First, her birth father, who left her with only an inheritance of addiction and Native American blood, its meaning a mystery. As Febos tentatively reconnects, she sees how both these lineages manifest in her own life, marked by compulsion and an instinct for self-erasure. Meanwhile, she remains closely tied to the sea captain who raised her, his parenting ardent but intermittent as his work took him away for months at a time. Woven throughout is the hypnotic story of an all-consuming, long-distance love affair with a woman, marked equally by worship and withdrawal. In visceral, erotic prose, Febos captures their mutual abandonment to passion and obsession -- and the terror and exhilaration of losing herself in another.At once a fearlessly vulnerable memoir and an incisive investigation of art, love, and identity, Abandon Me draws on childhood stories, religion, psychology, mythology, popular culture, and the intimacies of one writer's life to reveal intellectual and emotional truths that feel startlingly universal.

    How had Donald Trump won the White House? How was it that a decent and thoughtful president had been succeeded by a buffoonish reality star, and what do we do now?Instead of throwing away his phone and moving to another country (which were his first and second thoughts), Pfeiffer decided to tell this surreal story, recounting how Barack Obama navigated the insane political forces that created Trump, explaining why everyone got 2016 wrong, and offering a path for where Democrats go from here.Pfeiffer was one of Obama's first hires when he decided to run for president, and was at his side through two presidential campaigns and six years in the White House. Using never-before-heard stories and behind-the-scenes anecdotes, Yes We (Still) Can examines how Obama succeeded despite Twitter trolls, Fox News (and their fake news), and a Republican Party that lost its collective mind.An irreverent, no-B.S. take on the crazy politics of our time, Yes We (Still) Can is a must-read for everyone who is disturbed by Trump, misses Obama, and is marching, calling, and hoping for a better future for the country.

    And yet, very few of its readers know that the subject of the novel was inspired by a real-life case: the 1948 abduction of eleven-year-old Sally Horner.Weaving together suspenseful crime narrative, cultural and social history, and literary investigation, The Real Lolita tells Sally Horner’s full story for the very first time. Drawing upon extensive investigations, legal documents, public records, and interviews with remaining relatives, Sarah Weinman uncovers how much Nabokov knew of the Sally Horner case and the efforts he took to disguise that knowledge during the process of writing and publishing Lolita.Sally Horner’s story echoes the stories of countless girls and women who never had the chance to speak for themselves. By diving deeper in the publication history of Lolita and restoring Sally to her rightful place in the lore of the novel’s creation, The Real Lolita casts a new light on the dark inspiration for a modern classic.

    "-Washington Post Book WorldIn 1909 maps still identified eastern Montana as the Great American Desert.  But in that year Congress, lobbied heavily by railroad companies, offered 320-acre tracts of land to anyone bold or foolish enough to stake a claim to them. Drawn by shamelessly inventive brochures, countless homesteaders--many of them immigrants--went west to make their fortunes. Most failed. In Bad Land, Jonathan Raban travels through the unforgiving country that was the scene of their dreams and undoing, and makes their story come miraculously alive.     In towns named Terry, Calypso, and Ismay (which changed its name to Joe, Montana, in an effort to attract football fans), and in the landscape in between, Raban unearths a vanished episode of American history, with its own ruins, its own heroes and heroines, its own hopeful myths and bitter memories. Startlingly observed, beautifully written, this book is a contemporary classic of the American West. "Exceptional. . . .  A beautifully told historical meditation. "--Time"Championship prose. . . .  In fifty years don't be surprised if Bad Land is a landmark."--Los Angeles Times

    It wouldn't. In fact, it's actually pretty insulting that this so-called 'Community' hasn't done more to acknowledge (or even begin to repay) its undoubted debt to me.Richard Ayoade is many things - film director (of Submarine and the forthcoming The Double), comedy actor (The IT Crowd), comedian and TV presenter (Gadget Man). Ayoade on Ayoade captures the director in his own words: pompous, vain, angry and very, very funny.

    It’s a delightful collection of mysteries. A mosaic. A memoir. A charming, surprising must-read.Mike Rowe’s The Way I Heard It collects thirty-five fascinating stories “for the curious mind with a short attention span.” Five-minute mysteries about people you know, filled with facts that you didn’t. Movie stars, presidents, Nazis, and bloody do-gooders—they’re all here, waiting to shake your hand, hoping you’ll remember them. Delivered with Mike’s signature blend of charm, wit, and ingenuity, their stories are part of a larger mosaic—a memoir crammed with recollections, insights, and intimate, behind-the-scenes moments drawn from Mike’s own remarkable life and career.

