After gaining admission to Oxford, and moving to the United States to become a journalist, through several love affairs, then marriage and family, Mead read and reread Middlemarch. The novel, which Virginia Woolf famously described as "one of the few English novels written for grown-up people," offered Mead something that modern life and literature did not.In this wise and revealing work of biography, reporting, and memoir, Rebecca Mead leads us into the life that the book made for her, as well as the many lives the novel has led since it was written. Employing a structure that deftly mirrors that of the novel, My Life in Middlemarch takes the themes of Eliot's masterpiece--the complexity of love, the meaning of marriage, the foundations of morality, and the drama of aspiration and failure--and brings them into our world. Offering both a fascinating reading of Eliot's biography and an exploration of the way aspects of Mead's life uncannily echo that of Eliot herself.

    On November 24, 1963, two days after the killing of President Kennedy, a troubled nightclub owner named Jack Ruby quietly slipped into the Dallas police station and assassinated the assassin, Lee Harvey Oswald. Millions of Americans witnessed the killing on live television, and yet the event would lead to questions for years to come.It also would help to spark the conspiracy theories that have continued to resonate today.Under the long shadow cast by the assassination of America’s beloved president, few would remember the bizarre trial that followed three months later in Dallas, Texas. How exactly does one defend a man who was seen pulling the trigger in front of millions? And, more important, how did Jack Ruby, who fired point-blank into Oswald live on television, die an innocent man?Featuring a colorful cast of characters, including the nation’s most flamboyant lawyer pitted against a tough-as-Texas prosecutor, award-winning authors Dan Abrams and David Fisher unveil the astonishing details behind the first major trial of the television century. While it was Jack Ruby who appeared before the jury, it was also the city of Dallas and the American legal system being judged by the world.

    From the Battery's traces of the early port to Washington Square's ghosts of executed convicts and well-heeled Knickerbockers; from the Five Points, once the most dangerous and squalid slum in America, to the mansions of the robber barons on "the Fifth Avenue"; from the Bowery of the 1860s, the vibrant heart of the city's theater world, to the Village of the 1960s, with its festival-like street life, this is downtown as we've never seen it before. Hamill weaves his own memories of Manhattan with the liveliest moments from its past, and points out the hints of that past living on in the city of today, fueling the ever-present nostalgia of its inhabitants.Hamill introduces us to the New Yorkers who have left indelible marks: Peter Stuyvesant and John Jacob Astor, Stanford White and George Templeton Strong, Edith Wharton and Henry James, Joseph Pulitzer and William Randolph Hearst, W. H. Auden and Allen Ginsberg, Boss Tweed and Fiorello La Guardia, Jimi Hendrix and Thelonious Monk, and scores of others. And he takes us to the eateries, saloons, theaters, movie houses, bookstores, and street corners they, and he, once frequented, whether still standing or existing only in memory.Through the city's transformations, the pulse of Pete Hamill's brilliant voice melds with the pulse that drives New York, that mixture of daring, greed, anger, rebellion, hope, entrepreneurialism, and longing that never fades. Written by native son who has lived through some of New York City's most historic moments, Downtown is an extraordinary celebration of the magnificent, haunted place that Hamill continues to call home, and that people from all over the country and the world have come to call their own.

    Now Terry Tempest Williams, the author of the environmental classic Refuge and the beloved memoir When Women Were Birds, returns with The Hour of Land, a literary celebration of our national parks, an exploration of what they mean to us and what we mean to them.From the Grand Tetons in Wyoming to Acadia in Maine to Big Bend in Texas and more, Williams creates a series of lyrical portraits that illuminate the unique grandeur of each place while delving into what it means to shape a landscape with its own evolutionary history into something of our own making. Part memoir, part natural history, and part social critique, The Hour of Land is a meditation and a manifesto on why wild lands matter to the soul of America.

