The Masters is unquestionably the crown jewel of golf's major tournaments, not only for the transcendent performances it has inspired over the years, but for the incomparable sights and sounds of Augusta National and its environs, each distinct element contributing to the storied, rarefied atmosphere which draws tens of thousands to Georgia each spring. Seven Days in Augusta spans everything from the par-3 contest, to Amen Corner, to Butler Cabin. Mark Cannizzaro goes behind the scenes of the exclusive competition, covering wide-ranging topics including green jacket rituals, tales from The Crow's Nest atop the clubhouse, the extreme lengths some fans have gone to acquire tickets, and what goes on outside the gates during Masters week. Also featuring some of the most memorable and dramatic moments from the tournament's history, this is an essential, expansive look at golf's favorite event.

Told in Bildøen's signature lyrical prose, this story slowly unfurls the horrors of a national tragedy, while peeling back the layers of sorrow that infect relationships over time. A few years after the deadly 2011 terror attack in Norway's Utøya Island, Otto and Sofie are attempting to put the pieces of their life back together without their beloved daughter, who was murdered alongside countless other youths on one of the worst days in Norway's history. Seven Days in August is the story of Otto and Sofie's grief, painstakingly narrated over just one week--a window into their attempts to navigate a life together, face to face with their own helplessness and mortality.

Chicago in the Roaring Twenties was a city of immigrants, mobsters, and flappers with one shared passion: the Chicago Cubs. It all began with the decision of the chewing-gum tycoon William Wrigley to build the world’s greatest ball club in the nation’s Second City. In this Jazz Age center, the maverick Wrigley exploited the revolutionary technology of broadcasting and attracted eager throngs of women to his renovated ballpark. Mr. Wrigley’s Ball Club transports us to this heady era of baseball history and introduces the team at its crazy heart—an amalgam of rakes, pranksters, schemers, and choirboys who take center stage in memorable successes and disasters. Readers take front-row seats to meet one Hall of Famer after another—Grover Cleveland Alexander, Rogers Hornsby, Joe McCarthy, Lewis “Hack” Wilson, Gabby Hartnett. The cast of characters also includes their colorful if less-sung teammates and the Cubs’ nemesis, Babe Ruth, who terminates the ambitions of Mr. Wrigley’s ball club with one emphatic swing.

Few movie stars have meant as many things to as many different audiences as the iconic Marlene Dietrich. The actress-chanteuse had a career of some seventy years: one that included not only classical Hollywood cinema and the concert hall but also silent film in Weimar Germany, theater, musical comedy, vaudeville, army camp shows, radio, recordings, television, and even the circus. Having renounced and left Nazi Germany, assumed American citizenship, and entertained American troops, Dietrich has long been a flashpoint in Germany’s struggles over its cultural heritage. She has also figured prominently in European and American film scholarship, in studies ranging from analyses of the directors with whom she worked to theories about the ideological and psychic functions of film. Dietrich Icon, which includes essays by established and emerging film scholars, is a unique examination of the many meanings of Dietrich. Some of the essays in this collection revisit such familiar topics as Germany’s complex relationship with Dietrich, her ambiguous sexuality, her place in the lesbian archive, her star status, and her legendary legs, but with fresh critical perspective and an emphasis on historical background. Other essays establish new avenues for understanding Dietrich’s persona. Among these are a reading of Marlene Dietrich’s ABC—an eclectic autobiographical compendium containing Dietrich’s thoughts on such diverse subjects as “steak,” “Sternberg (Joseph von),” “Stravinsky,” and “stupidity”—and an argument that Dietrich manipulated her voice—through her accent, sexual innuendo, and singing—as much as her visual image in order to convey a cosmopolitan world-weariness. Still other essays consider the specter of aging that loomed over Dietrich’s career, as well as the many imitations of the Dietrich persona that have emerged since the star’s death in 1992. Contributors. Nora M. Alter, Steven Bach, Elisabeth Bronfen, Erica Carter, Mary R. Desjardins, Joseph Garncarz, Gerd Gemünden, Mary Beth Haralovich, Amelie Hastie, Lutz Koepnick, Alice A. Kuzniar, Amy Lawrence, Judith Mayne, Patrice Petro, Eric Rentschler, Gaylyn Studlar, Werner Sudendorf, Mark Williams