As a child, he rooted for conventionally good characters like wide-eyed Luke Skywalker in Star Wars. But as Klosterman aged, his alliances shifted—first to Han Solo and then to Darth Vader. Vader was a hero who consciously embraced evil; Vader wanted to be bad. But what, exactly, was that supposed to mean? When we classify someone as a bad person, what are we really saying (and why are we so obsessed with saying it)? In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the culture of villainy. What was so Machiavellian about Machiavelli? Why don’t we see Batman the same way we see Bernhard Goetz? Who’s more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in 1985?Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero (seemingly the only kind of hero America still creates). I Wear the Black Hat is the rare example of serious criticism that’s instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he’s doing.

    Now he shares his recollections of those encounters, providing a fascinating glimpse behind the scenes.Far from starry-eyed where Tony Blair Co are concerned, he looks back also to the Britain of his youth and castigates those responsible for its decline to "a Third World country … misruled by a typical Third World government, corrupt, incompetent and undemocratic".Controversial, witty and revealing – or "curmudgeonly", "reactionary", "undiluted spleen", according to the critics – The Light's on at Signpost has struck a chord with a great section of the public. Perhaps, as one reader suggests, it should be "hidden beneath the floorboards, before the Politically-Correct Thought Police come hammering at the door, demanding to confiscate any copies".

    As he records his journey through the drug-like heat and intoxicating fragrances of that "pendant off the ear of India, " Ondaatje simultaneously retraces the baroque mythology of his Dutch-Ceylonese family. An inspired travel narrative and family memoir by an exceptional writer.

    By describing his own struggle to find a basis for belief in a skeptical world, Bushman poses the question of how scholars are to write about subjects in which they are personally invested. Does personal commitment make objectivity impossible? Bushman explicitly, and at points confessionally, explains his own commitments and then explores Joseph Smith and the Book of Mormon from the standpoint of belief.Joseph Smith cannot be dismissed as a colorful fraud, Bushman argues, nor seen only as a restorer of religious truth. Entangled in nineteenth-century Yankee culture--including the skeptical Enlightenment--Smith was nevertheless an original who cut his own path. And while there are multiple contexts from which to draw an understanding of Joseph Smith (including magic, seekers, the Second Great Awakening, communitarianism, restorationism, and more), Bushman suggests that Smith stood at the cusp of modernity and presented the possibility of belief in a time of growing skepticism.When examined carefully, the Book of Mormon is found to have intricate subplots and peculiar cultural twists. Bushman discusses the book's ambivalence toward republican government, explores the culture of the Lamanites (the enemies of the favored people), and traces the book's fascination with records, translation, and history. Yet Believing History also sheds light on the meaning of Joseph Smith and the Book of Mormon today. How do we situate Mormonism in American history? Is Mormonism relevant in the modern world?Believing History offers many surprises. Believers will learn that Joseph Smith is more than an icon, and non-believers will find that Mormonism cannot be summed up with a simple label. But wherever readers stand on Bushman's arguments, he provides us with a provocative and open look at a believing historian studying his own faith.

    Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, "The Black Atlantic" also complicates and enriches our understanding of modernism.Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison.In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic.

    Now, MAYA ANGELOU: A GLORIOUS CELEBRATION offers an unusual and irresistible look at her life and her myriad interests and accomplishments. Created by the people who know her best--her longtime friends Marcia Ann Gillespie and Richard A. Long, and her niece Rosa Johnson Butler--it is part tribute, part scrapbook, capturing Angelou at home, at work, and in the public eye. In photographs, text, and ephemera, MAYA ANGELOU chronicles the writer's childhood in Stamps, Arkansas; her brief-but-illustrious career on the New York stage; her appointment as the Northern Coordinator for the Southern Christian Leadership Council; and more. There are behind-the-scenes glimpses of Angelou as a down-home regal diva who revels in cooking for a crowd that often includes celebrities like Toni Morrison, Oprah Winfrey, or Quincy Jones along with relatives and old friends--and as the highly disciplined writer who begins her legendary writing process in a local hotel room at 5: 30 a.m. armed with yellow pad, Bible, bottle of sherry, a dictionary, Roget's Thesaurus and a deck of cards for solitaire. Readers who have come to know and love Maya Angelou will be surprised and delighted by this personal, illustrated portrait of the renowned poet, author, playwright, and humanitarian.

    A landmark achievement as expansive, erudite, and passionate as its renowned author, Shakespeare: The Invention of the Human is the culmination of a lifetime of reading, writing about, and teaching Shakespeare. Preeminent literary critic-and ultimate authority on the western literary tradition-Harold Bloom leads us through a comprehensive reading of every one of the dramatist's plays, brilliantly illuminating each work with unrivaled warmth, wit and insight. At the same time, Bloom presents one of the boldest theses of Shakespearean scholarships: that Shakespeare not only invented the English language, but also created human nature as we know it today.

    This collection contains, too, many examples of that humorous and epigrammatic genius which captured the London theatre and, by suddenly casting light from an unexpected angle, widened the bounds of truth.

