All the Art That's Fit to Print reveals the true story of the world's first Op-Ed page, a public platform that--in 1970--prefigured the Internet blogosphere....... more

All the Art That's Fit to Print reveals the true story of the world's first Op-Ed page, a public platform that--in 1970--prefigured the Internet blogosphere. Not only did the New York Times's nonstaff bylines shatter tradition, but the pictures were revolutionary. Unlike anything ever seen in a newspaper, Op-Ed art became a globally influential idiom that reached beyond narrative for metaphor and changed illustration's very purpose and potential. Jerelle Kraus, whose thirteen-year tenure as Op-Ed art director far exceeds that of any other art director or editor, unveils a riveting account of working at the Times. Her insider anecdotes include the reasons why artist Saul Steinberg hated the Times, why editor Howell Raines stopped the presses to kill a feature by Doonesbury's Garry Trudeau, and why reporter Syd Schanburg--whose story was told in the movie The Killing Fields--stated that he would travel anywhere to see Kissinger hanged, as well as Kraus's tale of surviving two and a half hours alone with the dethroned peerless outlaw, Richard Nixon. All the Art features a satiric portrayal of John McCain, a classic cartoon of Barack Obama by Jules Feiffer, and a drawing of Hillary Clinton and Obama by Barry Blitt. But when Frank Rich wrote a column discussing Hillary Clinton exclusively, the Times refused to allow Blitt to portray her. Nearly any notion is palatable in prose, yet editors perceive pictures as a far greater threat. Confucius underestimated the number of words an image is worth; the thousand-fold power of a picture is also its curse. Op-Ed's subject is the world, and its illustrations are created by the world's finest graphic artists. The 142 artists whose work appears in this book hail from thirty nations and five continents, and their 324 pictures-gleaned from a total of 30,000-reflect artists' common drive to communicate their creative visions and to stir our vibrant cultural-political pot.

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Personalised Times Front Page Newspaper Jigsaw - 400 PieceThe past meets the present with this superb 400-piece jigsaw puzzle featuring...... more

Personalised Times Front Page Newspaper Jigsaw - 400 PieceThe past meets the present with this superb 400-piece jigsaw puzzle featuring the front page of either of London or The New York Times newspapers on a date of your choice.These fascinating jigsaws are individually created using high quality mono reproductions taken from original - and increasingly rare - archive editions dating as far back as 1888*. What in the world was happening on that special day? Simply select from The Times of London or The New York Times, choose a date and you will be 400 pieces away from finding out!An ideal and prestigious gift for any special date or event: birth dates, anniversaries, weddings, retirements.Your newspaper jigsaw assembles to virtually the actual size of the original front page (48 x 34 cm) The centrepiece is shaped like an open newspaper and the puzzle also comes with a full-sized paper copy of the selected front page to use as a guide. Each jigsaw is made to order using quality 1.5mm Millboard and will arrive in an attractive presentation box, which, for that added personal touch, contains an area allowing you to inscribe a unique message.Make a gift of history for a present not forgotten.

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All the Art That's Fit to Print reveals the true story of the world's first Op-Ed page, a public platform that--in 1970--prefigured the Internet blogosphere....... more

All the Art That's Fit to Print reveals the true story of the world's first Op-Ed page, a public platform that--in 1970--prefigured the Internet blogosphere. Not only did the New York Times's nonstaff bylines shatter tradition, but the pictures were revolutionary. Unlike anything ever seen in a newspaper, Op-Ed art became a globally influential idiom that reached beyond narrative for metaphor and changed illustration's very purpose and potential. Jerelle Kraus, whose thirteen-year tenure as Op-Ed art director far exceeds that of any other art director or editor, unveils a riveting account of working at the Times. Her insider anecdotes include the reasons why artist Saul Steinberg hated the Times, why editor Howell Raines stopped the presses to kill a feature by Doonesbury's Garry Trudeau, and why reporter Syd Schanburg--whose story was told in the movie The Killing Fields--stated that he would travel anywhere to see Kissinger hanged, as well as Kraus's tale of surviving two and a half hours alone with the dethroned peerless outlaw, Richard Nixon. All the Art features a satiric portrayal of John McCain, a classic cartoon of Barack Obama by Jules Feiffer, and a drawing of Hillary Clinton and Obama by Barry Blitt. But when Frank Rich wrote a column discussing Hillary Clinton exclusively, the Times refused to allow Blitt to portray her. Nearly any notion is palatable in prose, yet editors perceive pictures as a far greater threat. Confucius underestimated the number of words an image is worth; the thousand-fold power of a picture is also its curse. Op-Ed's subject is the world, and its illustrations are created by the world's finest graphic artists. The 142 artists whose work appears in this book hail from thirty nations and five continents, and their 324 pictures-gleaned from a total of 30,000-reflect artists' common drive to communicate their creative visions and to stir our vibrant cultural-political pot.

