“I first met Robert Kennedy because I spoke Spanish. I spoke Spanish because the U.S. Army taught me that before sending me to France, Belgium, and Germany to fight Hitler’s Army. This makes complete sense if you are familiar with military bureaucracy.” Such is the trademark wit of Frank Mankiewicz. With his dry sense of humor and self-deprecating humility—despite his many accomplishments—Frank’s voice speaks from the pages of So as I was Saying... in a way that is both conversational and profound. Before he died in 2014 Frank’s fascinating life took him from Beverly Hills to the battlefields of Europe; from the halls of power in Washington D.C. to the far corners of the world. A lifelong student of humanity and mentor to many, including presidents, Frank was a loving father, husband, and friend, and his legacy is will endure for generations. Born into Hollywood royalty but determined to make his own way, Frank served in World War Two, wrote speeches for Robert Kennedy, ran a presidential campaign, carried messages to Fidel Castro, served as president of National Public Radio (helping create Morning Edition), and as regional director for the Peace Corps. Naturally such a long and interesting life gave rise to a myriad of opinions, and Frank was not afraid to share them. In this intriguing, insightful, and often humorous memoir, Frank recalls his favorite memories while sharing his opinions on everything from Zionism to smartphones. Imbued with the personality of one of the twentieth century’s most gifted raconteurs, So As I Was Saying... invokes nostalgia for the past even as it gives hope for the future.

Annotation. The story of "Shoeless" Joe Jackson and his teammates purportedly conspiring with gamblers to throw the World Series to the Cincinnati Reds has lingered in our collective consciousness for more than eighty years. Daniel A. Nathan's wide-ranging, interdisciplinary cultural history is less concerned with the details of the scandal than with how it has been represented and remembered by journalists, historians, novelists, filmmakers, and baseball fans. Saying It's So offers a series of astute reflections on what these different cultural narratives reveal about their creators and the eras in which they were created, producing a complex study of cultural values, memory, and the ways people make meaning.

When Frederick shows up at school, Xio is thrilled. The new boy is shy, cute, and definitely good boyfriend material. Before long, she pulls him into her lively circle of friends. Frederick knows he should be flattered by Xio's attention. After all, she's popular, pretty, and a lot of fun. So why can't he stop thinking about Victor, the captain of the soccer team, instead?

In this #1 New York Times bestseller, Ijeoma Oluo offers a revelatory examination of race in America Protests against racial injustice and white supremacy have galvanized millions around the world. The stakes for transformative conversations about race could not be higher. Still, the task ahead seems daunting, and it’s hard to know where to start. How do you tell your boss her jokes are racist? Why did your sister-in-law hang up on you when you had questions about police reform? How do you explain white privilege to your white, privileged friend? In So You Want to Talk About Race, Ijeoma Oluo guides readers of all races through subjects ranging from police brutality and cultural appropriation to the model minority myth in an attempt to make the seemingly impossible possible: honest conversations about race, and about how racism infects every aspect of American life. "Simply put: Ijeoma Oluo is a necessary voice and intellectual for these times, and any time, truth be told." ―Phoebe Robinson, New York Times bestselling author of You Can't Touch My Hair

“Reggae’s chief eyewitness, dropping testimony on reggae’s chief prophet with truth, blood, and fire.” —Marlon James, Man Booker Prize–winning author Renowned reggae historian Roger Steffens’s riveting oral history of Bob Marley’s life draws on four decades of intimate interviews with band members, family, lovers, and confidants—many speaking publicly for the first time. Hailed by the New York Times Book Review as a “crucial voice” in the documentation of Marley’s legacy, Steffens spent years traveling with the Wailers and taking iconic photographs. Through eyewitness accounts of vivid scenes—the future star auditioning for Coxson Dodd; the violent confrontation between the Wailers and producer Lee Perry; the attempted assassination (and conspiracy theories that followed); the artist’s tragic death from cancer—So Much Things to Say tells Marley’s story like never before. What emerges is a legendary figure “who feels a bit more human” (The New Yorker).

We are all drowning in a sea of words. And, it is getting harder and harder to get our messages out there. The right words, carefully chosen can still do magic: they can make people care about what we care about—they can make us fall in love; they can soothe our aching hearts; they can make people buy our products or join our mission; they can build up a friend or tear down an enemy; and yes, they can change the world.

The first in-depth exploration of the rise and evolution of abstract, symbolic, and conceptual portraiture in American art This groundbreaking book traces the history of portraiture as a site of radical artistic experimentation, as it shifted from a genre based on mimesis to one stressing instead conceptual and symbolic associations between artist and subject. Featuring over 100 color illustrations of works by artists from Charles Demuth, Marcel Duchamp, Marsden Hartley, and Georgia O'Keeffe to Janine Antoni, Felix Gonzalez-Torres, Roni Horn, Jasper Johns, and Glenn Ligon, this timely publication probes the ways we think about and picture the self and others. With particular focus on three periods during which non-mimetic portraiture flourished--1912-25, 1961-70, and 1990-the present--the authors investigate issues related to technology, sexuality, artist networks, identity politics, and social media, and explore the emergence of new models for the visual representation of identity. Taking its title from a 1961 work by Robert Rauschenberg--a telegram that stated, "This is a portrait of Iris Clert if I say so"--this book unites paintings, sculpture, photography, and text portraits that challenge the genre in significant, often playful ways and question the convention, as well as the limits, of traditional portrayal.