UNOFFICIAL AND UNAUTHORIZED Dine like Draper and Drink like Sterling with More Than 70 Recipes from the Kitchens, Bars, and Restaurants Seen on Mad Men Ever wish you could mix an Old Fashioned just the way Don Draper likes it? Or prepare Oysters Rockefeller and a martini the way they did fifty years ago at one of Roger Sterling's favorite haunts, The Grand Central Oyster Bar? Ever wonder how Joan Harris manages to prepare a perfect crown roast in her tiny apartment kitchen? Or about the connection between Jackie Kennedy's 1962 White House tour and Betty Draper's Valentine's Day room service order? The Unofficial Mad Men Cookbook serves up more than 70 recipes to satisfy a Mad Men appetite! From the tables of Manhattan's most legendary restaurants and bars to the Drapers' Around the World dinner, this book is your entrée to the culinary world of Man Men-era New York. Packed with period detail, The Unofficial Mad Men Cookbook provides invaluable historical and cultural context for the food and drink featured in the show, tips on throwing a successful '60s cocktail party, and even a guide to favored Mad Men hangouts. Every recipe inside is authentic to the time. Whether you're planning a Mad Men-themed dinner party, need to mix up some authentic Mad Men cocktails, or just can't get enough of the show itself, this is your essential resource, a guide to all foods and drinks Mad Men. So hang up your coat, pour yourself a cocktail, and get ready to dine like Draper and drink like Sterling with The Unofficial Mad Men Cookbook. Includes a color photo insert of 16 dishes, plus additional black and white photos and other images of bars, restaurants, and food advertisements from the 1960s. RECIPES INCLUDE: * Playboy Whiskey Sour * Sardi's Steak Tartar * Connie's Waldorf Salad * Sal's Spaghetti and Meatballs * Pat Nixon's Date Nut Bread * Lindy's Cherry Cheesecake

THE MADMEN OF BENGHAZI, available for the first time in the U.S., is a gripping, racy, ripped-from-the-headlines espionage thriller set in volatile post-Qaddafi Libya. Gérard de Villiers (1929–2013) spent his five-decade career cultivating connections in the world of international intelligence, which allowed him to anticipate geopolitical events before they occurred—and to masterfully blend fiction with an insider’s knowledge of international affairs. Published from 1964 until his death in 2013, his bestselling SAS series of 200 spy novels, starring Malko Linge, was long considered France’s answer to Ian Fleming, with Malko as his James Bond. Its hero, Malko Linge, an Austrian aristocrat, spends his time freelancing for the CIA in order to support his playboy lifestyle. When terrorists try to shoot down a plane carrying Libyan prince Ibrahim al-Senussi, it is clear that someone wants him dead. But the CIA has its own plot for the prince: Now that Qaddafi has been overthrown, al-Senussi is their best bet to set up a constitutional monarchy and stem the Islamist tide in Libya. The CIA, which needs Malko as much as he needs them, sends the Austrian aristocrat to Cairo to learn more about al-Senussi’s plans by seducing his companion, a ravishing British model. This mission is enormously appealing, but also proves enormously dangerous, as the same madman of God who is trying to kill al-Senussi also takes aim at Malko.

The Writing Dead features original interviews with the writers of today's most frightening and fascinating shows. They include some of television's biggest names—Carlton Cuse (Lost and Bates Motel), Bryan Fuller (Hannibal, Dead Like Me, Wonderfalls, and Pushing Daisies), David Greenwalt (Angel and Grimm), Gale Anne Hurd (The Walking Dead, The Terminator series, Aliens, and The Abyss), Jane Espenson (Buffy the Vampire Slayer and Battlestar Galactica), Brian McGreevy (Hemlock Grove), Alexander Woo (True Blood), James Wong (The X-Files, Millennium, American Horror Story, and Final Destination), Frank Spotnitz (The X-Files and Millennium), Richard Hatem (Supernatural, The Dead Zone, and The Mothman Prophecies), Scott Buck (Dexter), Anna Fricke (Being Human), and Jim Dunn (Haven). The Writing Dead features thought-provoking, never-before-published interviews with these top writers and gives the creators an opportunity to delve more deeply into the subject of television horror than anything found online. In addition to revealing behind-the-scene glimpses, these writers discuss favorite characters and storylines and talk about what they find most frightening. They offer insights into the writing process reflecting on the scary works that influenced their careers. And they reveal their own personal fascinations with the genre. The thirteen interviews in The Writing Dead also mirror the changing landscape of horror on TV—from the shows produced by major networks and cable channels to shows made exclusively for online streaming services such as Netflix and Amazon Studios. The Writing Dead will appeal to numerous fans of these shows, to horror fans, to aspiring writers and filmmakers, and to anyone who wants to learn more about why we like being scared.

