Featuring a mosaic of memories from politicians, businessmen, artists, and writers, from those who were just kids to those who remember losing a fortune, Hard Times is not only a gold mine of information but a fascinating interplay of memory and fact, revealing how the Depression affected the lives of those who experienced it firsthand.

    He quickly realized that Katrina was not the most interesting thing about New Orleans, not by a long shot. The most interesting question, which struck him as he watched residents struggling to return, was this: Why are New Orleanians—along with people from all over the world who continue to flock there—so devoted to a place that was, even before the storm, the most corrupt, impoverished, and violent corner of America?Here’s the answer. Nine Lives is a multivoiced biography of this dazzling, surreal, and imperiled city through the lives of nine characters over forty years and bracketed by two epic storms: Hurricane Betsy, which transformed the city in the 1960’s, and Katrina, which nearly destroyed it. These nine lives are windows into every strata of one of the most complex and fascinating cities in the world. From outsider artists and Mardi Gras Kings to jazz-playing coroners and transsexual barkeeps, these lives are possible only in New Orleans, but the city that nurtures them is also, from the beginning, a city haunted by the possibility of disaster. All their stories converge in the storm, where some characters rise to acts of heroism and others sink to the bottom. But it is New Orleans herself—perpetually whistling past the grave yard—that is the story’s real heroine. Nine Lives is narrated from the points of view of some of New Orleans’s most charismatic characters, but underpinning the voices of the city is an extraordinary feat of reporting that allows Baum to bring this kaleidoscopic portrait to life with brilliant color and crystalline detail. Readers will find themselves wrapped up in each of these individual dramas and delightfully immersed in the life of one of this country’s last unique places, even as its ultimate devastation looms ever closer. By resurrecting this beautiful and tragic place and portraying the extraordinary lives that could have taken root only there, Nine Lives shows us what was lost in the storm and what remains to be saved.

    The product of the centuries-long struggle among three mighty empires--France, Spain, and England--and among their respective American colonies and enslaved African peoples, it has always seemed like a foreign port to most Americans, baffled as they are by its complex cultural inheritance.The World That Made New Orleans offers a new perspective on this insufficiently understood city by telling the remarkable story of New Orleans’s first century--a tale of imperial war, religious conflict, the search for treasure, the spread of slavery, the Cuban connection, the cruel aristocracy of sugar, and the very different revolutions that created the United States and Haiti. It demonstrates that New Orleans already had its own distinct personality at the time of Louisiana’s statehood in 1812. By then, important roots of American music were firmly planted in its urban swamp--especially in the dances at Congo Square, where enslaved Africans and African Americans appeared en masse on Sundays to, as an 1819 visitor to the city put it, “rock the city.”

    It is a roller coaster ride of observations, commentary, emotions, tragedy and even humor - in a way that only Rose could find in a devastated wasteland. They are stories of the dead and the living, stories of survivors and believers, stories of hope and despair. And stories about refrigerators. With photographs by British photojournalist Charlie Varley, 1 Dead in Attic freeze frames New Orleans caught between an old era and a new, New Orleans in its most desperate time, as it struggled out of floodwaters and willed itself back to life in the autumn and early winter of 2005.

    From the author of Mystery Train and Lipstick Traces, comes an exhilarating and provocative investigation of the tangle of American identity.

    Ondaatje's prose is at times startlingly lyrical, and as he chases Bolden through documents and scenes, the novel partakes of the very best sort of modern detective novel--one where the enigma is never resolved, but allowed to manifest in its fullness. Though more 'experimental' in form than either The English Patient or In the Skin of a Lion, it is a fitting addition to the renowned Ondaatje oeuvre.

    It is a red state in the heart of Trumpland that hasn't elected a Democrat to a statewide office in more than twenty years; but it is also a state in which minorities already form a majority (including the largest number of Muslims). The cities are blue and among the most diverse in the nation. Oil is still king but Texas now leads California in technology exports. The Texas economic model of low taxes and minimal regulation has produced extraordinary growth but also striking income disparities. Texas looks a lot like the America that Donald Trump wants to create. And Wright's profound portrait of the state not only reflects our country back as it is, but as it was and as it might be.

    This early-20th-century battle centers on one man: Tom Anderson, the undisputed czar of the city's Storyville vice district, who fights desperately to keep his empire intact as it faces onslaughts from all sides. Surrounding him are the stories of flamboyant prostitutes, crusading moral reformers, dissolute jazzmen, ruthless Mafiosi, venal politicians, and one extremely violent serial killer, all battling for primacy in a wild and wicked city unlike any other in the world.

