Featuring more than 60 of Callahan's original cartoons
“When people laugh like hell and then say, ‘That’s not funny,’ you can be pretty sure they’re talking about John Callahan.”— P.J. O’Rourke
In 1972, at the age of 21, John Callahan was involved in a car crash that severed his spine and made him a quadriplegic. A heavy drinker since the age of 12 (alcohol had played a role in his crash), the accident could have been the beginning of a downward spiral. Instead, it sparked a personal transformation. After extensive physical therapy, he was eventually able to grasp a pen in his right hand and make rudimentary drawings. By 1978, Callahan had sworn off drinking for good, and begun to draw cartoons.
Over the next three decades, until his death in 2010, Callahan would become one of the nation’s most beloved—and at times polarizing—cartoonists. His work, which shows off a wacky and sometimes warped sense of humor, pokes fun at social conventions and pushes boundaries. One cartoon features Christ at the cross with a thought bubble reading “T.G.I.F.” In another, three sheriffs on horseback approach an empty wheelchair in the desert. “Don’t worry,” one sheriff says to another, “He won’t get far on foot.”
Don’t Worry, He Won’t Get Far on Foot recounts Callahan’s life story, from the harrowing to the hilarious. Featuring more than 60 of Callahan’s cartoons, it’s a compelling look at art, addiction, disability, and fame. A film adaptation scheduled for 2018, starring Joaquin Phoenix as John Callahan, will bring fresh attention to this underappreciated classic.
In The Last of His Kind, renowned adventure writer David Roberts gives readers a spellbinding history of mountain climbing in the twentieth century as told through the biography of Brad Washburn, legendary mountaineering pioneer and photographer. Jon Krakauer, author of Into Thin Air, has praised David Roberts, saying, “Nobody alive writes better about mountaineering”—and nowhere is that truth more evident than in this breathtaking account of the life and exploits of America’s greatest mountain climber.
Throughout her life, Sylvia Plath cited art as her deepest source of inspiration. This collection sheds light on these key years in her life, capturing her exquisite observations of the world around her. It includes Plath’s drawings from England, France, Spain, and New England, featuring such subjects as Parisian rooftops, trees, and churches, as well as a portrait Ted Hughes.
Sylvia Plath: Drawings includes letters and diary entries that add depth and context to the great poet’s work, as well as an illuminating introduction by her daughter, Frieda Hughes.
Trying to separate myth from reality, biographer Elijah Wald studies the blues from the inside -- not only examining recordings but also the recollections of the musicians themselves, the African-American press, as well as examining original research. What emerges is a new appreciation for the blues and the movement of its artists from the shadows of the 1930s Mississippi Delta to the mainstream venues frequented by today's loyal blues fans.
Super Boys explains, finally, what exactly happened with the infamous check for $130 that pulled Superman away from his creators—and gave control of the character to the publisher. Ricca also uncovers the true nature of Jerry's father's death, a crime that has always remained a mystery. Super Boys is the story of a long friendship between boys who grew to be men and the standard that would be impossible for both of them to live up to.
Shlain asserts that Leonardo’s genius came from a unique creative ability that allowed him to understand and excel in a wide range of fields. From here Shlain jumps off and discusses the history of and current research on human creativity that involves different modes of thinking and neuroscience .The author also boldly speculates on whether or not the qualities of Leonardo’s brain and his creativity presage the future evolution of the human species.
Leonardo’s Brain uses da Vinci as a starting point for an exploration of human creativity. With his lucid style, and his remarkable ability to discern connections in a wide range of fields, Shlain brings the reader into the world of history’s greatest mind.
From ‘Arnold Layne’ to ‘Louder than Words’, Pink Floyd wrote about anger, isolation, regret, dismay, and fear. These themes, not always obvious starting points in popular music, were married to a rare dynamism that would make Pink Floyd stand out from the crowd.
Pink Floyd’s most successful period critically and musically – the eight albums from 1970 to 1983 – combines the pithy lyrics of Roger Waters, the soulful voice and breath-taking guitar solos of David Gilmour and, until 1979, the jazz-influenced piano and keyboard abilities of the late Richard Wright. In varying permutations, these three wrote the band’s best work. However, when working together as equals, the three principals of Pink Floyd were significantly more than the sum of their individual strengths.
Pink Floyd: Song by Song takes a fresh look at the songs, which led to Pink Floyd becoming the third best-selling band of all time. Written in a wry and engaging style, this book will delight the aficionado and the newcomer alike, as it re-listens to the complete works of a unique band.
