Vice President Lyndon B. Johnson boarded the plane in secrecy, with few in the world aware that President Kennedy was dead, and then after taking the presidential oath, Johnson had 132 minutes to assemble his thoughts and a government before landing at Andrews Air Force Base and presenting himself to the cameras as the new leader of the free world.While there are many individual recollections of the flight, there exist few comprehensive reconstructions of all that unfolded on the plane. Graff's account of the flight—based on dozens of accounts of those on board plus more than 500 pages of archive documents as well as a recently discovered two-hour-and-22-minute audio recording of Air Force One’s radio traffic with Andrews on the day of the assassination—reveals that even amid one of the most dramatic presidential transitions in history there arose very human moments of envy, anger, bewilderment, and courage, as those aboard endured what would be for all of them the most difficult hours of their lives.

    Tore Boeckmann and Leonard Peikoff for the first time now bring readers the edited transcript of these exciting personal statements. The Art of Fiction offers invaluable lessons, in which Rand analyzes the four essential elements of fiction: theme, plot, characterization, and style. She demonstrates her ideas by dissecting her best-known works, as well as those of other famous authors, such as Thomas Wolfe, Sinclair Lewis, and Victor Hugo. An historic accomplishment, this compendium will be a unique and fascinating resource for both writers and readers of fiction.

    Besides a young Whitman, the circle included actor Edwin Booth; trailblazing stand–up comic Artemus Ward; psychedelic drug pioneer and author Fitz Hugh Ludlow; and brazen performer Adah Menken, famous for her Naked Lady routine. Central to their times, the artists managed to forge connections with Ralph Waldo Emerson, Mark Twain, and even Abraham Lincoln. This vibrant tale, packed with original research, offers the pleasures of a great group biography like The Banquet Years or The Metaphysical Club. Justin Martin shows how this first bohemian culture—imported from Paris to a dingy Broadway saloon—seeded and nurtured an American tradition of rebel art that thrives to this day.

    As unexpected and complex as the album itself, Chamber Music ranges from provocative essays to semi-comic skits, from deep scholarly analysis to satirical celebration, seeking to contextualize, reveal and honor this singular work of art. Chamber Music is an explosive and revelatory new way of writing about music and culture.

    From the moment he purchases a trunk containing the archive of Hubert’s Dime Museum and Flea Circus—a midcentury Times Square freak show frequented by Arbus—and discovers some intriguing photographs, he knows he’s on to something. Furthermore, he begins to suspect that what he’s found may add a pivotal chapter to what is now known about Arbus and the “old weird America,” in Greil Marcus’s phrase, that Hubert’s inhabited.Langmuir’s ensuing adventure, filled with bizarre coincidences, turns into a roller-coaster ride that takes him from memorabilia shows to the curator’s office at the Metropolitan Museum of Art. Will the photos be authenticated? How will the Arbus estate react? most important, can Bob, who has seen more than a few promising deals head south, finally make his one big score?

    The anguished and volatile intensity associated with the artistic temperament was once thought to be a symptom of genius or eccentricity peculiar to artists, writers, and musicians. Her work, based on her study as a clinical psychologist and researcher in mood disorders, reveals that many artists subject to exalted highs and despairing lows were in fact engaged in a struggle with clinically identifiable manic-depressive illness. Jamison presents proof of the biological foundations of this disease and applies what is known about the illness to the lives and works of some of the world's greatest artists including Lord Byron, Vincent Van Gogh, and Virginia Woolf.

    These essays, first published in 1990, stand as the mature centerpiece of Snyder’s work and thought, and this profound collection is widely accepted as one of the central texts on wilderness and the interaction of nature and culture. As the Library Journal affirmed, “This is an important book for anyone interested in the ethical interrelationships of things, places, and people, and it is a book that is not just read but taken in.”

    On Easter Sunday in 1937, the discovery of a grisly triple homicide at Beekman Place would rock the neighborhood yet again—and enthrall the nation. The young man who committed the murders would come to be known in the annals of American crime as the Mad Sculptor.   Caught up in the Easter Sunday slayings was a bizarre and sensationalistic cast of characters, seemingly cooked up in a tabloid editor’s overheated imagination. The charismatic perpetrator, Robert Irwin, was a brilliant young sculptor who had studied with some of the masters of the era. But with his genius also came a deeply disturbed psyche; Irwin was obsessed with sexual self-mutilation and was frequently overcome by outbursts of violent rage.   Irwin’s primary victim, Veronica Gedeon, was a figure from the world of pulp fantasy—a stunning photographer's model whose scandalous seminude pinups would titillate the public for weeks after her death. Irwin’s defense attorney, Samuel Leibowitz, was a courtroom celebrity with an unmatched record of acquittals and clients ranging from Al Capone to the Scottsboro Boys. And Dr. Fredric Wertham, psychiatrist and forensic scientist, befriended Irwin years before the murders and had predicted them in a public lecture months before the crime.   Based on extensive research and archival records, The Mad Sculptor recounts the chilling story of the Easter Sunday murders—a case that sparked a nationwide manhunt and endures as one of the most engrossing American crime dramas of the twentieth century. Harold Schechter’s masterful prose evokes the faded glory of post-depression New York and the singular madness of a brilliant mind turned against itself. It will keep you riveted until the very last page.