    For Wisconsin native Sara Roahen, a Sazerac is also a fine accompaniment to raw oysters, a looking glass into the cocktail culture of her own family and one more way to gain a foothold in her beloved adopted city. Roahen's stories of personal discovery introduce readers to New Orleans' well-known signatures: gumbo, po-boys, red beans and rice, and its lesser-known gems: the pho of its Vietnamese immigrants, the braciolone of its Sicilians, and the ya-ka-mein of its street culture. By eating and cooking her way through a place as unique and unexpected as its infamous turducken, Roahen finds a home. And then Katrina. With humor, poignancy, and hope, she conjures up a city that reveled in its food traditions before the storm – and in many ways has been saved by them since.

    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.

    He was an authority on rock & roll, blues, jazz, punk, avant-garde, and world music -- often discovering new artists and trends years (even decades) before they hit the mainstream. Now, noted music writer Anthony DeCurtis has compiled the best pieces from Palmer's oeuvre and presents them here, in one compelling volume.A member of the elite group of the defining rock critics who emerged in the 1960s and 1970s, Palmer possessed a vision so complete that, as DeCurtis writes, "it's almost as if, if you read Bob, you didn't need to read anyone else." Blues & Chaos features some of his most memorable pieces, including gripping stories about John Lennon, Led Zeppelin, Moroccan trance music, Miles Davis, Jerry Lee Lewis, Philip Glass, and Muddy Waters.Wonderfully entertaining, infused with passion, and deeply inspiring, Blues & Chaos is a must for music fans everywhere.Flirtations with chaos / by Anthony DeCurtis --The big picture : "The opinions expressed are dangerously subjective." --The blues : "A post-Heisenberg-uncertainty-principle mojo hand" --Jazz : "A kinetic kaleidoscope" --The originators : "Where the hell did this man come from?" --Soul and R&B : "It had to come from somewhere, and the church is where it all came from" --Classic rock : "Musically, we weren't afraid to go in any direction whatsoever" --John Lennon and Yoko Ono : "Now the music's coming through me again" --Punk rock and beyond : "Fear and nothing" --World music : "The world is changing and so is our music" --Morocco : "We fell through each other, weightless, into the sky" --On the edge : "Listen, as if a new world had suddenly opened up" --Sonic guitar maelstrom : "All hail the overdriven amp."

    These are among the people that Joseph Mitchell immortalized in his reportage for The New Yorker and in four books—McSorley's Wonderful Saloon, Old Mr. Flood, The Bottom of the Harbor, and Joe Gould's Secret—that are still renowned for their precise, respectful observation, their graveyard humor, and their offhand perfection of style.These masterpieces (along with several previously uncollected stories) are available in one volume, which presents an indelible collective portrait of an unsuspected New York and its odder citizens—as depicted by one of the great writers of this or any other time.

    Listening to his sermons, sharing coconut-flavored ices on their walks through town, roaming through the house that held together many members of a colorful extended family, Edwidge grew profoundly attached to Joseph. He was the man who “knew all the verses for love.” And so she experiences a jumble of emotions when, at twelve, she joins her parents in New York City. She is at last reunited with her two youngest brothers, and with her mother and father, whom she has struggled to remember. But she must also leave behind Joseph and the only home she’s ever known. Edwidge tells of making a new life in a new country while fearing for the safety of those still in Haiti as the political situation deteriorates. But Brother I’m Dying soon becomes a terrifying tale of good people caught up in events beyond their control. Late in 2004, his life threatened by an angry mob, forced to flee his church, the frail, eighty-one-year-old Joseph makes his way to Miami, where he thinks he will be safe. Instead, he is detained by U.S. Customs, held by the Department of Homeland Security, brutally imprisoned, and dead within days. It was a story that made headlines around the world. His brother, Mira, will soon join him in death, but not before he holds hope in his arms: Edwidge’s firstborn, who will bear his name—and the family’s stories, both joyous and tragic—into the next generation. Told with tremendous feeling, this is a true-life epic on an intimate scale: a deeply affecting story of home and family—of two men’s lives and deaths, and of a daughter’s great love for them both.

    Written with a commanding sureness of tone and linguistic precision, The White Album is a central text of American reportage and a classic of American autobiography.

    In the 1960s, Kesey led a group of psychedelic sympathizers around the country in a painted bus, presiding over LSD-induced "acid tests" all along the way. Long considered one of the greatest books about the history of the hippies, Wolfe's ability to research like a reporter and simultaneously evoke the hallucinogenic indulgence of the era ensures that this book, written in 1967, will live long in the counter-culture canon of American literature.