"When are the 1970s going to begin?" ran the joke during the Presidential campaign of 1976. With his own patented combination of serious journalism and dazzling comedy, Tom Wolfe met the question head-on in these rollicking essays in Mauve Gloves and Madmen, Clutter and Vine -- and even provided the 1970s with its name: "The Me Decade."

Take an illustrated tour of America’s stylish and historic mid-century restaurants in this volume of color photographs and vintage ephemera. Over the years, the softly lit wood-paneled interiors, starched tablecloths, curved booths, tuxedoed captains, and tableside service that once defined continental-style fine dining have given way to more contemporary trends. Yet in American cities large and small, a few historic restaurants have maintained their classic character and old-school ambiance. With vivid new color photography and fascinating vintage ephemera, Classic Dining celebrates the great mid-century restaurants that continue to thrive in New York, the greater Miami area, New Orleans, Las Vegas, the Chicago area, Los Angeles, and across the United States. This volume also includes a directory of mid-century restaurants across America.

In Dining with Madmen: Fat, Food, and the Environment in 1980s Horror, author Thomas Fahy explores America’s preoccupation with body weight, processed foods, and pollution through the lens of horror. Conspicuous consumption may have communicated success in the eighties, but only if it did not become visible on the body. American society had come to view fatness as a horrifying transformation—it exposed the potential harm of junk food, gave life to the promises of workout and diet culture, and represented the country’s worst consumer impulses, inviting questions about the personal and environmental consequences of excess. While changing into a vampire or a zombie often represented widespread fears about addiction and overeating, it also played into concerns about pollution. Ozone depletion, acid rain, and toxic waste already demonstrated the irrevocable harm being done to the planet. The horror genre—from A Nightmare on Elm Street to American Psycho—responded by presenting this damage as an urgent problem, and, through the sudden violence of killers, vampires, and zombies, it depicted the consequences of inaction as terrifying. Whether through Hannibal Lecter’s cannibalism, a vampire’s thirst for blood in The Queen of the Damned and The Lost Boys, or an overwhelming number of zombies in George Romero’s Day of the Dead, 1980s horror uses out-of-control hunger to capture deep-seated concerns about the physical and material consequences of unchecked consumption. Its presentation of American appetites resonated powerfully for audiences preoccupied with body size, food choices, and pollution. And its use of bodily change, alongside the bloodlust of killers and the desolate landscapes of apocalyptic fiction, demanded a recognition of the potentially horrifying impact of consumerism on nature, society, and the self.

We are what we eat, as the saying goes, but we are also how we eat, and when, and where. Our eating habits reveal as much about our society as the food on our plates, and our national identity is written in the eating schedules we follow and the customs we observe at the table and on the go. In Three Squares, food historian Abigail Carroll upends the popular understanding of our most cherished mealtime traditions, revealing that our eating habits have never been stable—far from it, in fact. The eating patterns and ideals we’ve inherited are relatively recent inventions, the products of complex social and economic forces, as well as the efforts of ambitious inventors, scientists and health gurus. Whether we’re pouring ourselves a bowl of cereal, grabbing a quick sandwich, or congregating for a family dinner, our mealtime habits are living artifacts of our collective history—and represent only the latest stage in the evolution of the American meal. Our early meals, Carroll explains, were rustic affairs, often eaten hastily, without utensils, and standing up. Only in the nineteenth century, when the Industrial Revolution upset work schedules and drastically reduced the amount of time Americans could spend on the midday meal, did the shape of our modern “three squares” emerge: quick, simple, and cold breakfasts and lunches and larger, sit-down dinners. Since evening was the only part of the day when families could come together, dinner became a ritual—as American as apple pie. But with the rise of processed foods, snacking has become faster, cheaper, and easier than ever, and many fear for the fate of the cherished family meal as a result. The story of how the simple gruel of our forefathers gave way to snack fixes and fast food, Three Squares also explains how Americans’ eating habits may change in the years to come. Only by understanding the history of the American meal can we can help determine its future.