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Educational Maxi Poster: The RMS Titanic was one of the most famous passenger ships in history and this excellent educational maxi poster features a cutting...... more

Educational Maxi Poster: The RMS Titanic was one of the most famous passenger ships in history and this excellent educational maxi poster features a cutting from The New York Times detailing the tragic events that unfolded on 15th April 1912. The stained and crumpled effects of the newspaper add to the historic beauty of this poster as you sit back and read about how the "unsinkable ship" met its fate when it collided with an iceberg. Including a picture of Captain E.J Smith; commander of the Titanic as well as a detailed account of the event and even the names of the passengers and crew who were saved from the chilling North Atlantic Ocean. The perfect poster for anyone interested in one of the most famous historic events of all time.

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Educational Maxi Poster: The RMS Titanic was one of the most famous passenger ships in history and this excellent educational maxi poster features a cutting...... more

Educational Maxi Poster: The RMS Titanic was one of the most famous passenger ships in history and this excellent educational maxi poster features a cutting from The New York Times detailing the tragic events that unfolded on 15th April 1912. The stained and crumpled effects of the newspaper add to the historic beauty of this poster as you sit back and read about how the "unsinkable ship" met its fate when it collided with an iceberg. Including a picture of Captain E.J Smith; commander of the Titanic as well as a detailed account of the event and even the names of the passengers and crew who were saved from the chilling North Atlantic Ocean. The perfect poster for anyone interested in one of the most famous historic events of all time.

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Twenty years after publication of their provocative "New York Times" bestseller "America: What Went Wrong", two Pulitzer Prize-winning...... more

Twenty years after publication of their provocative "New York Times" bestseller "America: What Went Wrong", two Pulitzer Prize-winning journalists return to investigate the lives and circumstances of the American middle class, and issue a powerful critique of the devastation that policies advocated by Washington and implemented by Wall Street have wrought. Twenty years ago, Donald Barlett and James Steele wrote a book-length series in the "Philadelphia Inquirer" that documented how lawmakers in Washington and dealmakers on Wall Street had made decisions that favored the privileged and powerful at the expense of everyone else. The book warned that policies on taxes, jobs, health care, pensions, trade and deregulation were driving down middle-class income and turning America into a two-class society. The series struck a chord across the nation, first as a nationally-syndicated newspaper series and then as a best-selling book. A generation later, these problems have worsened. Deregulation continues to be authorized by Washington and implemented by Wall Street, and differences in incomes and wealth across America are more extreme than at any time since the gilded Age of the 1800s. In 2007 there were 392,220 individuals and families who reported income of more than $1 million each. That was up sharply from 57,603 in 1989, when research on the first book, "America: What Went Wrong", was underway. More significant than the increase in numbers was how rich the rich became during this period. The cumulative adjusted gross income of these folks had soared from $151.5 billion in 1989 to $1.4 trillion in 2007. Just 15,956 of these people pocketed $35.3 million-each-in that one year. At the other end of the economic pile, during the same period the number of Americans living in poverty grew from 31.5 million to 37.3 million.

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In this exhilarating new trilogy from New York Times bestselling author Jane Feather, a trio of spirited sisters secretly run a...... more

In this exhilarating new trilogy from New York Times bestselling author Jane Feather, a trio of spirited sisters secretly run a thriving matchmaking service. But these three good catches of impeccable pedigree have little interest in matrimony themselves-until, one by one, they meet their matches.Constance Duncan may be the eldest of three sisters, but she has more important things on her mind than finding a husband-for herself, at any rate. Through the Personals services of her popular newspaper, The Mayfair Lady, Constance connects lonely hearts. But her own heart lies in her work, and nothing will distract her from it-until she finds herself irresistibly drawn to a man of disastrously different views. Max Ensor is a politician whose outmoded attitudes outrage her-even as his powerful presence intrigues her. Clearly there is only one thing to do with such an exasperating man: convert him! Little does Constance know that Max has the same plan in mind for her.... What follows is a fiercely passionate duel in which two headstrong people discover that, differences or not, sometimes one gender cannot-will not-do without the other.

