His life is set off course when he sees a woman who is about to jump off a bridge. Horrified by her recklessness, he hurls two of his prized chickens off the bridge. The woman, Ndali, is stopped in her tracks.Chinonso and Ndali fall in love but she is from an educated and wealthy family. When her family objects to the union on the grounds that he is not her social equal, he sells most of his possessions to attend college in Cyprus. But when he arrives in Cyprus, he discovers that he has been utterly duped by the young Nigerian who has made the arrangements for him. Penniless, homeless, we watch as he gets further and further away from his dream and from home.

    The result is both a defense of freedom of speech and a critique of the likeability factor that can impede it.

    Based on a landmark exhibition at The Museum of Modern Art in 1964, and originally published in 1966, the book has long been out of print. It is now available again to a new generation of photographers and lovers of photography in this duotone printing that closely follows the original. Szarkowski's compact text eloquently complements skillfully selected and sequenced groupings of 172 photographs drawn from the entire history and range of the medium. Celebrated works by such masters as Cartier-Bresson, Evans, Steichen, Strand, and Weston are juxtaposed with vernacular documents and even amateur snapshots to analyze the fundamental challenges and opportunities that all photographers have faced. Szarkowski, the legendary curator who worked at the Museum from 1962 to 1991, has published many influential books. But none more radically and succinctly demonstrates why--as U.S. News & World Report put it in 1990--"whether Americans know it or not," his thinking about photography "has become our thinking about photography."

    "Wired" magazine sent him to Singapore to report on one of the world's most buttoned-up states. "The New York Times Magazine" asked him to describe what was wrong with the Internet. Rolling Stone published his essay on the ways our lives are all "soundtracked" by the music and the culture around us. And in a speech at the 2010 Book Expo, he memorably described the interactive relationship between writer and reader.These essays and articles have never been collected-until now. Some have never appeared in print at all. In addition, "Distrust That Particular Flavor" includes journalism from small publishers, online sources, and magazines no longer in existence. This volume will be essential reading for any lover of William Gibson's novels. "Distrust That Particular Flavor" offers readers a privileged view into the mind of a writer whose thinking has shaped not only a generation of writers but our entire culture.

    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.

    First published in 1954, it details his experiences when taking mescaline. The book takes the form of Huxley's recollection of a mescaline trip that took place over the course of an afternoon in May 1953. The book takes its title from a phrase in William Blake's 1793 poem 'The Marriage of Heaven and Hell'. Huxley recalls the insights he experienced, which range from the "purely aesthetic" to "sacramental vision". He also incorporates later reflections on the experience and its meaning for art and religion.

    It is a witty fricassee of food and fashion, pets and painters, musicians, friends, and artists, served up with a healthy garnish of "Steinien" humor and self-indulgence. For readers who have previously considered Gertrude Stein to be a difficult or even unreadable author, Paris France provides a delightful window on her personal and unique world.

    There is an alternate edition published under ISBN13: 9780062509550. 'Injustice anywhere is a threat to justice everywhere.' This landmark missive from one of the greatest activists in history calls for direct, non-violent resistance in the fight against racism, and reflects on the healing power of love.This edition also contains the sermon 'The Three Dimensions of a Complete Life'.

    Hasan struggles to keep his family business afloat following the sudden death of his wife. As he begins to put his shattered life back together piece by piece, a new regime seizes power, and a wave of rising prejudice threatens to sweep away everything he has built.Present-day LONDON. Sameer, a young high-flying lawyer, senses an emptiness in what he thought was the life of his dreams. Called back to his family home by an unexpected tragedy, Sameer begins to find the missing pieces of himself not in his future plans, but in a heritage he never knew.Moving between two continents over a troubled century, We Are All Birds of Uganda is an immensely resonant novel that explores racial tensions, generational divides and what it means to belong.

    An underground bestseller in its original self-published edition, Marlo Morgan's powerful tale of challenge and endurance has a message for us all.Summoned by a remote tribe of nomadic Aborigines to accompany them on walkabout, the woman makes a four-month-long journey and learns how they thrive in natural harmony with the plants and animals that exist in the rugged lands of Australia's bush. From the first day of her adventure, Morgan is challenged by the physical requirements of the journey—she faces daily tests of her endurance, challenges that ultimately contribute to her personal transformation.By traveling with this extraordinary community, Morgan becomes a witness to their essential way of being in a world based on the ancient wisdom and philosophy of a culture that is more than 50,000 years old.

