Painting surprising portraits of Lincoln and other presidents, including Ulysses S. Grant, Theodore Roosevelt, Woodrow Wilson, Franklin D. Roosevelt, Harry S. Truman, Dwight Eisenhower, and Lyndon B. Johnson, and illuminating the courage of such influential citizen activists as Martin Luther King Jr., early suffragettes Alice Paul and Carrie Chapman Catt, civil rights pioneers Rosa Parks and John Lewis, First Lady Eleanor Roosevelt, and Army-McCarthy hearings lawyer Joseph N. Welch, Meacham brings vividly to life turning points in American history.He writes about the Civil War, Reconstruction, and the birth of the Lost Cause; the backlash against immigrants in the First World War and the resurgence of the Ku Klux Klan in the 1920s; the fight for women's rights; the demagoguery of Huey Long and Father Coughlin and the isolationist work of America First in the years before World War II; the anti-Communist witch hunts led by Senator Joseph McCarthy; and Lyndon Johnson's crusade against Jim Crow. Each of these dramatic hours in our national life have been shaped by the contest to lead the country to look forward rather than back, to assert hope over fear — a struggle that continues even now.While the American story has not always — or even often — been heroic, we have been sustained by a belief in progress even in the gloomiest of times. In this inspiring book, Meacham reassures us, "The good news is that we have come through such darkness before" — as, time and again, Lincoln's better angels have found a way to prevail.

    He is also drawn to the mystery and unexpected beauty found in abandoned architecture. Here Vanden Brink captures and illuminates in stunning black and white images abandoned structures such as mills, bridges, grain elevators, churches, and storefronts-structures that once were important and useful. With text by historic preservation expert Howard Mansfield, this collection of photos grants permanence to places that may soon vanish forever.

    

    But I wrote a lot of good poems.”So maintains Anita Liberty, the caustically funny New York City performance artist who was going along happily healing her hurt by hating and humiliating her detestable ex-boyfriend on stage and in print until the unthinkable happened: she had a good date. And one good date deserves another. And another. And another. And, all of the sudden, Anita Liberty finds herself in a predicament. Getting dumped launched Anita’s career–Will falling in love finish it? Who’s more important: her devoted audience or her newly devoted boyfriend? And on top of everything, Hollywood won’t stop calling and Anita can’t figure out if It wants a serious commitment or just a little bit of no-strings-attached fun. From digging mercilessly into the minutiae of her new relationship to dramatically torching every professional bridge she crosses in L.A., Anita refuses to let a big load of bliss get dumped right in the middle of her career path.“He said that my work was amazing and hilarious and smart and that he can’t wait to see me perform.So I had sex with him.”“My boyfriend asked me to change my look.To something other than contemptuous.”{BARGAIN} Whatever Hollywood ends up paying me for the rights to the story of my life.“It’s easier to go back to fantasizing about perfection . . .than to accept that perfection is just a fantasy.”“Boyfriend thinks I’d rather be right than happy.Boyfriend’s right.But I’m not telling him that.”Through blog entries, film scenes, poems, and to-do lists, Anita Liberty documents the perils and pitfalls of dating, sex, relationships, artistic success, and the kind of true love that sucks the creative life out of you to the point where you just end up staring at a blank computer screen and thinking gooey thoughts about your new boyfriend even though you should be writing.

    The problem wasn’t just the election, but the fact that nobody could explain, in any sort of coherent way, why America had elected a cruel, corrupt, and incompetent man to the Presidency. Bad Stories: What the Hell Just Happened to Our Country is Almond’s effort to make sense of our historical moment, to connect certain dots that go unconnected amid the deluge of hot takes and think pieces. Almond looks to literary voices―from Melville to Orwell, from Bradbury to Baldwin―to help explain the roots of our moral erosion as a people.The book argues that Trumpism is a bad outcome arising directly from the bad stories we tell ourselves. To understand how we got here, we have to confront our cultural delusions: our obsession with entertainment, sports, and political parody, the degeneration of our free press into a for-profit industry, our enduring pathologies of race, class, immigration, and tribalism. Bad Stories is a lamentation aimed at providing clarity. It’s the book you can pass along to an anguished fellow traveler with the promise, This will help you understand what the hell happened to our country.

    Woodward reveals the untold story of Alexander Butterfield, the Nixon aide who disclosed the secret White House taping system that changed history and led to Nixon’s resignation. In forty-six hours of interviews with Butterfield, supported by thousands of documents, many of them original and not in the presidential archives and libraries, Woodward has uncovered new dimensions of Nixon’s secrets, obsessions and deceptions.The Last of the President’s Men could not be more timely and relevant as voters question how much do we know about those who are now seeking the presidency in 2016—what really drives them, how do they really make decisions, who do they surround themselves with, and what are their true political and personal values?