    The archaic notion of despotic family rule matches the almost medieval hardship the country has suffered under the Kims. Few people thought that a young, untested, unhealthy, Swiss-educated basketball fanatic could hold together a country that should have fallen apart years ago. But Kim Jong Un has not just survived, he has thrived, abetted by the approval of Donald Trump and diplomacy's weirdest bromance.Skeptical yet insightful, Fifield creates a captivating portrait of the oddest and most secretive political regime in the world--one that is isolated yet internationally relevant, bankrupt yet in possession of nuclear weapons--and its ruler, the self-proclaimed Beloved and Respected Leader, Kim Jong Un.

    That day--chosen completely at random--turned out to be Sunday, December 28, 1986, by any conventional measure a most ordinary day. Weingarten spent the next six years proving that there is no such thing.That Sunday between Christmas and New Year's turned out to be filled with comedy, tragedy, implausible irony, cosmic comeuppances, kindness, cruelty, heroism, cowardice, genius, idiocy, prejudice, selflessness, coincidence, and startling moments of human connection, along with evocative foreshadowing of momentous events yet to come. Lives were lost. Lives were saved. Lives were altered in overwhelming ways. Many of these events never made it into the news; they were private dramas in the lives of private people. They were utterly compelling.One Day asks and answers the question of whether there is even such a thing as "ordinary" when we are talking about how we all lurch and stumble our way through the daily, daunting challenge of being human.

    So begins Spinster, a revelatory and slyly erudite look at the pleasures and possibilities of remaining single. Using her own experiences as a starting point, journalist and cultural critic Kate Bolick invites us into her carefully considered, passionately lived life, weaving together the past and present to examine why­ she - along with over 100 million American women, whose ranks keep growing - remains unmarried. This unprecedented demographic shift, Bolick explains, is the logical outcome of hundreds of years of change that has neither been fully understood, nor appreciated. Spinster introduces a cast of pioneering women from the last century whose genius, tenacity, and flair for drama have emboldened Bolick to fashion her life on her own terms: columnist Neith Boyce, essayist Maeve Brennan, social visionary Charlotte Perkins Gilman, poet Edna St. Vincent Millay, and novelist Edith Wharton. By animating their unconventional ideas and choices, Bolick shows us that contemporary debates about settling down, and having it all, are timeless - the crucible upon which all thoughtful women have tried for centuries to forge a good life. Intellectually substantial and deeply personal, Spinster is both an unreservedly inquisitive memoir and a broader cultural exploration that asks us to acknowledge the opportunities within ourselves to live authentically. Bolick offers us a way back into our own lives - a chance to see those splendid years when we were young and unencumbered, or middle-aged and finally left to our own devices, for what they really are: unbounded and our own to savor.

    At twenty-three, after leaving graduate school to pursue her dreams of becoming a poet, Joanna Rakoff moves to New York City and takes a job as assistant to the storied literary agent for J. D. Salinger. She spends her days in a plush, wood-paneled office, where Dictaphones and typewriters still reign and old-time agents doze at their desks after martini lunches. At night she goes home to the tiny, threadbare Williamsburg apartment she shares with her socialist boyfriend. Precariously balanced between glamour and poverty, surrounded by titanic personalities, and struggling to trust her own artistic instinct, Rakoff is tasked with answering Salinger’s voluminous fan mail. But as she reads the candid, heart-wrenching letters from his readers around the world, she finds herself unable to type out the agency’s decades-old form response. Instead, drawn inexorably into the emotional world of Salinger’s devotees, she abandons the template and begins writing back. Over the course of the year, she finds her own voice by acting as Salinger’s, on her own dangerous and liberating terms. Rakoff paints a vibrant portrait of a bright, hungry young woman navigating a heady and longed-for world, trying to square romantic aspirations with burgeoning self-awareness, the idea of a life with life itself. Charming and deeply moving, filled with electrifying glimpses of an American literary icon, My Salinger Year is the coming-of-age story of a talented writer. Above all, it is a testament to the universal power of books to shape our lives and awaken our true selves.