    Combining memoir with artistic and philosophical musings, the poet and National Book Critics Circle Award winner (for My Alexandria) begins by confessing his obsession with the 17th-century Dutch still life that serves as the title of this book. As he analyzes the items depicted in the painting, he skillfully introduces his thoughts on our intimate relationships to objects and subsequently explains how they are often inextricably bound to the people and places of an individual lifetime. Further defined by imperfections attained from use, each object from an aging oak table to a chipped blue and white china platter forms a springboard for reflection. Doty intersperses personal reminiscences throughout, but he always returns to the subject of still-life painting and its silent eloquence. Doty's observations on balance, grief, beauty, space, love, and time are imparted with wisdom and poetic grace.Books like this, that address the sources of creation and the sources of our humanness, come along once in a decade. -Susan Salter Reynolds, Los Angeles Times"This small book is as wise, sensitive, intense, and affecting as anything I have read in recent years." -Doris Grumbach, author of Fifty Days of Solitude"A gem." -Library Journal"Mark Doty's prose is insistently exploratory, yet every aside, every detour, turns into pertinence, and it all seems effortless, as though the author were wondering, and marveling, aloud." -Bernard Cooper, author of Truth Serum"A dazzling accomplishment, its radiance bred of lucid attention and acute insight. The subject is the profoundly personal act of perception translated into description. Doty succeeds in rendering this most contemplative of arts-the still life-into a riveting drama." -Patricia Hampl, author of I Could Tell You Stories

    The name alone conjures images of chestnut-lined boulevards, sidewalk cafés, breathtaking façades around every corner--in short, an exquisite romanticism that has captured the American imagination for as long as there have been Americans.In 1995, Adam Gopnik, his wife, and their infant son left the familiar comforts and hassles of New York City for the urbane glamour of the City of Light. Gopnik is a longtime New Yorker writer, and the magazine has sent its writers to Paris for decades--but his was above all a personal pilgrimage to the place that had for so long been the undisputed capital of everything cultural and beautiful. It was also the opportunity to raise a child who would know what it was to romp in the Luxembourg Gardens, to enjoy a croque monsieur in a Left Bank café--a child (and perhaps a father, too) who would have a grasp of that Parisian sense of style we Americans find so elusive.So, in the grand tradition of the American abroad, Gopnik walked the paths of the Tuileries, enjoyed philosophical discussions at his local bistro, wrote as violet twilight fell on the arrondissements. Of course, as readers of Gopnik's beloved and award-winning "Paris Journals" in The New Yorker know, there was also the matter of raising a child and carrying on with day-to-day, not-so-fabled life. Evenings with French intellectuals preceded middle-of-the-night baby feedings; afternoons were filled with trips to the Musée d'Orsay and pinball games; weekday leftovers were eaten while three-star chefs debated a "culinary crisis."As Gopnik describes in this funny and tender book, the dual processes of navigating a foreign city and becoming a parent are not completely dissimilar journeys--both hold new routines, new languages, a new set of rules by which everyday life is lived. With singular wit and insight, Gopnik weaves the magical with the mundane in a wholly delightful, often hilarious look at what it was to be an American family man in Paris at the end of the twentieth century. "We went to Paris for a sentimental reeducation - I did anyway - even though the sentiments we were instructed in were not the ones we were expecting to learn, which I believe is why they call it an education."

    Addressing his fifteen-year-old namesake on the one hundredth anniversary of the Emancipation Proclamation, Baldwin wrote: “You know and I know, that the country is celebrating one hundred years of freedom one hundred years too soon.”Award-winning author Jesmyn Ward knows that Baldwin’s words ring as true as ever today. In response, she has gathered short essays, memoir, and a few essential poems to engage the question of race in the United States. And she has turned to some of her generation’s most original thinkers and writers to give voice to their concerns.The Fire This Time is divided into three parts that shine a light on the darkest corners of our history, wrestle with our current predicament, and envision a better future. Of the eighteen pieces, ten were written specifically for this volume.In the fifty-odd years since Baldwin’s essay was published, entire generations have dared everything and made significant progress. But the idea that we are living in the post-Civil Rights era, that we are a “postracial” society, is an inaccurate and harmful reflection of a truth the country must confront. Baldwin’s “fire next time” is now upon us, and it needs to be talked about.

    He set out on a journey that was to last three years, visiting many sections of the country and making friends of all descriptions. The Air-Conditioned Nightmare is the result of that odyssey.

    In this autobiographical piece about her own color, Hurston reflects on her early childhood in an all-black Florida town and her first experiences in life feeling different. In this beautiful piece, Hurston largely focuses on the similarities we all share and on her own self-identity in the face of difference. Through it all, I remain myself.This short work is part of Applewood's American Roots series, tactile mementos of American passions by some of America's most famous writers and thinkers.