Allen Hynek, the astronomer who invented the concept of "Close Encounters" with alien life, inspired Steven Spielberg’s blockbuster classic science fiction epic film, and made a nation want to believe in UFOs.In June 1947, private pilot Kenneth Arnold looked out his cockpit window and saw a group of nine silvery crescents weaving between the peaks of the Cascade Mountains at an estimated 1,200 miles an hour. The media, the military, and the scientific community—led by J. Allen Hynek, an astronomer hired by the Air Force—debunked this and many other Unidentified Flying Object sightings reported across the country. But after years of denials, Hynek made a shocking pronouncement: UFOs are real.Thirty years after his death, Hynek’s agonizing transformation from skepticism to true believer remains one of the great misunderstood stories of science. In this definitive biography, Mark O'Connell reveals for the first time how Hynek’s work both as a celebrated astronomer and as the U. S. Air Force’s go-to UFO expert for nearly twenty years stretched the boundaries of modern science, laid the groundwork for acceptance of the possibility of UFOs, and was the basis of the hit film Close Encounters of the Third Kind. With unprecedented access to Hynek’s personal and professional files, O’Connell smashes conventional wisdom to reveal the intriguing man and scientist beneath the legend.Tracing Hynek’s career, O'Connell examines Hynek’s often-ignored work as a professional astronomer to create a complete portrait of a groundbreaking enthusiast who became an American cult icon and transformed the way we see our world and our universe.

    "I am black--and brown, too," writes Emily Bernard. "Brown is the body I was born into. Black is the body of the stories I tell."The storytelling, and the mystery of Bernard's storytelling, of getting to the truth, begins with a stabbing in a New England college town. Bernard writes how, when she was a graduate student at Yale, she walked into a coffee shop and, along with six other people, was randomly attacked by a stranger with a knife ("I remember making the decision not to let the oddness of this stranger bother me"). "I was not stabbed because I was black," she writes (the attacker was white), "but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. There was no connection between us, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both: him, his freedom; me, my wholeness."Bernard explores how that bizarre act of violence set her free and unleashed the storyteller in her ("The equation of writing and regeneration is fundamental to black American experience").She writes in Black Is the Body how each of the essays goes beyond a narrative of black innocence and white guilt, how each is anchored in a mystery, and how each sets out to discover a new way of telling the truth as the author has lived it. "Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges randomly, unpredictably . . . Race is the story of my life, and therefore black is the body of this book."And what most interests Bernard is looking at "blackness at its borders, where it meets whiteness in fear and hope, in anguish and love."

    They are promises. They are the only way to walk from one night to the other."Nina Riggs was just thirty-seven years old when initially diagnosed with breast cancer--one small spot. Within a year, the mother of two sons, ages seven and nine, and married sixteen years to her best friend, received the devastating news that her cancer was terminal.How does one live each day, "unattached to outcome"? How does one approach the moments, big and small, with both love and honesty?Exploring motherhood, marriage, friendship, and memory, even as she wrestles with the legacy of her great-great-great grandfather, Ralph Waldo Emerson, Nina Riggs's breathtaking memoir continues the urgent conversation that Paul Kalanithi began in his gorgeous When Breath Becomes Air. She asks, what makes a meaningful life when one has limited time?Brilliantly written, disarmingly funny, and deeply moving, The Bright Hour is about how to love all the days, even the bad ones, and it's about the way literature, especially Emerson, and Nina's other muse, Montaigne, can be a balm and a form of prayer. It's a book about looking death squarely in the face and saying "this is what will be."Especially poignant in these uncertain times, The Bright Hour urges us to live well and not lose sight of what makes us human: love, art, music, words.

    Includes a compact disc which is playable on CD-ROM and audio CD players.

    Fisher's life as a large colorful painting, it is here, in The Gastronomical Me, that one sees the first lines and sketches upon which that life was based. In what is the most intimate of her five volumes of her "Art of Eating" series, the reader witnesses the beginnings of a writer who, with food as her metaphor, writes of the myriad hungers and satisfactions of the heart.

    The author, who has defended Karen Silkwood and Randy Weaver among others, recounts his life growing up in Wyoming and the tragic event that caused him become an attorney.