    Sparked by her unexpected encounter with the surviving roses he planted in 1936, Solnit’s account of this understudied aspect of Orwell’s life explores his writing and his actions—from going deep into the coal mines of England, fighting in the Spanish Civil War, critiquing Stalin when much of the international left still supported him (and then critiquing that left), to his analysis of the relationship between lies and authoritarianism. Through Solnit’s celebrated ability to draw unexpected connections, readers encounter the photographer Tina Modotti’s roses and her Stalinism, Stalin’s obsession with forcing lemons to grow in impossibly cold conditions, Orwell’s slave-owning ancestors in Jamaica, Jamaica Kincaid’s critique of colonialism and imperialism in the flower garden, and the brutal rose industry in Colombia that supplies the American market. The book draws to a close with a rereading of Nineteen Eighty-Four that completes her portrait of a more hopeful Orwell, as well as a reflection on pleasure, beauty, and joy as acts of resistance.

    His congregation was racially integrated, and he was a much-lauded leader in the contemporary civil rights movement. Eventually, Jones moved his church, Peoples Temple, to northern California. He became involved in electoral politics, and soon was a prominent Bay Area leader.In this riveting narrative, Jeff Guinn examines Jones’s life, from his extramarital affairs, drug use, and fraudulent faith healing to the fraught decision to move almost a thousand of his followers to a settlement in the jungles of Guyana in South America. Guinn provides stunning new details of the events leading to the fatal day in November, 1978 when more than nine hundred people died—including almost three hundred infants and children—after being ordered to swallow a cyanide-laced drink.Guinn examined thousands of pages of FBI files on the case, including material released during the course of his research. He traveled to Jones’s Indiana hometown, where he spoke to people never previously interviewed, and uncovered fresh information from Jonestown survivors. He even visited the Jonestown site with the same pilot who flew there the day that Congressman Leo Ryan was murdered on Jones’s orders. The Road to Jonestown is the definitive book about Jim Jones and the events that led to the tragedy at Jonestown.

    So did some of his friends, a group of modernist writers and artists that included E. E. Cummings, Marianne Moore, William Carlos Williams, John Dos Passos, and Ezra Pound. Gould began his life’s work before the First World War, announcing that he intended to write down nearly everything anyone ever said to him. “I am trying to preserve as much detail as I can about the normal life of every day people,” he explained, because “as a rule, history does not deal with such small fry.” By 1942, when The New Yorker published a profile of Gould written by the reporter Joseph Mitchell, Gould’s manuscript had grown to more than nine million words. But when Gould died in 1957, in a mental hospital, the manuscript was nowhere to be found. Then, in 1964, in “Joe Gould’s Secret,” a second profile, Mitchell claimed that “The Oral History of Our Time” had been, all along, merely a figment of Gould’s imagination. Lepore, unpersuaded, decided to find out.  Joe Gould’s Teeth is a Poe-like tale of detection, madness, and invention. Digging through archives all over the country, Lepore unearthed evidence that “The Oral History of Our Time” did in fact once exist. Relying on letters, scraps, and Gould’s own diaries and notebooks—including volumes of his lost manuscript—Lepore argues that Joe Gould’s real secret had to do with sex and the color line, with modernists’ relationship to the Harlem Renaissance, and, above all, with Gould’s terrifying obsession with the African American sculptor Augusta Savage. In ways that even Gould himself could not have imagined, what Gould wrote down really is a history of our time: unsettling and ferocious.

    Meanwhile, country songs by female artists played in the background, telling powerful stories about life, men, hard times, and surviving. In her family, she writes, “country music was foremost a language among women. It’s how we talked to each other in a place where feelings aren’t discussed.” And no one provided that language better than Dolly Parton. Smarsh challenged a typically male vision of the rural working class with her first book, Heartland, starring the bold, hard-luck women who raised her. Now, in She Come By It Natural, originally published in a four-part series for The Journal of Roots Music, No Depression, Smarsh explores the overlooked contributions to social progress by such women—including those averse to the term “feminism”—as exemplified by Dolly Parton’s life and art. Far beyond the recently resurrected “Jolene” or quintessential “9 to 5,” Parton’s songs for decades have validated women who go unheard: the poor woman, the pregnant teenager, the struggling mother disparaged as “trailer trash.” Parton’s broader career—from singing on the front porch of her family’s cabin in the Great Smoky Mountains to achieving stardom in Nashville and Hollywood, from “girl singer” managed by powerful men to leader of a self-made business and philanthropy empire—offers a springboard to examining the intersections of gender, class, and culture. Infused with Smarsh’s trademark insight, intelligence, and humanity, She Come By It Natural is a sympathetic tribute to the icon Dolly Parton and—call it whatever you like—the organic feminism she embodies.