     In Believing Is Seeing Academy Award-winning director Errol Morris turns his eye to the nature of truth in photography. In his inimitable style, Morris untangles the mysteries behind an eclectic range of documentary photographs, from the ambrotype of three children found clasped in the hands of an unknown soldier at Gettysburg to the indelible portraits of the WPA photography project. Each essay in the book presents the reader with a conundrum and investigates the relationship between photographs and the real world they supposedly record. During the Crimean War, Roger Fenton took two nearly identical photographs of the Valley of the Shadow of Death-one of a road covered with cannonballs, the other of the same road without cannonballs. Susan Sontag later claimed that Fenton posed the first photograph, prompting Morris to return to Crimea to investigate. Can we recover the truth behind Fenton's intentions in a photograph taken 150 years ago? In the midst of the Great Depression and one of the worst droughts on record, FDR's Farm Service Administration sent several photographers, including Arthur Rothstein, Dorothea Lange, and Walker Evans, to document rural poverty. When Rothstein was discovered to have moved the cow skull in his now-iconic photograph, fiscal conservatives-furious over taxpayer money funding an artistic project-claimed the photographs were liberal propaganda. What is the difference between journalistic evidence, fine art, and staged propaganda? During the Israeli-Lebanese war in 2006, no fewer than four different photojournalists took photographs in Beirut of toys lying in the rubble of bombings, provoking accusations of posing and anti-Israeli bias at the news organizations. Why were there so many similar photographs? And were the accusers objecting to the photos themselves or to the conclusions readers drew from them? With his keen sense of irony, skepticism, and humor, Morris reveals in these and many other investigations how photographs can obscure as much as they reveal and how what we see is often determined by our beliefs. Part detective story, part philosophical meditation, Believing Is Seeing is a highly original exploration of photography and perception from one of America's most provocative observers.

    As Andrew Meier explains in this utterly compelling account, the most recent Chechen war actually broke out on New Year's Eve in 1994 when Boris Yeltsin sent hundreds of tanks to the center of the city of Grozny in an effort to quell popular demands for independence from Russia. Six years later, Meier, braving great personal danger, traveled to the scene of one of the largest civilian massacres carried out by Russian troops, reporting on the carnage in which over 60 Chechen civiliansincluding a pregnant woman and many elderlywere brutally slaughtered in one of the war's most horrific "mop-up" operations. Days after a Chechen woman became the conflict's first female suicide bomber, Meier visited this war-torn province, encountering, among others, kidnappers, Wahhabi Islamists aligned with the Taliban, and a stream of Russian mothers arriving at the morgue to identify their fallen soldier sons. Chechnya is Meier's stunning report from a region where the death toll has already exceeded 100,000 people, and a book that attempts to comprehend what compels men to shoot children in the back.

    Kim Barker is not your typical, impassive foreign correspondent—she is candid, self-deprecating, laugh-out-loud funny. At first an awkward newbie in Afghanistan, she grows into a wisecracking, seasoned reporter with grave concerns about our ability to win hearts and minds in the region. In The Taliban Shuffle, Barker offers an insider’s account of the “forgotten war” in Afghanistan and Pakistan, chronicling the years after America’s initial routing of the Taliban, when we failed to finish the job. When Barker arrives in Kabul, foreign aid is at a record low, electricity is a pipe dream, and of the few remaining foreign troops, some aren’t allowed out after dark. Meanwhile, in the vacuum left by the U.S. and NATO, the Taliban is regrouping as the Afghan and Pakistani governments floun­der. Barker watches Afghan police recruits make a travesty of practice drills and observes the disorienting turnover of diplomatic staff. She is pursued romantically by the former prime minister of Pakistan and sees adrenaline-fueled col­leagues disappear into the clutches of the Taliban. And as her love for these hapless countries grows, her hopes for their stability and security fade. Swift, funny, and wholly original, The Taliban Shuffle unforgettably captures the absurdities and tragedies of life in a war zone.

    Brilliantly reported and astoundingly fresh, Fire and Fury shows us how and why Donald Trump has become the king of discord and disunion.

    In the meantime, if you'd like to read something that alternates between laugh-out-loud-funny and apocalyptically angry, keep holding this book. Steal it if necessary. In his latest collection of rants, raves, hastily spluttered articles and scarcely literate scrawl, Charlie Brooker proves that there is almost nothing in this universe, big or small, that can't reduce a human being to a state of pure blind hatred. It won't help you lose weight, feel smarter, sleep more soundly, or feel happier about yourself. It will provide you with literally hours of distraction and merriment. It can also be used to stun an intruder, if you hit him with it correctly (hint: strike hard, using the spine, on the bridge of the nose). Only a prick wouldn't buy this book. Don't be that prick.