    Norrie Epstein - whose The Friendly Shakespeare was called "spirited, informative and provocative" by The New York Times - strips away the polite veneer of Victorian society to reveal Dickens's life and times in all their squalor and glory, from his childhood days toiling in a blacking factory while his father languished in debtor's prison, to his first visit to the United States, where he was hailed as the greatest living writer. The Friendly Dickens includes an illuminating guide to all of Dickens's works and lively appreciations of characters both major and minor, interviews with aficionados from Patrick Stewart to biographer Phyllis Rose, eye-catching illustrations, copious quotations, a highly opinionated filmography and informative sidebars on almost every page.

    A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.

    He tells you all you need to know to become a true Wagnerite--from story lines to historical background; from when to visit the rest room to how to sound smart during intermission; from the Jewish legend that possibly inspired Lohengrin to the tragic death of the first Tristan. Funny, informative, and always a pleasure to read, Wagner Without Fear proves that the art of Wagner can be accessible to everyone.Includes:- The strange life of Richard Wagner--German patriot (and exile), friend (and enemy) of Liszt and Nietzsche- Essential opera lore and "lobby talk"- A scene-by-scene analysis of each opera- What to listen for to get the most from the music- Recommended recordings, films, and sound tracks

    Not only are there frequent references to specific works of art, but certain characters are also evoked by comparison to particular paintings. Bloch’s appearance as a boy is likened to the portrait of Mehmet II by Gentile Bellini; Odette de Crécy strikes Swann by her resemblance to a figure in a Botticelli fresco. Even the lesser figure of a certain Mme. Blattin becomes the subject of Proustian mischief by being described as “exactly the portrait of Savonarola by Fra Bartolomeo.” Eric Karpeles has identified and located the many paintings to which Proust makes reference and sets them alongside the relevant text from the novel; in other cases, where only a painter’s name is mentioned to indicate a certain style or appearance, Karpeles has chosen a representative work to illustrate the impression that Proust sought to evoke.With some 200 paintings beautifully reproduced in full color and texts drawn from the Moncrieff/Kilmartin/Enright translation, as well as concise commentaries on the evolving narrative, this book is an essential addition to the libraries of Proustians everywhere. The book also includes an authoritative introduction and a comprehensive index of artists and paintings mentioned in the novel.

    Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims our country's origins for a diverse new generation.Hamilton: The Revolution gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda and Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages--"since before this was even a show," according to Miranda--trace its development from an improbable perfor­mance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here.Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sond­heim, leading political commentators, and more than 40 people involved with the production; and multiple appearances by Presi­dent Obama himself. The book does more than tell the surprising story of how a Broadway musical became a national phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.

    The team behind the inspirational design sites Gardenista.com and Remodelista.com presents an all-in-one manual for making your outdoor space as welcoming as your living room. Tour personality-filled gardens around the world and re-create the looks with no-fail planting palettes. Find hundreds of design tips and easy DIYs, editors’ picks of 100 classic (and stylish) objects, a landscaping primer with tips from pros, over 200 resources, and so much more.

    It fills our Facebook feeds. It keeps afloat a whole armada of late-night comedians, YouTube auteurs, and twitter wits … an endless stream of "Worst Things Ever." Recall, if you will, Rebecca Black's chart-topping disasterpiece, "Friday." Or “The Room”, Tommy Wiseau's cinematic tragedy turned cult farce. Or the devout Spanish septuagenarian who produced an infamously botched, and now stunningly ubiquitous, retouching of a 19th-century fresco of her Lord and Savior Jesus Christ. The Internet era has fueled an obsession with these and other acts of cultural cluelessness. Hardly a week goes by, it seems, without some new aesthetic travesty spreading across the globe in the form of ones and zeros, spawning countless remixes and riffs, like the world's biggest inside joke. And once more the cry goes up: Fail! Epic Fail!But what, exactly, draws us to these futile attempts at making songs, movies, and art? What are the essential ingredients that render a ridiculous failure sublime? More important, what does our seemingly insatiable appetite for the "succès d'incompetence" say about our aesthetic impulses? Our ethical ones? Is our laughter all in good fun or is something more sinister at work?