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Vietnam was America's most divisive and unsuccessful foreign war. It was also the first to be televised and the first of the modern era fought without...... more

Vietnam was America's most divisive and unsuccessful foreign war. It was also the first to be televised and the first of the modern era fought without military censorship. From the earliest days of the Kennedy-Johnson escalation right up to the American withdrawal, and even today, the media's role in Vietnam has continued to be intensely controversial. The "Uncensored War" gives a richly detailed account of what Americans read and watched about Vietnam. Hallin draws on the complete body of the New York Times coverage from 1961 to 1965, a sample of hundreds of television reports from 1965-73, including television coverage filmed by the Defense Department in the early years of the war, and interviews with many of the journalists who reported it, to give a powerful critique of the conventional wisdom, both conservative and liberal, about the media and Vietnam. Far from being a consistent adversary of government policy in Vietnam, Hallin shows, the media were closely tied to official perspectives throughout the war, though divisions in the government itself and contradictions in its public relations policies caused every administration, at certain times, to lose its ability to "manage" the news effectively. As for television, it neither showed the "literal horror of war," nor did it play a leading role in the collapse of support: it presented a highly idealized picture of the war in the early years, and shifted toward a more critical view only after public unhappiness and elite divisions over the war were well advanced. The "Uncensored War" is essential reading for anyone interested in the history of the Vietnam war or the role of the media in contemporary American politics. A groundbreaking study of the media's influence on the Vietnam War -Overturns the conventional notions about the media's role in the war -Draws directly on a huge body of newspaper and TV coverage

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In the 1920s, Asakusa was to Tokyo what Montmartre had been to 1890s Paris and Times Square was to be to 1940s New York. Available in...... more

In the 1920s, Asakusa was to Tokyo what Montmartre had been to 1890s Paris and Times Square was to be to 1940s New York. Available in English for the first time, "The Scarlet Gang of Asakusa, "by Nobel Prize winner Yasunari Kawabata, captures the decadent allure of this entertainment district, where beggars and teenage prostitutes mixed with revue dancers and famous authors. Originally serialized in a Tokyo daily newspaper in 1929 and 1930, this vibrant novel uses unorthodox, kinetic literary techniques to reflect the raw energy of Asakusa, seen through the eyes of a wandering narrator and the cast of mostly female juvenile delinquents who show him their way of life. Markedly different from Kawabata's later work, "The Scarlet Gang of Asakusa "shows this important writer in a new light. The annotated edition of this little-known literary gem includes the original illustrations by Ota Saburo. The annotations illuminate Tokyo society and Japanese literature, bringing this fascinating piece of Japanese modernism at last to a wide audience.

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Amazon Exclusive: Michael Connelly Interviews Lyndsay FayeMichael Connelly: I think the first question is about the challenge you gave yourself with this book....... more