    A large and growing chunk of the American population was so turned off--or radicalized--by electoral chicanery, a spineless news media, and the increasingly blatant lies from our leaders ("they hate us for our freedom") that they abandoned the political mainstream altogether. They joined what he calls The Great Derangement.Taibbi tells the story of this new American madness by inserting himself into four defining American subcultures: • The Military, where he finds himself mired in the grotesque black comedy of the American occupation of Iraq;• The System, where he follows the money-slicked path of legislation in Congress;• The Resistance, where he doubles as chief public antagonist and undercover member of the passionately bonkers 9/11 Truth Movement; and• The Church, where he infiltrates a politically influential apocalyptic mega-ministry in Texas and enters the lives of its desperate congregants. Together these four interwoven adventures paint a portrait of a nation dangerously out of touch with reality and desperately searching for answers in all the wrong places. Funny, smart, and a little bit heartbreaking, The Great Derangement is an audaciously reported, sobering, and illuminating portrait of America at the end of the Bush era."The funniest angry writer and the angriest funny writer since Hunter S. Thompson roared into town." -- James Wolcott"…[A] scabrous, hilarious vivisection of our disintegrating nation. …Taibbi shines a light on the corruption, absurdities, and idiot pieties of modern American politics. Beneath his cynical fury, though, are flashes of surprising compassion for the adrift credulous souls who are taken in by it all." -- Michelle Goldberg

    We know only that, any minute now, something will. Every few months, Dave Barry gets a call from some media person wanting to know, “What the hell is wrong with Florida?” Somehow, the state’s acquired an image as a subtropical festival of stupid, and as a loyal Floridian, Dave begs to differ. Sure, there was the 2000 election. And people seem to take their pants off for no good reason. And it has flying insects the size of LeBron James. But it is a great state, and Dave is going to tell you why. Join him as he celebrates Florida from Key West at the bottom to whatever it is that’s at the top, from the Sunshine State’s earliest history to the fun-fair of weirdness and gunfire (“Our motto: ‘Come back! We weren’t firing at you!’”) that it is today.It’s the most hilarious book yet from “the funniest damn writer in the whole country” (Carl Hiaasen, and he should know). By the end, you’ll have to admit that whatever else you might think about Florida—you can never say it’s boring.

    From distressed small communities in Central Appalachia to wealthy suburbs; from disparate cities to once-idyllic farm towns; it's a heartbreaking trajectory that illustrates how this national crisis has persisted for so long and become so firmly entrenched. Beginning with a single dealer who lands in a small Virginia town and sets about turning high school football stars into heroin overdose statistics, Macy endeavors to answer a grieving mother's question-why her only son died-and comes away with a harrowing story of greed and need. From the introduction of OxyContin in 1996, Macy parses how America embraced a medical culture where overtreatment with painkillers became the norm. In some of the same distressed communities featured in her bestselling book Factory Man, the unemployed use painkillers both to numb the pain of joblessness and pay their bills, while privileged teens trade pills in cul-de-sacs, and even high school standouts fall prey to prostitution, jail, and death.Through unsparing, yet deeply human portraits of the families and first responders struggling to ameliorate this epidemic, each facet of the crisis comes into focus. In these politically fragmented times, Beth Macy shows, astonishingly, that the only thing that unites Americans across geographic and class lines is opioid drug abuse. But in a country unable to provide basic healthcare for all, Macy still finds reason to hope-and signs of the spirit and tenacity necessary in those facing addiction to build a better future for themselves and their families.

    My crime? As the publisher of Western Standard magazine, I had reprinted the Danish cartoons of Mohammed to illustrate a news story. I was charged with the offence of “discrimination,” and made to appear before Alberta’s “human rights commission” for questioning. As crazy as it sounds, I became the only person in the world to face legal sanction for printing those cartoons.”As a result of this highly publicized event, Ezra Levant began investigating other instances in which innocent people have had their freedoms compromised by bureaucrats presuming to protect Canadians’ human rights. He discovered some disturbing and even bizarre cases, such as the tribunal ruling that an employee at a McDonald’ s restaurant in Vancouver did not have to wash her hands at work. And the human rights complaint filed by a Calgary hair stylist against the women at a salon school who called him a “loser.” In another case that seemed stranger than fiction, an emotionally unstable transvestite fought for — and won — the right to counsel female rape victims, despite the anguished pleas of those same traumatized victims. Human rights commissions now monitor political opinions, fine people for expressing politically incorrect viewpoints, censor websites, and even ban people, permanently, from saying certain things. The book is a result of Levant’s ordeal and the research it inspired. It shows how our concept of human rights has morphed into something dangerous and drastically different from its original meaning. Shakedown is a convincing plea to Canadians to reclaim their basic liberties.