    "Girly Sound" was the name of the cassettes she used to pass around in those days, and in 1993 those songs became the landmark album Exile in Guyville, which turned Phair, at twenty-five, into a foul-mouthed feminist icon.Now, like a Gen X Patti Smith, Liz Phair tells the story of her life and career in a memoir about the moments that have haunted her most. Horror is in the eye of the beholder. For Phair, horror is what stays with you—the often unrecognized, universal experiences of daily pain, shame, and fear that make up our common humanity. In Phair's case it means the dangers of falling for "the perfect guy," and the disaster that awaits her; the memory of a stranger passed out on a bathroom floor amid a crowd of girls, forcing her to consider our responsibilities to one another, and the gnawing regret of being a bystander; and the profound sense of emptiness she experienced on the set of her first celebrity photoshoot.Horror Stories reads like the confessions of a friend, a book that gathers up all of our isolated shames, bringing us together in our shared imperfection, our uncertainty and our cowardice, smashing the stigma of not being in control. But most importantly, Horror Stories is a memoir that asks questions of how we feel about the things that have happened to us, how we cope with regret and culpability, and how we break the spell of those things, leeching them of their power over us. This memoir is an immersive experience, taking readers inside the most intimate moments of Phair's life. Her fearless prose, wit, and uncompromising honesty transform those deeply personal moments into tales about each and every one of us—that will appeal to both the serious fan and the serious reader.

    Time and time again, Piazza identifies the unlikely, precious connections between recent events, art, letters, and music; through his words, these byways of popular culture provide an unexpected measure of the times.” —Elvis Costello

    George Saunders's first foray into nonfiction is composed of essays on literature, travel, and politics. At the core of this unique collection are Saunders's travel essays based on his trips to seek out the mysteries of the "Buddha Boy" of Nepal; to attempt to indulge in the extravagant pleasures of Dubai; and to join the exploits of the minutemen at the Mexican border. Saunders expertly navigates the works of Mark Twain, Kurt Vonnegut, and Esther Forbes, and leads the reader across the rocky political landscape of modern America. Emblazoned with his trademark wit and singular vision, Saunders's endeavor into the art of the essay is testament to his exceptional range and ability as a writer and thinker.

    Today, America’s wars are everywhere and forever: our enemies change constantly and rarely wear uniforms, and virtually anything can become a weapon. As war expands, so does the role of the US military. Today, military personnel don’t just “kill people and break stuff.” Instead, they analyze computer code, train Afghan judges, build Ebola isolation wards, eavesdrop on electronic communications, develop soap operas, and patrol for pirates. You name it, the military does it. Rosa Brooks traces this seismic shift in how America wages war from an unconventional perspective—that of a former top Pentagon official who is the daughter of two anti-war protesters and a human rights activist married to an Army Green Beret. Her experiences lead her to an urgent warning: When the boundaries around war disappear, we risk destroying America’s founding values and the laws and institutions we’ve built—and undermining the international rules and organizations that keep our world from sliding towards chaos. If Russia and China have recently grown bolder in their foreign adventures, it’s no accident; US precedents have paved the way for the increasingly unconstrained use of military power by states around the globe. Meanwhile, we continue to pile new tasks onto the military, making it increasingly ill-prepared for the threats America will face in the years to come. By turns a memoir, a work of journalism, a scholarly exploration into history, anthropology and law, and a rallying cry, How Everything Became War and the Military Became Everything transforms the familiar into the alien, showing us that the culture we inhabit is reshaping us in ways we may suspect, but don’t really understand. It’s the kind of book that will leave you moved, astonished, and profoundly disturbed, for the world around us is quietly changing beyond recognition—and time is running out to make things right.

