A hilarious send-up of sex, scandal, and the Golden Age of Hollywood by legendary cartoonist Edward Sorel. In 1965, a young, up-and-coming illustrator by the name of Edward Sorel tore away layer after layer of linoleum from the floor of his $97-a-month Manhattan apartment until he discovered a hidden treasure: issues of the New York Daily News and Daily Mirror from 1936, each ablaze with a scandalous child custody trial taking place in Hollywood starring the actress Mary Astor—and the journal in which she detailed her numerous affairs. Thus began a half-century obsession that reached its peak in Mary Astor’s Purple Diary, “a thoroughly charming” (New York Times Book Review, front-page review) account of the scandal in which Sorel narrates and illustrates the travails of the Oscar-winning actress alongside his own personal story of discovering an unlikely muse. Now in a stunning paperback, featuring more than sixty ribald and rapturous original illustrations, Mary Astor’s Purple Diary is the life’s masterpiece of one of America’s greatest illustrators.

The “endlessly fascinating” true story of a custody battle that threatened to expose the seedy secrets of Hollywood’s Golden Age—illustrated with photos (Entertainment Weekly). Most famous for playing opposite Humphrey Bogart in The Maltese Falcon, Mary Astor was one of Hollywood’s most beloved film stars. But her story wasn’t a happy one. Widowed at twenty-four, she quickly entered a rocky marriage with Dr. Franklyn Thorpe in which both were unfaithful. When they finally divorced in 1936, Astor sued for custody of their baby daughter Marylyn, setting off one of Hollywood’s most scandalous court cases. In the ruthless court battle, Thorpe held a trump card: the diaries Astor had been keeping for years. In them, Astor detailed her own affairs—including with playwright George S. Kaufman—as well as the myriad dalliances of some of Hollywood’s biggest names. Studio heads were desperate to keep such damning details from leaking. But speculation of the dairy’s contents became a major news story, stealing the front page from The Spanish Civil War and Hitler’s 1936 Olympic Games in newspapers all over America. With unlimited access to the photographs and memorabilia of Mary Astor’s estate, The Purples Diaries is an in-depth look at Hollywood’s Golden Age as it has never been seen before.

A hilarious send-up of sex, scandal, and the Golden Age of Hollywood by legendary cartoonist Edward Sorel. In 1965, a young, up-and-coming illustrator by the name of Edward Sorel tore away layer after layer of linoleum from the floor of his $97-a-month Manhattan apartment until he discovered a hidden treasure: issues of the New York Daily News and Daily Mirror from 1936, each ablaze with a scandalous child custody trial taking place in Hollywood starring the actress Mary Astor—and the journal in which she detailed her numerous affairs. Thus began a half-century obsession that reached its peak in Mary Astor’s Purple Diary, “a thoroughly charming” (New York Times Book Review, front-page review) account of the scandal in which Sorel narrates and illustrates the travails of the Oscar-winning actress alongside his own personal story of discovering an unlikely muse. Now in a stunning paperback, featuring more than sixty ribald and rapturous original illustrations, Mary Astor’s Purple Diary is the life’s masterpiece of one of America’s greatest illustrators.

My Story: an Autobiography By Mary Astor Prologue People have often said to me, "You haven t changed a bit!" They meant it as a compliment, but I could hear it only as an accusation, a statement of brutal fact. And I have thought bitterly, "You are so right!" For I knew that if I had not changed I had not grown. To be a perennial child, an ethereal Peter Pan playing with pirates and Indians throughout all eternity, can be a lovely thing in the never-never land of fantasy, but it is an unhappy thing in life, The child is born so that he may become a man. It is his destiny to grow to learn, to understand, to assume responsibilities. Growth can be painful, I know; but I have found that a stunted and retarded growth can be a pain beyond belief. My father often used to rebuke me by saying, "You are almost nine years old" (and then "ten," and then "eleven," and "twelve") "and you haven t learned a thing!" Well, here I was, fifty years old, and 1 still hadn't learned a thing! My father s rebuke had always seemed to imply a promise that years, the very accumulation of years, would bring experience and understanding, So, at whatever age I was, I wished I were older. At seventeen I longed to be twenty-five. At twenty I wanted to be a woman of the world of thirty. At thirty I read that the French thought a woman did not reach a full maturity of beauty and attractiveness until she was forty. Finally, at forty-five, I decided that the whole thing was a pack of lies. Where was the "serenity" that the years were to bring? Where was "the cooling of passion s blood?" I realized that I, who leaned on so many people and things, had been leaning even on the abstraction of time. I was still refusing to grow up, to face the oppressive fact that I should long since have become a responsible, mature adult. I continued to seek people and things I could lean on, to escape the need for making my own decisions and assuming responsibility for my own acts. One event above all others should have brought me to a full realization of my responsibility and dignity as an individual, but even in that I failed. My conversion to the Catholic Church was almost purely emotional. I felt, instinctively, that I had finally found something substantial to lean on, never realizing that it is the Church above all else that demands a stern and courageous individuality. So my conversion did not turn out to be the conventional "conversion story" where the sinner is baptized and lives happily ever after. I leaned, and I fell. It is true, the Church would repeatedly pick me up and dust me off after each fall. She would dry my tears and heal my wounds and comfort me. Then she would gently say, "Go! Walk alone, with God." But I couldn't walk alone. So I... ------------------------------------------------------------------------------------------------------------------------------------------ Windham Press is committed to bringing the lost cultural heritage of ages past into the 21st century through high-quality reproductions of original, classic printed works at affordable prices. This book has been carefully crafted to utilize the original images of antique books rather than error-prone OCR text. This also preserves the work of the original typesetters of these classics, unknown craftsmen who laid out the text, often by hand, of each and every page you will read. Their subtle art involving judgment and interaction with the text is in many ways superior and more human than the mechanical methods utilized today, and gave each book a unique, hand-crafted feel in its text that connected the reader organically to the art of bindery and book-making. We think these benefits are worth the occasional imperfection resulting from the age of these books at the time of scanning, and their vintage feel provides a connection to the past that goes beyond the mere words of the text.