Amazon Exclusive: Michael Connelly Interviews Lyndsay FayeMichael Connelly: I think the first question is about the challenge you gave yourself with this book. Re-creating New York City circa 1845. The question I ask is, Why then? But what I am really asking is why you took the difficult path. Why not New York in 1945, or even now? I read this book and from the writers standpoint, kept asking myself, Why did she take this path? Wow!Lyndsay Faye: Ha! Yes, absolutelyin a certain sense, the project was very difficult. My hubris in trying to write a novel set in 1845 New York was about the fact that I specifically wanted to do day one, cop one of the NYPD. Origin stories are very compelling. And when you think about how renowned the world over the NYPD is today, for reasons both positive and negative but all of them highly dramatic, you find yourself wondering what such an organization looked like at inception. Its almost mythical, the fame theyve achieved and the advances theyve made, and I was deeply curious to know how they started out. I wanted to take a historical event and turn it into a legend, in the sense of making something iconic and resonant, and when I discovered that the NYPD was founded in 1845, my time period chose itself.In another sense, I should add that I was once on a library panel where a very clever author said we dont write historicals to choose the difficult path, but rather the lazy one. Its almost impossible to commit a decent crime these days, what with CCTV and the Internet and credit-card tracking and forensics and ballistics and security cameras and such everywhere. I have a simple bachelors in English lit, not an advanced degree in criminal science, and to be honest, I find the complexity of modern-day crime solving much more intimidating when it comes to plot. I know that TV shows like CSI, etc., make it all look more magical than it is in fact, but Im interested in how people solved crimes before forensics was even a line of study. How did the first cops go about it? What tools did they employ? I greatly enjoy reading modern mysteries, but Im constantly staggered by the omnivorous technical know-how they require. MC: Whats most impressive about this work is how the world of New York is so full and real. Can you walk us through the research that goes into a project like this? How long were you putting this part together before you actually sat down to write the book, or do both things happen at the same time?LF: Thank you very much indeedI want all of my historical fiction to be an immersive experience, so to create that effect, I bury myself in the world in question for at least six months before embarking on a first draft. This time around, that meant poring over diaries, setting up my own tent shanty in the New-York Historical Society, camping out with a cookstove in the Bryant Park extension of the New York Public Librarys microfilm department, etc. Syntax and fashion and food and architecture and all the other aspects of the culture fascinate me, so I try to soak it all in like a big fluffy pancake. Its irritating for me to be constantly looking up facts or grasping at vernacular as Im writing, so Ive learned to spend half a year at research first. It saves me time in the long run.My research includes history books, always, but original sources are ultimately much more important to me. I read all of the Herald newspaper from January 1st through December 31st for 1845, for instance. Countless people wrote travelogues and social essays and satires in nineteenth-century New York, and those were invaluable. I wanted to know what the people of the time period thought about their city, their politics, their lifestyle. What did they think and say about race? Religion? Where to get the best oyster pie? How that uppity tart cousin of theirs looked at the firemans ball last night? That journey of discovery is always a fabulous one.MC: I think its easy in a historical novel to make the time and place the starto sort of wow em with your research. That usually leaves the story short on character. You escaped that pitfall with a host of characters, leading with Timothy Wilde. It seems that equal preparation went into Wilde as did into your historical research. Can you say where Wilde comes from?LF: See, this is something I love talking about, because historical fiction that shows off the research involved rather dismays me. The author presents you with a narrator who is, for example, a tavern girl. Shes plucky and wonderful and when running for her life from sinister guardsmen, she stops to tell you that the building shes racing past was erected in 1814, by whom, with what variety of stone. Im exaggerating, but I make it a principle not to include any information that my characters wouldnt find relevant. Or I try my best to avoid it.So its very fair to say that as much effort goes into my characters as into the world around them. Tim is culled from multiple sources. To name a few, when I realized that the early NYPD was inextricably tied up in politics, I determined that I wanted him to be an outsider with his own set of principles, yet I still wanted him to be highly competent. I was in the restaurant business for ten years; my husband and many of my closest friends are bartenders, and you ought to be aware that they know more about you than you suppose. Barkeeps are keen observers, and I realized that a former career in an oyster cellar would be grand training for the NYPD. Tims physical appearance is more or less based on a dear actor friend of mine I used to work with when I did musical theater. Many bits of Timothy are, of course, me. Fountains that dont work make me irrationally annoyed; they annoy Tim, too. Finally, my favorite aspects of Tim are those sort of alchemical moments when a character youre imagining takes on a life of his or her own.MC: It was pure genius to anchor this story in two significant eventsthe potato famine and the founding of the New York Police Department. There is probably substantial documentation of these two things. How do you take them and blend them into fiction? Were you a slave to drama or a slave to the facts/truths of that time? LF: The historical confluence of the Great Famine and the inaugural year of the NYPD was a gift of twenty-four-karat writerly gold. If Id found a genie on a beach and asked it for ideal dramatic material, I couldnt have done better. That was 100 percent luck, actuallyI was researching the first cops, and then I found that the potato blight had just been discovered the previous year in Europe, and that thousands upon thousands of Irish were fleeing their homeland. Native New Yorkers were up in arms about emigrants ruining their democracy in the name of the Antichrist of Rome, all that unfortunate hyperbolic political grandstanding that happens when too many people want the same resources. It was total chaos, and it changed the face New York City society.Blending the stories of the copper stars and of the emigrants was a challenge, but a riveting one for me. As you say, both the potato famine and the first police force are well documented. I was a slave to the facts in the sense that I wanted to do as much justice as possible to my ancestors, who were seeking new lives in what turned out to be a hostile environment. The influx of Irish refugees continued for quite some time, so Id copious material to cull from. It became very real for me. The chapter titles all feature a quote from the time period, for instance, to help us bear in mind that poverty and religious bigotry and corruption were rampant and real. The thin line between success and despair they walked is as shocking and relevant today as it was then, so by virtue of being a slave to the facts, I managed to be a slave to the drama simultaneously. MC: Your last novel, Dust and Shadow, also blended fiction and factJack the Ripperand historical research. Aside from these two very large, real events that we start with in TGOG, was there a smaller, true incident that inspired this story?LF: Yes, indeed. The story of Eliza Rafferty and her infanticide was entirely trueit took place in 1849 in a house at number 6 Doyer Street. When I read about her distress and incomprehension after killing her own child, I set myself the gruesome task of finding out what sort of life could inspire such an act. The neighbors were rightly shocked by the babys death, the police appalled. Today I think wed term her state a psychotic form of severe postpartum depression, but apart from lacking modern medicine to save her and her child, she probably lacked everything else as wellample space, adequate food, any sort of safety net whatsoever. As Tims introduction to the atrocities a policeman must face in order to do his job, its horrifying but also immediately brings home how high the stakes are going to be. MC: Heres one I bet you never saw coming. (Not really.) What is next for you? Will you stay with a historical project?LF: Yes, Im thick in the sequel to Gotham! It takes place six months later, in the winter of 1846. Timothy and Valentine have quite a bit of baggage to work through, after all, so I think it would be rather cruel not to give them a shot. The usual suspects will be back in force, and writing it has been a fantastic experience. Ive never written a sequel before. Wish me luck! And thank you ever so much for the truly thought-provoking questions.

