"The best book on the dope decade." -- "NY Times Book Review"

    This early-20th-century battle centers on one man: Tom Anderson, the undisputed czar of the city's Storyville vice district, who fights desperately to keep his empire intact as it faces onslaughts from all sides. Surrounding him are the stories of flamboyant prostitutes, crusading moral reformers, dissolute jazzmen, ruthless Mafiosi, venal politicians, and one extremely violent serial killer, all battling for primacy in a wild and wicked city unlike any other in the world.

    Here we go again with real life and opinions made to look like one big, preposterous animal not unlike an invention by Dr. Seuss...--Kurt Vonnegut, from Fates Worse Than Death

    Those first pioneering citizens of the Big Easy were thieves, vagabonds and criminals of all kinds. By the time Louisiana fell under American control, New Orleans had become a city of debauchery and corruption camouflaged by decadence. It was also considered one of the country's most dangerous cities, with a reputation of crime and loose morals. Rampant gambling and prostitution were the norm in nineteenth-century New Orleans, and over one-third of today's French Quarter was considered a hotbed of sin. Tales in this volume include that of the notorious Axeman who plagued the streets of the Crescent City in the early 1900s and Kate Townsend, a prostitute who was murdered by her own lover, a man who later was awarded her inheritance.

    He wrote it during 1870–71 and published in 1872, as a prequel to his first book The Innocents Abroad (1869). This book tells of Twain's adventures prior to his pleasure cruise related in Innocents Abroad.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    These essays, stories, music reviews, the occasional chemically-induced rant, and a couple of recipes— because, for whatever reason, everyone seems to love his recipes—represent a cross-section of the past seven years’ worth of Warren’s writing online. From jumping around Britain, Europe and North America to just dragging his carcass up to the local pub for a think, this is the unedited spillage from the inside of the writer’s head during the ’00s. Some of it even makes sense.

    Thoreau, a consummate lover of the outdoors and nature is right at home in the Cape and he details his excitement of the area with naturalist portraits of the indigenous species and animals. Any lover of nature or of Cape Cod in general will delight in this captivating depiction of the area in the early to mid 1800s.

    But awakened one morning by the crackle of musket fire, Horwitz starts filing front-line dispatches again this time from a war close to home, and to his own heart.Propelled by his boyhood passion for the Civil War, Horwitz embarks on a search for places and people still held in thrall by America's greatest conflict. The result is an adventure into the soul of the unvanquished South, where the ghosts of the Lost Cause are resurrected through ritual and remembrance.In Virginia, Horwitz joins a band of 'hardcore' reenactors who crash-diet to achieve the hollow-eyed look of starved Confederates; in Kentucky, he witnesses Klan rallies and calls for race war sparked by the killing of a white man who brandishes a rebel flag; at Andersonville, he finds that the prison's commander, executed as a war criminal, is now exalted as a martyr and hero; and in the book's climax, Horwitz takes a marathon trek from Antietam to Gettysburg to Appomattox in the company of Robert Lee Hodge, an eccentric pilgrim who dubs their odyssey the 'Civil Wargasm.'Written with Horwitz's signature blend of humor, history, and hard-nosed journalism, Confederates in the Attic brings alive old battlefields and new ones 'classrooms, courts, country bars' where the past and the present collide, often in explosive ways. Poignant and picaresque, haunting and hilarious, it speaks to anyone who has ever felt drawn to the mythic South and to the dark romance of the Civil War.

    For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to the twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected -- and most popular -- of its kind. Here you will find another "splendid array of unpredictable and delectable essays" (Booklist), chosen by the Pulitzer Prize-winning writer Louis Menand, another collection with "delights on every page" (Dallas Morning News). The Best American Essays once again earns its place as the liveliest and leading annual of its kind.

    In his dispatches he focuses on the human-scale effect of the war, portraying everyone from the guys in a bomber crew to Bob Hope on his USO tour and even fighting alongside soldiers behind enemy lines. Taken together, these writings create an indelible portrait of life in wartime.

    Abdulrahman and Kathy Zeitoun run a house-painting business in New Orleans. In August of 2005, as Hurricane Katrina approaches, Kathy evacuates with their four young children, leaving Zeitoun to watch over the business. In the days following the storm he travels the city by canoe, feeding abandoned animals and helping elderly neighbors. Then, on September 6th, police officers armed with M-16s arrest Zeitoun in his home. Told with eloquence and compassion, Zeitoun is a riveting account of one family’s unthinkable struggle with forces beyond wind and water.

    His frank and often humorous descriptions cover everything from his comically wretched sea voyage to his sheer astonishment at the magnificence of the Niagara Falls, while he also visited hospitals, prisons and law courts and found them exemplary. But Dickens's opinion of America as a land ruled by money, built on slavery, with a corrupt press and unsavoury manners, provoked a hostile reaction on both sides of the Atlantic. American Notes is an illuminating account of a great writer's revelatory encounter with the New World. In her introduction, Patricia Ingham examines the response the book received when it was published, and compares it with similar travel writings of the period and with Dickens's fiction, in particular Martin Chuzzlewit. This edition includes an updated chronology, appendices and notes. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    These are among the people that Joseph Mitchell immortalized in his reportage for The New Yorker and in four books—McSorley's Wonderful Saloon, Old Mr. Flood, The Bottom of the Harbor, and Joe Gould's Secret—that are still renowned for their precise, respectful observation, their graveyard humor, and their offhand perfection of style.These masterpieces (along with several previously uncollected stories) are available in one volume, which presents an indelible collective portrait of an unsuspected New York and its odder citizens—as depicted by one of the great writers of this or any other time.

    Just Enough Liebling gathers in one volume the vividest and most enjoyable of his pieces. Charles McGrath (in The New York Times Book Review) praised it as a judicious sampling-a useful window on Liebling's vast body of writing and a reminder, to those lucky enough to have read him the first time around, of why he was so beloved. Today Liebling is best known as a celebrant of the sweet science of boxing, and as a feeder who ravishes the reader with his descriptions of food and wine. But as David Remnick observes in his fond and insightful introduction, Liebling is boundlessly curious, a listener, a boulevardier, a man of appetites and sympathy-and a writer who, with his great friend and colleague Joseph Mitchell, deftly traversed the boundaries between reporting and storytelling, between news and art.