"As the circus of the Blagojevich saga unfolded, Natasha Korecki was right at the center.... It was a seriocomedy suited to her enterprise and imagination, and she’s the one to write the book." —Roger Ebert "Natasha Korecki's chronicle of the Blagojevich saga was a cutting-edge lesson in how to blend old-fashioned reporting with new media." —Richard Roeper Chicago, Illinois, and America at large were captivated by the arrest, trial, and general public embarrassment of Illinois governor Rod Blagojevich. Only in Chicago is derived from the best of award-winning Chicago Sun-Times reporter Natasha Korecki's work on the Blagojevich scandal, weaving together years of reporting and never-before published details into one straightforward, fast-paced narrative. From the infamous audiotapes to Blagojevich's strange public relations campaign, this is one of the most bizarre true political tales ever told. Beyond the slew of backroom dealmakers who were sucked into the Blagojevich imbroglio, President Barack Obama himself--while never accused of any wrongdoing--was also interviewed by federal prosecutors. Now-mayor Rahm Emanuel's discussions with Blagojevich are included as well. The political figure who became most entangled with the scandal, however, was Congressman Jesse Jackson Jr., who is accused of offering Blagojevich $6 million for Obama's vacated Senate seat through an intermediary.

The compelling stories of the five keepers of Chicago's only Castle, located in the Beverly neighborhood, unfold against the backdrop of Chicago's rich history.

Zoe Clark is back in Chicago, and she already wants to run. But she can never turn her back on her monstrous hometown again. Grief, technology, isolation, and emptiness keep her up at night. Or maybe it's the coffee. Her brain feels like a mosquito trapped in amber, ready to be found in 65 million years by an enterprising paleontologist. Full of anxiety, humor, philosophy, and grief, The Only Living Girl in Chicago is a stunning coming-of-age novel, a later bloomer's bible in constant, dizzying motion.

There are few things that Chicagoans feel more passionately about than pizza. Most have strong opinions about whether thin crust or deep-dish takes the crown, which ingredients are essential, and who makes the best pie in town. And in Chicago, there are as many destinations for pizza as there are individual preferences. Each of the city's seventy-seven neighborhoods is home to numerous go-to spots, featuring many styles and specialties. With so many pizzerias, it would seem impossible to determine the best of the best. Enter renowned Chicago-based food journalist Steve Dolinsky! In Pizza City, USA: 101 Reasons Why Chicago Is America's Greatest Pizza Town, Dolinsky embarks on a pizza quest, methodically testing more than a hundred different pizzas in Chicagoland. Zestfully written and thoroughly researched, Pizza City, USA is a hunger–inducing testament to Dolinsky's passion for great, unpretentious food. This user-friendly guide is smartly organized by location, and by the varieties served by the city's proud pizzaioli–including thin, artisan, Neapolitan, deep-dish and pan, stuffed, Sicilian, Roman, and Detroit-style, as well as by-the-slice. Pizza City also includes Dolinsky's "Top 5 Pizzas" in several categories, a glossary of Chicago pizza terms, and maps and photos to steer devoted foodies and newcomers alike.

Searchable electronic version of print product with fully hyperlinked cross-references.

For decades now, the story of art in America has been dominated by New York. It gets the majority of attention, the stories of its schools and movements and masterpieces the stuff of pop culture legend. Chicago, on the other hand . . . well, people here just get on with the work of making art. Now that art is getting its due. Art in Chicago is a magisterial account of the long history of Chicago art, from the rupture of the Great Fire in 1871 to the present, Manierre Dawson, László Moholy-Nagy, and Ivan Albright to Chris Ware, Anne Wilson, and Theaster Gates. The first single-volume history of art and artists in Chicago, the book—in recognition of the complexity of the story it tells—doesn’t follow a single continuous trajectory. Rather, it presents an overlapping sequence of interrelated narratives that together tell a full and nuanced, yet wholly accessible history of visual art in the city. From the temptingly blank canvas left by the Fire, we loop back to the 1830s and on up through the 1860s, tracing the beginnings of the city’s institutional and professional art world and community. From there, we travel in chronological order through the decades to the present. Familiar developments—such as the founding of the Art Institute, the Armory Show, and the arrival of the Bauhaus—are given a fresh look, while less well-known aspects of the story, like the contributions of African American artists dating back to the 1860s or the long history of activist art, finally get suitable recognition. The six chapters, each written by an expert in the period, brilliantly mix narrative and image, weaving in oral histories from artists and critics reflecting on their work in the city, and setting new movements and key works in historical context. The final chapter, comprised of interviews and conversations with contemporary artists, brings the story up to the present, offering a look at the vibrant art being created in the city now and addressing ongoing debates about what it means to identify as—or resist identifying as—a Chicago artist today. The result is an unprecedentedly inclusive and rich tapestry, one that reveals Chicago art in all its variety and vigor—and one that will surprise and enlighten even the most dedicated fan of the city’s artistic heritage. Part of the Terra Foundation for American Art’s year-long Art Design Chicago initiative, which will bring major arts events to venues throughout Chicago in 2018, Art in Chicago is a landmark publication, a book that will be the standard account of Chicago art for decades to come. No art fan—regardless of their city—will want to miss it.