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Amazon Exclusive: Michael Connelly Interviews Lyndsay FayeMichael Connelly: I think the first question is about the challenge you gave yourself with this book....... more

Amazon Exclusive: Michael Connelly Interviews Lyndsay FayeMichael Connelly: I think the first question is about the challenge you gave yourself with this book. Re-creating New York City circa 1845. The question I ask is, Why then? But what I am really asking is why you took the difficult path. Why not New York in 1945, or even now? I read this book and from the writers standpoint, kept asking myself, Why did she take this path? Wow!Lyndsay Faye: Ha! Yes, absolutelyin a certain sense, the project was very difficult. My hubris in trying to write a novel set in 1845 New York was about the fact that I specifically wanted to do day one, cop one of the NYPD. Origin stories are very compelling. And when you think about how renowned the world over the NYPD is today, for reasons both positive and negative but all of them highly dramatic, you find yourself wondering what such an organization looked like at inception. Its almost mythical, the fame theyve achieved and the advances theyve made, and I was deeply curious to know how they started out. I wanted to take a historical event and turn it into a legend, in the sense of making something iconic and resonant, and when I discovered that the NYPD was founded in 1845, my time period chose itself.In another sense, I should add that I was once on a library panel where a very clever author said we dont write historicals to choose the difficult path, but rather the lazy one. Its almost impossible to commit a decent crime these days, what with CCTV and the Internet and credit-card tracking and forensics and ballistics and security cameras and such everywhere. I have a simple bachelors in English lit, not an advanced degree in criminal science, and to be honest, I find the complexity of modern-day crime solving much more intimidating when it comes to plot. I know that TV shows like CSI, etc., make it all look more magical than it is in fact, but Im interested in how people solved crimes before forensics was even a line of study. How did the first cops go about it? What tools did they employ? I greatly enjoy reading modern mysteries, but Im constantly staggered by the omnivorous technical know-how they require. MC: Whats most impressive about this work is how the world of New York is so full and real. Can you walk us through the research that goes into a project like this? How long were you putting this part together before you actually sat down to write the book, or do both things happen at the same time?LF: Thank you very much indeedI want all of my historical fiction to be an immersive experience, so to create that effect, I bury myself in the world in question for at least six months before embarking on a first draft. This time around, that meant poring over diaries, setting up my own tent shanty in the New-York Historical Society, camping out with a cookstove in the Bryant Park extension of the New York Public Librarys microfilm department, etc. Syntax and fashion and food and architecture and all the other aspects of the culture fascinate me, so I try to soak it all in like a big fluffy pancake. Its irritating for me to be constantly looking up facts or grasping at vernacular as Im writing, so Ive learned to spend half a year at research first. It saves me time in the long run.My research includes history books, always, but original sources are ultimately much more important to me. I read all of the Herald newspaper from January 1st through December 31st for 1845, for instance. Countless people wrote travelogues and social essays and satires in nineteenth-century New York, and those were invaluable. I wanted to know what the people of the time period thought about their city, their politics, their lifestyle. What did they think and say about race? Religion? Where to get the best oyster pie? How that uppity tart cousin of theirs looked at the firemans ball last night? That journey of discovery is always a fabulous one.MC: I think its easy in a historical novel to make the time and place the starto sort of wow em with your research. That usually leaves the story short on character. You escaped that pitfall with a host of characters, leading with Timothy Wilde. It seems that equal preparation went into Wilde as did into your historical research. Can you say where Wilde comes from?LF: See, this is something I love talking about, because historical fiction that shows off the research involved rather dismays me. The author presents you with a narrator who is, for example, a tavern girl. Shes plucky and wonderful and when running for her life from sinister guardsmen, she stops to tell you that the