    Refusing to cave in to society's rules, Eleanor's exuberant style, wavering voice and lack of Hollywood beauty are fodder for the media.First Lady for thirteen years, Eleanor redefines and exploits this role to a position ofpower. Using her influence she champions for Jews, African Americans and women. Living through two world wars Eleanor witnesses thousands of graves, broken bodies and grieving families. After visiting troops in the Pacific she says:"If we don't make this a more decent world to live in I don't see how we can look these boys in the eyes."She defies a post-war return to status quo and establishes the Universal Declarationof Human Rights within the U.N. She earns her way to being named "First Lady of the World." The audacity of this woman to live out her own destiny challenges us to do the same. After all, it's not about Eleanor. Her story is history.  It's about us.

    In these marvellous essays on history, politics and society, cultural critic Nadeem Farooq Paracha upturns various reductive readings of the country by revealing its multi-layered reality. With wit and insight, he investigates past events and their implications for modern-day society. Thus, one piece explores how and why Mohenjo-daro has been neglected as a historical site, and another examines how Muhammad-bin-Qasim, who briefly invaded Sindh in 713 CE, has come to be lionised as the original founder of Pakistan. There is a story about a Pakistani Jimi Hendrix who plays the guitar like a dream and also one about a medieval emperor who lives on in the swear words of a Punjabi peasant. There are essays on Pakistani pop music, on Afro-Pakistanis and on how Jhuley Lal came to be more than just a folk deity for Sindhi immigrants in India. Points of Entry examines the constant struggle between two distinct tendencies in Pakistani civic-nationalism—one modernist, the other theocratic—and the complex society it has birthed.

     For the next four months he spent his life on the frontline, witnessing and recording what the American men were doing, saying and thinking in the fight against the communist forces of Northern Vietnam. Tregaskis exposes the confusion of the conflict as he climbs on board Marine and Army helicopters and goes on missions to search out their deadly foes that seem to disappear into the jungle as soon as they are seen. Vietnam Diary is a remarkable book that takes the reader to the heart of what it was like to be fighting in this vicious war. Through the course of the book Tregaskis develops deep friendships with many of the troops who begin to open up to him and explain their experiences that they have been through since the beginning of the war. “He discusses in typical Tregaskis style his observations and experiences during the time he spent with the Marine and Army helicopter units, the Special Forces, the MAAG personnel, and the Junk fleet.” R. C. Rosacker, Lieutenant Colonel, U. S. Marine Corps, Naval War College Review Tregaskis won the George Polk Award for first-person reporting under hazardous conditions shortly after publishing Vietname Diary. This book is essential reading for anyone interested in the Vietnam War as well as the lives of the soldiers who fought within it. Richard Tregaskis was an American journalist and author who served as a war correspondent during World War Two, the Korean War, and the Vietnam War. He was no stranger to danger as he frequently put himself in the firing line to report and during the Second World War while in Italy a shell fragment pierced his helmet and his skull and nearly killed him. His book Vietnam Diary was first published in 1963 and he passed away in Hawaii in 1973.

    Bette Davis's eyes, Joan Crawford's bitchy elegance, Stepin Fetchit's stereotype, Sidney Poitier's superhuman black man...  These are the movie stars and the qualities that influenced James Baldwin...  and now become part of his incisive look at racism in American movies.Baldwin challenges the underlying assumptions in such films as In the Heat of the Night, Guess Who's Coming to Dinner, and The Exorcist, offering us a vision of America's self-delusions and deceptions.  Here are our loves and hates, biases and cruelties, fears and ignorance reflected by the films that have entertained us and shaped our consciousness.  And here, too, is the stunning prose of a writer whose passion never diminished his struggle for equality, justice, and social change.From The Birth of a Nation to The Exorcist--one of America's most important writers turns his critical eye to American film.

    Luckily, something remarkable happens wherever he roams. With his keen eye and original voice, he portrays evocative travel moments both big and small. In Sarajevo, he skis with soldiers at the height of the Bosnian War. Outside a Mexican bullring, two boys mistake him for their idol, a professional wrestler. And returning to a tropical paradise, he’s assigned the same hotel room where an older woman broke his heart five years earlier.Along the way, he challenges a rival to a goat race in Saudi Arabia, searches for his missing shoes with barefooted villagers in Honduras, plunges through the Himalayas in aviation’s most terrifying final approach, and joins the U.S. Navy—for one week, anyway. To top it off, he reveals his favorite travel tip gleaned from forty years of globetrotting.By turns hilarious, wistful, and dramatic, The Distance Between draws a captivating self-portrait of a lifelong vagabond and a writer critics call “a reader’s dream” (San Diego Union-Tribune).

    Street life, drugs, art and nature, family, AIDS, politics, friendship and acceptance: Wojnarowicz challenges us to examine our lives -- politically, socially, emotionally, and aesthetically.

    So much for the Summer of Love. "Ode to Billie Joe" knocked the Beatles' "All You Need is Love" off the top of the charts, and Bobbie Gentry became an international star. Almost 50 years later, Gentry is as enigmatic and captivating as her signature song. Of course, fans still want to know why Billie Joe McAllister jumped off the Tallahatchie Bridge. They also wonder: Why did Bobbie Gentry, who has not performed or made a public appearance since the early 1980s, leave it all behind?Through extensive interviews and unprecedented access to career memorabilia, Murtha explores the real-life mysteries ensnarled within the much-disputed origin of Ode to Billie Joe. The result is an investigative pop history that reveals, for the first time, the full breadth of Bobbie Gentry's groundbreaking career-and just may help explain her long silence.Foreword by musician Jill Sobule.