This pocket-sized collection of leggy lovelies assembles the most popular wartime pin-ups from WWII's favorite artist, Alberto Vargas. These vintage images, rendered delicately in watercolor and airbrush, depict elegantly dressed, semi-nude to naked beauties--the ladies that inspired and comforted American men far from home.

The pin-up girls painted in the 1940s and 1950s by Alberto Vargas are fiercely fought over by collectors. This work features a collection of Vargas paintings and drawings. It has the famous 'Varga Girls' from Playboy, as well as early works from the 1920s, watercolours rendered for Esquire, the legacy nudes, and more.

Beloved former ABC 20/20 anchor Elizabeth Vargas share the truth about her alcohol addiction and anxiety disorder in this honest and emotional memoir. From the moment she uttered the brave and honest words, "I am an alcoholic," to interviewer George Stephanopoulos, Elizabeth Vargas began writing her story, as her experiences were still raw. Now, in Between Breaths, Vargas discusses her accounts of growing up with anxiety--which began suddenly at the age of six when her father served in Vietnam--and how she dealt with this anxiety as she came of age, eventually turning to alcohol for a release from her painful reality. The now-A&E Network reporter reveals how she found herself living in denial about the extent of her addiction, and how she kept her dependency a secret for so long. She addresses her time in rehab, her first year of sobriety, and the guilt she felt as a working mother who could never find the right balance between a career and parenting. Honest and hopeful, Between Breaths is an inspiring read. Winner of the Books for a Better Life Award in the First Book category Instant New York Times and USA Today Bestseller

This book examines the life, times, and legacy of Getúlio Vargas, Brazil's dictator and president during most of the period from 1930 to 1954. Levine's chief concern is how Vargas' legacy influenced Brazil, and to what extent his social legislation affected people's lives. Vargas ignored individual rights, working for state-regulated citizenship without disharmony, without the right to dissent. His revolution was partial; one in which new constituencies and rules were grafted onto traditional political practices. Vargas devoted as much effort to manipulating workers as he did to benefiting them. By the end of his long tenure in power, some things had hardly changed at all: the readiness of the armed forces to intervene; the elite's tenacious hold on privilege; and the historical predominance of the Center-South. Brazil's distribution of income remained among the least equable in the world, but Vargas did not perceive this as a problem that needed to be solved. That Vargas promised much and delivered little did not diminish the adulation that Brazilians held for him. Ordinary people would shrug and say 'O presidente sempre lembrou da gente' ('The President always thought about us').

This collection of essays associated with Mario Vargas Llosa’s visits to the City College of New York offers readers an opportunity to learn about his body of work through his own perspective and those of key fiction writers and literary critics.

In the tradition of Rilke's "Letters to a Young Poet," Mario Vargas Llosa condenses a lifetime of writing, reading, and thought into an essential manual for aspiring writers, revealing in the process his deepest beliefs about the world of letters. A literary apprenticeship in eleven letters, by the internationally acclaimed master of the novel In the tradition of Rilke's Letters to a Young Poet, Mario Vargas Llosa condenses a lifetime of writing, reading, and thought into an essential manual for aspiring writers, revealing in the process his deepest beliefs about our common literary endeavor. A writer, in his view, is a being seized by an insatiable appetite for creation, a rebel, and a dreamer. But dreams, when set down on paper, require disciplined development, and so Vargas Llosa undertakes to supply the tools of transformation. Drawing on the stories and novels of writers from around the globe-Borges, Bierce, Celine, Cortazar, Faulkner, Kafka, Robbe-Grillet-he lays bare the inner workings of fiction, examining time, space, style, and structure, all the while urging young novelists not to lose touch with the elemental urge to create. Conversational, eloquent, and effortlessly erudite, this little book is destined to be read and reread by young writers, old writers, would-be writers, and all those with a stake in the world of letters.

THE NATIONAL BESTSELLER “This riveting, courageous memoir ought to be mandatory reading for every American.” —Michelle Alexander, New York Times bestselling author of The New Jim Crow “l cried reading this book, realizing more fully what my parents endured.” —Amy Tan, New York Times bestselling author of The Joy Luck Club and Where the Past Begins “This book couldn’t be more timely and more necessary.” —Dave Eggers, New York Times bestselling author of What Is the What and The Monk of Mokha Pulitzer-Prize winning journalist Jose Antonio Vargas, called “the most famous undocumented immigrant in America,” tackles one of the defining issues of our time in this explosive and deeply personal call to arms. “This is not a book about the politics of immigration. This book––at its core––is not about immigration at all. This book is about homelessness, not in a traditional sense, but in the unsettled, unmoored psychological state that undocumented immigrants like myself find ourselves in. This book is about lying and being forced to lie to get by; about passing as an American and as a contributing citizen; about families, keeping them together, and having to make new ones when you can’t. This book is about constantly hiding from the government and, in the process, hiding from ourselves. This book is about what it means to not have a home. After 25 years of living illegally in a country that does not consider me one of its own, this book is the closest thing I have to freedom.” —Jose Antonio Vargas, from Dear America