The fabulous life and times of one of our wittiest, most endearing and enduring caricaturists—in his own words and inimitable art. Sorel has given us "some of the best pictorial satire of our time ... [his] pen can slash as well as any sword” (The Washington Post). Alongside more than 172 of his drawings, cartoons, and caricatures—and in prose as spirited and wickedly pointed as his artwork—Edward Sorel gives us an unforgettable self-portrait: his poor Depression-era childhood in the Bronx (surrounded by loving Romanian immigrant grandparents and a clan of mostly left-leaning aunts and uncles); his first stabs at drawing when pneumonia kept him out of school at age eight; his time as a student at New York’s famed High School of Music and Art; the scrappy early days of Push Pin Studios, founded with fellow Cooper Union alums Milton Glaser and Seymour Chwast, which became the hottest design group of the 1960s; his two marriages and four children; and his many friends in New York’s art and literary circles. As the “young lefty” becomes an “old lefty,” Sorel charts the highlights of his remarkable life, by both telling us and showing us how in magazines and newspapers, books, murals, cartoons, and comic strips, he steadily lampooned—and celebrated—American cultural and political life. He sets his story in the parallel trajectory of American presidents, from FDR’s time to the present day—with the candor and depth of insight that could come only from someone who lived through it all. In Profusely Illustrated, Sorel reveals the kaleidoscopic ways in which the personal and political collide in art—a collision that is simultaneously brilliant in concept and uproarious and beautiful in its representation.

“Wegman combines in-depth historical analysis and insight into contemporary politics to present a cogent argument that the Electoral College violates America’s ‘core democratic principles’ and should be done away with..." —Publishers Weekly The framers of the Constitution battled over it. Lawmakers have tried to amend or abolish it more than 700 times. To this day, millions of voters, and even members of Congress, misunderstand how it works. It deepens our national divide and distorts the core democratic principles of political equality and majority rule. How can we tolerate the Electoral College when every vote does not count the same, and the candidate who gets the most votes can lose? Twice in the last five elections, the Electoral College has overridden the popular vote, calling the integrity of the entire system into question—and creating a false picture of a country divided into bright red and blue blocks when in fact we are purple from coast to coast. Even when the popular-vote winner becomes president, tens of millions of Americans—Republicans and Democrats alike—find that their votes didn't matter. And, with statewide winner-take-all rules, only a handful of battleground states ultimately decide who will become president. Now, as political passions reach a boiling point at the dawn of the 2020 race, the message from the American people is clear: The way we vote for the only official whose job it is to represent all Americans is neither fair nor just. Major reform is needed—now. Isn't it time to let the people pick the president? In this thoroughly researched and engaging call to arms, Supreme Court journalist and New York Times editorial board member Jesse Wegman draws upon the history of the founding era, as well as information gleaned from campaign managers, field directors, and other officials from twenty-first-century Democratic and Republican presidential campaigns, to make a powerful case for abolishing the antiquated and antidemocratic Electoral College. In Let the People Pick the President he shows how we can at long last make every vote in the United States count—and restore belief in our democratic system.

Tells the story of the infamous “Goat Gland Doctor”—controversial medical charlatan, groundbreaking radio impresario, and prescient political campaigner—and recounts his amazing rags to riches to rags career. A popular joke of the 1920s posed the question, “What’s the fastest thing on four legs?” The punch line? “A goat passing Dr. Brinkley’s hospital!” It seems that John R. Brinkley’s virility rejuvenation cure—transplanting goat gonads into aging men—had taken the nation by storm. Never mind that “Doc” Brinkley’s medical credentials were shaky at best and that he prescribed medication over the airwaves via his high-power radio stations. The man built an empire. The Kansas Medical Board combined with the Federal Radio Commission to revoke Brinkley’s medical and radio licenses, which various courts upheld. Not to be stopped, Brinkley started a write-in campaign for Governor. He received more votes than any other candidate but lost due to invalidated and “misplaced” ballots. Brinkley’s tactics, particularly the use of his radio station and personal airplane, changed political campaigning forever. Brinkley then moved his radio medical practice to Del Rio, Texas, and began operating a “border blaster” on the Mexico side of the Rio Grande. His rogue stations, XER and its successor XERA, eventually broadcast at an antenna-shattering 1,000,000 watts and were not only a haven for Brinkley’s lucrative quackery, but also hosted an unprecedented number of then-unknown country musicians and other guests.