This book (part of the “What’s So Great About…”) series, gives kids insight into life, times and career of Walt Disney.
But Steamboat Willie was neither Disney's first cartoon nor Mickey Mouse's first appearance. Prior to this groundbreaking achievement, Walt Disney worked in a variety of venues and studios, refining what would become known as the Disney style. In Walt before Mickey: Disney's Early Years, 1919-1928, Timothy Susanin creates a portrait of the artist from age seventeen to the cusp of his international renown.
After serving in the Red Cross in France after World War I, Walt Disney worked for advertising and commercial art in Kansas City. Walt used these experiences to create four studios--Kaycee Studios, Laugh-O-gram Films, Disney Brothers Studio, and Walt Disney Studio. Using company documents, private correspondence between Walt and his brother Roy, contemporary newspaper accounts, and new interviews with Disney's associates, Susanin traces Disney's path. The author shows Disney to be a complicated, resourceful man, especially during his early career. Walt before Mickey, a critical biography of a man at a crucial juncture, provides the "missing decade" that started Walt Disney's career and gave him the skills to become a name known worldwide.
The character that emerges is charming. It is that of a man strong but retiring, sharply critical of what he disapproves yet generous in praise of what he admires, decided in his views but modest in his assumptions and given to understatement in describing his own activities, averse to war and political struggle yet eager for conflict of ideas, always dedicated to the welfare of humanity.
Through the details of day-by-day living, he presents the panorama of the Mexican Revolution and of events in other parts of the world to which he traveled. His is a personal story of the Revolution, giving his reactions (as those of any common man) to the barbarities of war: “Insolent leaders, inflamed with alcohol, taking whatever they wanted at pistol point. . . . By night in dark streets the sound of gunplay, followed by screams, blasphemies, and vile insults. Breaking windows, sharp blows, cries of pain, and shots again.”
Orozco’s ability, as a painter, to see the details and to sense the mood of a place is apparent in his word pictures of the places he visited: “After six in the evening Paris is an immense brothel.” “London was like the seat of a noble family which had been exceedingly rich but had lost its fortune.” “Old, old Montmartre [is] a moldering cadaver . . .”
Orozco also makes some penetrating observations on art itself. Although he emphasizes individuality and freedom from tradition in art, he abhors unschooled art, especially such extremes as primitive Impressionism and other groups that lack instruction in the general principles of art, in technique, in theory of color, in perspective. He says ironically of the artistically uneducated: “Blessed are the ignorant and the imbecile, for theirs is the supreme glory of art! Blessed are the idiots and the cretins, for masterpieces of painting shall issue from their hands!” Orozco believes in education, not only for the artists but for their public. Taste in art can come only through understanding of the purpose and the techniques of art—through knowledge. Without training, public taste “mostly likes sugar, honey, and candy. Diabetic art. The greater the amount of sugar, the greater the—commercial—success.”
In Madame Tussaud, Kate Berridge tells this fascinating woman's complete story for the first time, drawing upon a wealth of sources, including Tussaud's memoirs and historical archives. It is a grand-scale success story, revealing how with sheer graft and grit a woman born in 1761 to an eighteen-year-old cook overcame extraordinary reversals of fortune to build the first and most enduring worldwide brand identified simply by reference to its founder's name: Madame Tussaud's.
"Welcome to Rockwell Land," writes Deborah Solomon in the introduction to this spirited and authoritative biography of the painter who provided twentieth-century America with a defining image of itself. As the star illustrator of The Saturday Evening Post for nearly half a century, Norman Rockwell mingled fact and fiction in paintings that reflected the we-the-people, communitarian ideals of American democracy. Freckled Boy Scouts and their mutts, sprightly grandmothers, a young man standing up to speak at a town hall meeting, a little black girl named Ruby Bridges walking into an all-white school—here was an America whose citizens seemed to believe in equality and gladness for all.
Who was this man who served as our unofficial "artist in chief" and bolstered our country's national identity? Behind the folksy, pipe-smoking façade lay a surprisingly complex figure—a lonely painter who suffered from depression and was consumed by a sense of inadequacy. He wound up in treatment with the celebrated psychoanalyst Erik Erikson. In fact, Rockwell moved to Stockbridge, Massachusetts so that he and his wife could be near Austen Riggs, a leading psychiatric hospital. "What's interesting is how Rockwell's personal desire for inclusion and normalcy spoke to the national desire for inclusion and normalcy," writes Solomon. "His work mirrors his own temperament—his sense of humor, his fear of depths—and struck Americans as a truer version of themselves than the sallow, solemn, hard-bitten Puritans they knew from eighteenth-century portraits."