building shes racing past was erected in 1814, by whom, with what variety of stone. Im exaggerating, but I make it a principle not to include any information that my characters wouldnt find relevant. Or I try my best to avoid it.So its very fair to say that as much effort goes into my characters as into the world around them. Tim is culled from multiple sources. To name a few, when I realized that the early NYPD was inextricably tied up in politics, I determined that I wanted him to be an outsider with his own set of principles, yet I still wanted him to be highly competent. I was in the restaurant business for ten years; my husband and many of my closest friends are bartenders, and you ought to be aware that they know more about you than you suppose. Barkeeps are keen observers, and I realized that a former career in an oyster cellar would be grand training for the NYPD. Tims physical appearance is more or less based on a dear actor friend of mine I used to work with when I did musical theater. Many bits of Timothy are, of course, me. Fountains that dont work make me irrationally annoyed; they annoy Tim, too. Finally, my favorite aspects of Tim are those sort of alchemical moments when a character youre imagining takes on a life of his or her own.MC: It was pure genius to anchor this story in two significant eventsthe potato famine and the founding of the New York Police Department. There is probably substantial documentation of these two things. How do you take them and blend them into fiction? Were you a slave to drama or a slave to the facts/truths of that time? LF: The historical confluence of the Great Famine and the inaugural year of the NYPD was a gift of twenty-four-karat writerly gold. If Id found a genie on a beach and asked it for ideal dramatic material, I couldnt have done better. That was 100 percent luck, actuallyI was researching the first cops, and then I found that the potato blight had just been discovered the previous year in Europe, and that thousands upon thousands of Irish were fleeing their homeland. Native New Yorkers were up in arms about emigrants ruining their democracy in the name of the Antichrist of Rome, all that unfortunate hyperbolic political grandstanding that happens when too many people want the same resources. It was total chaos, and it changed the face New York City society.Blending the stories of the copper stars and of the emigrants was a challenge, but a riveting one for me. As you say, both the potato famine and the first police force are well documented. I was a slave to the facts in the sense that I wanted to do as much justice as possible to my ancestors, who were seeking new lives in what turned out to be a hostile environment. The influx of Irish refugees continued for quite some time, so Id copious material to cull from. It became very real for me. The chapter titles all feature a quote from the time period, for instance, to help us bear in mind that poverty and religious bigotry and corruption were rampant and real. The thin line between success and despair they walked is as shocking and relevant today as it was then, so by virtue of being a slave to the facts, I managed to be a slave to the drama simultaneously. MC: Your last novel, Dust and Shadow, also blended fiction and factJack the Ripperand historical research. Aside from these two very large, real events that we start with in TGOG, was there a smaller, true incident that inspired this story?LF: Yes, indeed. The story of Eliza Rafferty and her infanticide was entirely trueit took place in 1849 in a house at number 6 Doyer Street. When I read about her distress and incomprehension after killing her own child, I set myself the gruesome task of finding out what sort of life could inspire such an act. The neighbors were rightly shocked by the babys death, the police appalled. Today I think wed term her state a psychotic form of severe postpartum depression, but apart from lacking modern medicine to save her and her child, she probably lacked everything else as wellample space, adequate food, any sort of safety net whatsoever. As Tims introduction to the atrocities a policeman must face in order to do his job, its horrifying but also immediately brings home how high the stakes are going to be. MC: Heres one I bet you never saw coming. (Not really.) What is next for you? Will you stay with a historical project?LF: Yes, Im thick in the sequel to Gotham! It takes place six months later, in the winter of 1846. Timothy and Valentine have quite a bit of baggage to work through, after all, so I think it would be rather cruel not to give them a shot. The usual suspects will be back in force, and writing it has been a fantastic experience. Ive never written a sequel before. Wish me luck! And thank you ever so much for the truly thought-provoking questions.

