Watching Michael Moore in action—passing off manipulating facts in Bowling for Columbine, spinning statistics in Stupid White Men and Dude, Where's My Country?, shamelessly grandstanding at the Academy Awards, and epitomizing the hypocrisy he's made a king's fortune railing against—has spurred authors David T. Hardy and Jason Clarke to take action into their own hands. In Michael Moore Is a Big Fat Stupid White Man, Hardy and Clarke dish it back hard to the fervent prophet of the far left, turning a careful eye on Moore's use of camera tricks and publicity ploys to present his own version of the truth. Postwar documentarians gave us the documentary, Rob Reiner gave us the mockumentary, and Moore initiated a third genre, the crockumentary. How, they ask, does Moore pull off a proletarian, "man-of-the-people" image so at odds with his lifestyle as a fabulously wealthy Manhattanite? And how large of an impact do his incendiary, ill-founded polemics have on the growing community that follows him with near-religious devotion? Loaded with well-researched, solidly reasoned arguments, and laced with irreverent wit, Michael Moore Is a Big Fat Stupid White Man fires back at one of the left's biggest targets—politically and literally.

Michael Moore has established himself as someone who just won't shut up, go away, or otherwise do what political and corporate fat cats would like him to do. He lifts the veil on the people who set themselves up as role models and exposes their vulnerable underbellies.

Watching Michael Moore in action -- passing off manipulating facts in Bowling for Columbine, spinning statistics in Stupid White Men and Dude, Where's My Country?, shamelessly grandstanding at the Academy Awards, and epitomizing the hypocrisy he's made a king's fortune railing against -- has spurred authors David T. Hardy and Jason Clarke to take action into their own hands. In Michael Moore Is a Big Fat Stupid White Man, Hardy and Clarke dish it back hard to the fervent prophet of the far left, turning a careful eye on Moore's use of camera tricks and publicity ploys to present his own version of the truth. Postwar documentarians gave us the documentary, Rob Reiner gave us the mockumentary, and Moore initiated a third genre, the crockumentary. How, they ask, does Moore pull off a proletarian, "man-of-the-people" image so at odds with his lifestyle as a fabulously wealthy Manhattanite? And how large of an impact do his incendiary, ill-founded polemics have on the growing community that follows him with near-religious devotion? Loaded with well-researched, solidly reasoned arguments, and laced with irreverent wit, Michael Moore Is a Big Fat Stupid White Man fires back at one of the left's biggest targets -- politically and literally.

The #1 New York Times bestseller by Senator Al Franken, author of Giant of the Senate Al Franken, one of our “savviest satirists” (People), has been studying the rhetoric of the Right. He has listened to their cries of “slander,” “bias,” and even “treason.” He has examined the GOP's policies of squandering our surplus, ravaging the environment, and alienating the rest of the world. He’s even watched Fox News. A lot. And, in this fair and balanced report, Al bravely and candidly exposes them all for what they are: liars. Lying, lying liars. Al destroys the liberal media bias myth by doing what his targets seem incapable of: getting his facts straight. Using the Right’s own words against them, he takes on the pundits, the politicians, and the issues, in the most talked about book of the year. Timely, provocative, unfailingly honest, and always funny, Lies sticks it to the most right-wing administration in memory, and to the right-wing media hacks who do its bidding.

A Top Ten Nonfiction Book of 2005 (Entertainment Weekly) For any woman who has ever had a love/hate relationship with food and with how she looks; for anyone who has knowingly or unconsciously used food to try to fill the hole in his heart or soothe the craggy edges of his psyche, Fat Girl is a brilliantly rendered, angst-filled coming-of-age story of gain and loss. From the lush descriptions of food that call to mind the writings of M.F.K. Fisher at her finest, to the heartbreaking accounts of Moore’s deep longing for family and a sense of belonging and love, Fat Girl stuns and shocks, saddens and tickles. “Searingly honest without affectation… Moore emerged from her hellish upbringing as a kind of softer Diane Arbus, wielding pen instead of camera.”—The Seattle Times “Frank, often funny—intelligent and entertaining.”—People (starred review) “God, I love this book. It is wise, funny, painful, revealing, and profoundly honest.”—Anne Lamott “Judith Moore grabs the reader by the collar, and shakes up our notion of life in the fat lane.”—David Sedaris “Stark… lyrical, and often funny, Judith Moore ambushes you on the very first page, and in short order has lifted you up and broken your heart.”—Newsweek “A slap-in-the-face of a book—courageous, heartbreaking, fascinating, and darkly funny.”—Augusten Burroughs

Life is good for thick-boned Keisha Jackson. With a good education, well-paying job, and supportive parents, she has everything a young woman could ask for, except maybe a healthy dose of self-esteem. But after a chance meeting with Rico, the neighborhood “bad boy,” her fairy tale life is quickly dismantled. Blinded by emotion, she gives in to all his cruel intentions. Under the false claim of love, Rico vindictively tears down all that good-girl Keisha has built. His sole purpose seems to be to make her miserable. Rico has no limits on the grief he causes and the disrespect he shows. Having endured physical, mental, and sexual abuse, Keisha finally sees the light, and she’s not having it anymore. The tables are turned, and Rico feels her well-deserved wrath. It ain’t no fun when the rabbit got the gun, and Rico will soon find out what A Big Girl’s Revenge truly feels like.

“I don’t own a single share of stock.” —Michael Moore Members of the liberal left exude an air of moral certitude. They pride themselves on being selflessly committed to the highest ideals and seem particularly confident of the purity of their motives and the evil nature of their opponents. To correct economic and social injustice, liberals support a whole litany of policies and principles: progressive taxes, affirmative action, greater regulation of corporations, raising the inheritance tax, strict environmental regulations, children’s rights, consumer rights, and much, much more. But do they actually live by these beliefs? Peter Schweizer decided to investigate in depth the private lives of some prominent liberals: politicians like the Clintons, Nancy Pelosi, the Kennedys, and Ralph Nader; commentators like Michael Moore, Al Franken, Noam Chomsky, and Cornel West; entertainers and philanthropists like Barbra Streisand and George Soros. Using everything from real estate transactions, IRS records, court depositions, and their own public statements, he sought to examine whether they really live by the principles they so confidently advocate. What he found was a long list of glaring contradictions. Michael Moore denounces oil and defense contractors as war profiteers. He also claims to have no stock portfolio, yet he owns shares in Halliburton, Boeing, and Honeywell and does his postproduction film work in Canada to avoid paying union wages in the United States. Noam Chomsky opposes the very concept of private property and calls the Pentagon “the worst institution in human history,” yet he and his wife have made millions of dollars in contract work for the Department of Defense and own two luxurious homes. Barbra Streisand prides herself as an environmental activist, yet she owns shares in a notorious strip-mining company. Hillary Clinton supports the right of thirteen-year-old girls to have abortions without parental consent, yet she forbade thirteen-year-old Chelsea to pierce her ears and enrolled her in a school that would not distribute condoms to minors. Nancy Pelosi received the 2002 Cesar Chavez Award from the United Farm Workers, yet she and her husband own a Napa Valley vineyard that uses nonunion labor. Schweizer’s conclusion is simple: liberalism in the end forces its adherents to become hypocrites. They adopt one pose in public, but when it comes to what matters most in their own lives—their property, their privacy, and their children—they jettison their liberal principles and embrace conservative ones. Schweizer thus exposes the contradiction at the core of liberalism: if these ideas don’t work for the very individuals who promote them, how can they work for the rest of us?