    For Jay, a retired research scientist this return to the classroom is his "one last chance" to learn the great literature he'd neglected in his youth--and, even more, a final opportunity to more fully understand his son, a writer and classicist. But through the sometimes uncomfortable months that the two men explore Homer's great work together--first in the classroom, where Jay persistently challenges his son's interpretations, and then during a surprise-filled Mediterranean journey retracing Odysseus's famous voyages--it becomes clear that Daniel has much to learn, too: Jay's responses to both the text and the travels gradually uncover long-buried secrets that allow the son to understand his difficult father at last.

    Simultaneously channeling the gonzo energy of Hunter S. Thompson and the wit and insight of Joan Didion, Sullivan shows us—with a laidback, erudite Southern charm that’s all his own—how we really (no, really) live now. In his native Kentucky, Sullivan introduces us to Constantine Rafinesque, a nineteenth-century polymath genius who concocted a dense, fantastical prehistory of the New World. Back in modern times, Sullivan takes us to the Ozarks for a Christian rock festival; to Florida to meet the alumni and straggling refugees of MTV’s Real World, who’ve generated their own self-perpetuating economy of minor celebrity; and all across the South on the trail of the blues. He takes us to Indiana to investigate the formative years of Michael Jackson and Axl Rose and then to the Gulf Coast in the wake of Katrina—and back again as its residents confront the BP oil spill. Gradually, a unifying narrative emerges, a story about this country that we’ve never heard told this way. It’s like a fun-house hall-of-mirrors tour: Sullivan shows us who we are in ways we’ve never imagined to be true. Of course we don’t know whether to laugh or cry when faced with this reflection—it’s our inevitable sob-guffaws that attest to the power of Sullivan’s work.

    It was long ago, but not as long as it seems: The Berlin Wall fell and the Twin Towers collapsed. In between, one presidential election was allegedly decided by Ross Perot while another was plausibly decided by Ralph Nader. In the beginning, almost every name and address was listed in a phone book, and everyone answered their landlines because you didn't know who it was. By the end, exposing someone's address was an act of emotional violence, and nobody picked up their new cell phone if they didn't know who it was. The '90s brought about a revolution in the human condition we're still groping to understand. Happily, Chuck Klosterman is more than up to the job. Beyond epiphenomena like Cop Killer and Titanic and Zima, there were wholesale shifts in how society was perceived: the rise of the internet, pre-9/11 politics, and the paradoxical belief that nothing was more humiliating than trying too hard. Pop culture accelerated without the aid of a machine that remembered everything, generating an odd comfort in never being certain about anything. On a '90s Thursday night, more people watched any random episode of Seinfeld than the finale of Game of Thrones. But nobody thought that was important; if you missed it, you simply missed it. It was the last era that held to the idea of a true, hegemonic mainstream before it all began to fracture, whether you found a home in it or defined yourself against it. In The Nineties, Chuck Klosterman makes a home in all of it: the film, the music, the sports, the TV, the politics, the changes regarding race and class and sexuality, the yin/yang of Oprah and Alan Greenspan. In perhaps no other book ever written would a sentence like, "The video for 'Smells Like Teen Spirit' was not more consequential than the reunification of Germany" make complete sense. Chuck Klosterman has written a multi-dimensional masterpiece, a work of synthesis so smart and delightful that future historians might well refer to this entire period as Klostermanian.