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From renowned true-crime historian Harold Schechter comes the riveting exploration of a notorious New York City murder in the 1890s, the...... more

From renowned true-crime historian Harold Schechter comes the riveting exploration of a notorious New York City murder in the 1890s, the fascinating forensic science of an earlier time, and the grisly court case that became a tabloid spectacle. The wayward son of a revered Civil War general, Roland Molineux enjoyed good looks, status, and fortune-hardly the qualities of a prime suspect in a series of shocking, merciless cyanide killings. Molineux's subsequent indictment for murder led to two explosive trials and a sex-infused scandal that shocked the nation. Bringing to life Manhattan's Gilded Age, Schechter captures all the colors of the tumultuous legal proceedings, gathering his own evidence and tackling subjects no one dared address at the time-all in hopes of answering a tantalizing question: What powerfully dark motives could drive the wealthy scion of an eminent New York family to murder? Praise for "The Devil's Gentleman" "A heady tale of sin, sex, jealousy and revenge in sepia-toned Manhattan." "-The New York Times" "A dark chronicle of ghoulish revenge [and] journalistic sensationalism . . . [a] well-wrought anatomy of a murder and portrait of an age." "-The Wall Street Journal" "Schechter peppers his account of one of America's earliest media circuses with peacock characters and deliciously tawdry details. . . . For scandal sweet tooths, this one's a beaut." "-Entertainment Weekly" "In the hands of an artist and historian as gifted as Schechter, the material becomes a superbly evocative reconstruction of the fascinating period in American life that gave birth to our media-crazed society." -"Bomb" magazine "Well told and powerfully written . . . Through newspaper accounts of the day and memoirs of the principals . . . Schechter brings [a crime] to vivid life." "-San Antonio Express-News"

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For many weeks, the terrorist attacks of 9/11 dominated the newspapers which covered the consequences with an unprecedented immediateness. This study...... more

For many weeks, the terrorist attacks of 9/11 dominated the newspapers which covered the consequences with an unprecedented immediateness. This study looks at diverging representations of 9/11 in U.S. and German newspapers ("New York Times", "Washington Post", "Frankfurter Allgemeine Zeitung", "Sueddeutsche Zeitung") and explores effects on its possible readerships. The impact of the attacks, forms of heroism, the enactment of leadership, various demonstrations of patriotism and grief as well as the textual and visual presentation of the attacks are analyzed in detail. These intermedial representations reaffirm or contest U.S. American grand narratives. While the German newspapers tend to focus on information and analysis, the U.S. papers tend to strengthen shattered U.S. American identity constructions. The study is based on nearly 2,000 newspaper articles and documents the wide scope of topics prevalent in the post-9/11 newspaper coverage.

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In 1897, a young girl wrote to "The New York Sun" asking whether Santa Claus truly existed. The paper's response, written by reporter Francis P....... more

In 1897, a young girl wrote to "The New York Sun" asking whether Santa Claus truly existed. The paper's response, written by reporter Francis P. Church, has become a beloved holiday literary tradition. An original approach to a children's classic, this captivating book creatively reinterprets that heartwarming letter about the truth behind Santa Claus and Christmas. It is accompanied by charming Victorian artwork. Joel Spector is an artist and illustrator known for his elegant pastel images. His work appears regularly in magazines and newspapers including "Business Week, Newsweek, Good Housekeeping, " and "The New York Times."

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The New York Times bestseller and Book Sense 76 pick is now in paperback. This is the book by Whitewater warrior Susan McDougal that...... more

The New York Times bestseller and Book Sense 76 pick is now in paperback. This is the book by Whitewater warrior Susan McDougal that created a media sensation, with author appearances on Today, The O'Reilly Factor, Larry King, Crossfire, FOX Morning News, and The CBS Early Show; and a controversial review in The New York Times that generated chat all over the Internet, and the newspaper's own printed correction. Breaking her silence on the Whitewater affair and giving a moving portrait of what happens to women in American prisons, McDougal's book is a must-read for Americans of all political stripes and for everyone concerned about wrongful conviction and imprisonment. Black-and-white photographs are included.