    Two hours after their jump, all but three of these men were dead or mortally burned from a "blowup" -- an explosive, 2,000-degree firestorm 300 feet deep and 200 feet tall -- a deadly explosion of flame and wind rarely encountered and little understood at the time.  Only seconds ahead of the approaching firestorm, the foreman, R. Wagner Dodge, throws himself into the ashes of an "escape fire " - and survives as most of his confused men run, their last moments obscured by smoke. The parents of the dead cry murder, charging that the foreman's fire killed their boys.  Exactly what happened in Mann Gulch that day has been obscured by years of grief and controversy. Now a master storyteller finally gives the Mann Gulch fire its due as tragedy.     These first deaths among the Forest Service's elite firefighters prompted widespread examination of federal fire policy, of the field of fire science, and of the frailty of young men. For Maclean, who witnessed the fire from the ground in August of 1949,  and even then he knew he would one day become a part of its story.  It is a story of Montana, of the ways of wildfires, firefighters, and fire scientists, and especially of a crew, young and proud, who "hadn't learned to count the odds and to sense they might owe the universe a tragedy." This tale is also Maclean's own, the story of a writer obsessed by a strange and human horror, unable to let the truth die with these young men, searching for the last - and lasting - word. A canvas on which to tell many stories, including the story of his research into the story itself. And finally Nature's violence colliding with human fallibility.      Haunted by these deaths for forty years, Norman Maclean returned to the scene with two of the survivors and pursues the mysteries that Mann Gulch has kept hidden since 1949.  From the words of witnesses, the evidence of history, and the research of fire scientists, Maclean at last assembles the scattered pieces of the Mann Gulch tragedy; in his last work that consumed 14 years of his life, and earned a 1992 National Book Critics Circle Award.       The excruciating detail of this book makes for a sobering reading experience. Maclean -- a former University of Chicago English professor and avid fisherman -- also wrote A River Runs Through It and Other Stories , which is set along the Missouri River, one gulch downstream from Mann Gulch.       "A magnificent drama of writing, a tragedy that pays tribute to the dead and offers rescue to the living.... Maclean's search for the truth, which becomes an exploration of his own mortality, is more compelling even than his journey into the heart of the fire. His description of the conflagration terrifies, but it is his battle with words, his effort to turn the story of the 13 men into tragedy that makes this book a classic."          —  from New York Times Book Review Editor's Choice, Best Books of 1992 The Men who Perished in the Mann Gulch Fire: Robert J. Bennett
Eldon E. Diettert
James O. Harrison
William J. Heilman
Phillip R. McVey
David R. Navon
Leonard L. Piper
Stanley J. Reba
Marvin L. Sherman
Joseph B. Sylvia
Henry J. Thol, Jr.
Newton R. Thompson
Silas R. Thompson Survivors of the Fire: R. Wagner Dodge, foreman
Walter B. Rumsey
Robert W. Sallee

    She cold-shouldered Princess Diana and humiliated Elizabeth Taylor.Andy Warhol photographed her. Jack Nicholson offered her cocaine. Gore Vidal revered her. John Fowles hoped to keep her as his sex-slave. Dudley Moore propositioned her. Francis Bacon heckled her. Peter Sellers was in love with her.For Pablo Picasso, she was the object of sexual fantasy. “If they knew what I had done in my dreams with your royal ladies” he confided to a friend, “they would take me to the Tower of London and chop off my head!”Princess Margaret aroused passion and indignation in equal measures. To her friends, she was witty and regal. To her enemies, she was rude and demanding.In her 1950’s heyday, she was seen as one of the most glamorous and desirable women in the world. By the time of her death, she had come to personify disappointment. One friend said he had never known an unhappier woman.The tale of Princess Margaret is pantomime as tragedy, and tragedy as pantomime. It is Cinderella in reverse: hope dashed, happiness mislaid, life mishandled.Combining interviews, parodies, dreams, parallel lives, diaries, announcements, lists, catalogues and essays, Ma’am Darling is a kaleidoscopic experiment in biography, and a witty meditation on fame and art, snobbery and deference, bohemia and high society.

    The real-life protagonist of The Black Count, General Alex Dumas, is a man almost unknown today yet with a story that is strikingly familiar, because his son, the novelist Alexandre Dumas, used it to create some of the best loved heroes of literature.Yet, hidden behind these swashbuckling adventures was an even more incredible secret: the real hero was the son of a black slave -- who rose higher in the white world than any man of his race would before our own time. Born in Saint-Domingue (now Haiti), Alex Dumas was briefly sold into bondage but made his way to Paris where he was schooled as a sword-fighting member of the French aristocracy. Enlisting as a private, he rose to command armies at the height of the Revolution in an audacious campaign across Europe and the Middle East – until he met an implacable enemy he could not defeat.The Black Count is simultaneously a riveting adventure story, a lushly textured evocation of 18th-century France, and a window into the modern world’s first multi-racial society. But it is also a heartbreaking story of the enduring bonds of love between a father and son.

    Drawing on scholarly research and archaeological evidence, the author examines the accomplishments of the Anasazi people of the American Southwest and speculates on why the culture vanished by the 13th century.

    Kennedy, Groucho Marx, Charles Dickens, Katharine Hepburn, Mick Jagger, Steve Martin, Clementine Churchill, Ray Bradbury, Kurt Vonnegut and many more.