Deborah Solomon, a biographer and art critic, draws on a wealth of unpublished letters and documents to explore the relationship between Rockwell's despairing personality and his genius for reflecting America's brightest hopes. "The thrill of his work," she writes, "is that he was able to use a commercial form [that of magazine illustration] to thrash out his private obsessions." In American Mirror, Solomon trains her perceptive eye not only on Rockwell and his art but on the development of visual journalism as it evolved from illustration in the 1920s to photography in the 1930s to television in the 1950s. She offers vivid cameos of the many famous Americans whom Rockwell counted as friends, including President Dwight Eisenhower, the folk artist Grandma Moses, the rock musician Al Kooper, and the generation of now-forgotten painters who ushered in the Golden Age of illustration, especially J. C. Leyendecker, the reclusive legend who created the Arrow Collar Man.
Although derided by critics in his lifetime as a mere illustrator whose work could not compete with that of the Abstract Expressionists and other modern art movements, Rockwell has since attracted a passionate following in the art world. His faith in the power of storytelling puts his work in sync with the current art scene. American Mirror brilliantly explains why he deserves to be remembered as an American master of the first rank.
For the first and only time, Vivienne Westwood has written a personal memoir, collaborating with award-winning biographer Ian Kelly, to describe the events, people and ideas that have shaped her extraordinary life. Told in all its glamour and glory, and with her unique voice, unexpected perspective and passionate honesty, this is her story.
For the first and only time, she is both writing and collaborating on a unique personal memoir and authorised biography: partly her own voice, partly through contributions from her vast network of friends, family and associates. Ian Kelly (award-winning biographer of, amongst others, fashion maverick Beau Brummell and the original self-publicist, Giacomo Casanova) brings the insights of a historian and friend of Vivienne to the life and works of one of the major influences of our age in this wonderful, insightful collaboration.
“Charming … Connolly recounts growing up a scrappy Montana kid—one who happened to be born without legs... [Double Take] makes for an empowering read.” — People
As featured on 20/20, NPR, and in the Washington Post: Kevin Connolly is a young man born without legs who travels the world—by skateboard, with his camera—on his “Rolling Exhibition,” snapping pictures of peoples’ reactions to him… and finds out along the way what it truly means to be human.
Wendy Lesser’s You Say to Brick: The Life of Louis Kahn is a major exploration of the architect’s life and work. Kahn, perhaps more than any other twentieth-century American architect, was a “public” architect. Rather than focusing on corporate commissions, he devoted himself to designing research facilities, government centers, museums, libraries, and other structures that would serve the public good. But this warm, captivating person, beloved by students and admired by colleagues, was also a secretive man hiding under a series of masks.
Kahn himself, however, is not the only complex subject that comes vividly to life in these pages. His signature achievements—like the Salk Institute in La Jolla, the National Assembly Building of Bangladesh, and the Indian Institute of Management in Ahmedabad—can at first seem as enigmatic and beguiling as the man who designed them. In attempts to describe these structures, we are often forced to speak in contradictions and paradoxes: structures that seem at once unmistakably modern and ancient; enormous built spaces that offer a sense of intimate containment; designs in which light itself seems tangible, a raw material as tactile as travertine or Kahn’s beloved concrete. This is where Lesser’s talents as one of our most original and gifted cultural critics come into play. Interspersed throughout her account of Kahn’s life and career are exhilarating “in situ” descriptions of what it feels like to move through his built structures.
Drawing on extensive original research, lengthy interviews with his children, his colleagues, and his students, and travel to the far-flung sites of his career-defining buildings, Lesser has written a landmark biography of this elusive genius, revealing the mind behind some of the twentieth century’s most celebrated architecture.
Encompassing the years 1928-1938, they explore some key periods of Britten's life - his early compositions, his education first under composer Frank Bridge and then at the Royal College of Music, an unhappy but productive period studying under John Ireland and Ralph Vaughan Williams, and his reluctant and often painful process of parting from the warm, safe environment of his family home and his beloved mother.
The diaries cast light on an often misrepresented musician whose technique, originality and musical prowess have entranced audiences for generations and who continues to inspire composers and musicians around the world.