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If a musical sci-fi satire about an alien transvestite named Frank-n-Furter, who is building the perfect man while playing sexual games with his virginal...... more

If a musical sci-fi satire about an alien transvestite named Frank-n-Furter, who is building the perfect man while playing sexual games with his virginal visitors, sounds like an intriguing premise for a movie, then you're in for a treat. Not only is The Rocky Horror Picture Show all this and more, but it stars the surprising cast of Susan Sarandon and Barry Bostwick (as the demure Janet and uptight Brad, who get lost in a storm and find themselves stranded at Frank-n-Furter's mansion), Meat Loaf (as the rebel Eddie), Charles Gray (as our criminologist and narrator) and, of course, the inimitable Tim Curry as our "sweet transvestite from Transsexual, Transylvania". Upon its release in 1975, the film was an astounding flop. But a few devotees persuaded a New York cinema to show it at midnight, and thus was born one of the ultimate cult films of all time. The songs are addictive (just try getting "The Time Warp" or "Toucha Toucha Touch Me" out of your head), the raunchiness amusing and the plot line utterly ridiculous--in other words, this film is simply tremendous good fun. The downfall, however, is that much of the amusement is found in the audience participation that is obviously missing from a video version (viewers in cinemas shout lines at the screen and use props--such as holding up newspapers and shooting water guns during the storm and throwing rice during a wedding scene). Watched alone as a straight movie, Rocky Horror loses a tremendous amount of its charm. Yet, for those who wish to perfect their lip-synching techniques for movie cinema performances or for those who want to gather a crowd around the TV at home for some good, old-fashioned, rowdy fun, this film can't be beat. --Jenny Brown

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Book Five of the "New York Times" bestselling and Eisner-award winning series brings us to the final chapter of "Bloom County". This...... more

Book Five of the "New York Times" bestselling and Eisner-award winning series brings us to the final chapter of "Bloom County". This volume of Berkeley Breathed's Pulitzer Prize winning opus (sorry!) runs from November 30th, 1987 through August 6, 1989 - the day Breathed, at the top of his game both critically and in circulation, walked away from "Bloom County", leaving us only fond memories and this wonderful "Bloom County Library" so we can revisit Opus, Bill, Steve, Milo, and all the rest any time we want! The Library of American Comics is the world's number 1 publisher of classic newspaper comic strips, with 14 Eisner Award nominations and three wins for best book. "LOAC has become the gold standard for archival comic strip reprints...The research and articles provide insight and context, and most importantly the glorious reproduction of the material has preserved these strips for those who knew them and offers a new gateway to adventure for those discovering them for the first time." ("Scoop").

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In this joyous and whimsical holiday novel, Debbie Macomber rings in the season with the return of Shirley, Goodness, and Mercy, delivering laughs, love, and a...... more

In this joyous and whimsical holiday novel, Debbie Macomber rings in the season with the return of Shirley, Goodness, and Mercy, delivering laughs, love, and a charming dose of angelic intervention. Shirley, Goodness, and Mercy know that an angel's work is never done, especially during a time as wondrous as New Year's Eve. With an apprentice angel, Will, under their wings, they descend upon Times Square in New York City eager to join in the festivities. And when Will spies two lonely strangers in the crowd, he decides midnight is the perfect time to lend a heavenly helping hand. Lucie Farrara and Aren Fairchild meet after bumping into each other--seemingly by accident--in Times Square on New Year's Eve. They immediately hit it off and find they have a lot in common: Lucie is a burgeoning chef and Aren is a respected food critic. But just as quickly as they're brought together, another twist of fate tears them apart, leaving Lucie and Aren with no way to reconnect. A year later, Lucie is the chef of an acclaimed new restaurant and Aren is a successful columnist for a major New York newspaper. For all the time that's passed, the two have not forgotten their one serendipitous evening--and neither have Shirley, Goodness, Mercy, and Will. To reunite the young couple, the angels cook up a brilliant plan: mix true love, a second chance, and a generous sprinkle of mischief to create an unforgettable Christmas miracle.

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