, sex, and relationships today are so confusing, so difficult, and so paradoxical. Drawing on history, politics, psychology, literature, pop culture, and current events, this book--a best seller in France--exposes and dissects these paradoxes. With his customary brilliance and wit, Bruckner traces the roots of sexual liberation back to the Enlightenment in order to explain love's supreme paradox, epitomized by the 1960s oxymoron of "free love": the tension between freedom, which separates, and love, which attaches. Ashamed that our sex lives fail to live up to such liberated ideals, we have traded neuroses of repression for neuroses of inadequacy, and we overcompensate: "Our parents lied about their morality," Bruckner writes, but "we lie about our immorality." Mixing irony and optimism, Bruckner argues that, when it comes to love, we should side neither with the revolutionaries nor the reactionaries. Rather, taking love and ourselves as we are, we should realize that love makes no progress and that its messiness, surprises, and paradoxes are not merely the sources of its pain--but also of its pleasure and glory.

    The same has been narrated in the book.

    In The Death of Trotsky, Cecelia Holland brings this fated and fatal day to life, from its quotidian beginnings to its dramatic close. Between Trotsky’s waking and his final rest, she probes the outer-workings and inner thoughts of those who were with him till the end, illuminating a man who exited life as he lived it: defiantly. Cecelia Holland, author of more than 30 books and articles, lives in northern California with her family.Cover Design by Adil Dara.