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A darkly comic and deeply moving story of a New York City lost to time. From the final days of the Brooklyn Dodgers in the mid-1950s to the arrival of the Beatles in 1964, A Brooklyn Memoir is an unsentimental journey through one rough-and-tumble working-class neighborhood. Though only a 20-minute and 15-cent subway ride from the gleaming towers of Manhattan across the East River, Flatbush remained insular and provincial—a place where Auschwitz survivors and WWII vets lived side by side and the war lingered like a mass hallucination. Meet Bobby, a local kid who shares a shabby apartment with his status-conscious mother and bigoted father, a soda jerk haunted by memories of the Nazi death camp he helped liberate. Flatbush, to Bobby, is a world of brawls with neighborhood “punks,” Hebrew school tales of Adolf Eichmann’s daring capture, and grade school duck-and-cover drills. Drawn to images of mushroom clouds and books about executions, Bobby ultimately turns the seething hatred he senses everywhere against himself. From the bestselling author of Nowhere Man: The Final Days of John Lennon. Formerly published under the title Bobby in Naziland.
Joe Polacco has written a wonderful tribute to his mother, Vina, and in the process has learned about himself. This memoir is told with humor, and is a tale of extended family in Brooklyn headed by the author's mother, the kind and big-hearted Vina. It's all about the family, the neighborhood, and most of all about Vina. She is beautiful, selfless, a creative designer and knows how to laugh and make others laugh. She is a master of Italian cuisine, admired for her original recipes, which are willingly shared. What more could anyone want in a Mom? More to the point which of us would not want to claim Vina as Mom? And all the characters in the memoir willingly testify that they love Vina and claim her as their own. The author has a love of--and knack for—foreign language and dialects. In New York City, specifically Brooklyn, the whole world can be found in this one place. And you'll find Joe Polacco and Vina in this melting pot. But be careful not to melt down as you laugh through the pages while commemorating those who have passed before, and after, Vina.
In 2001, Truman Capote’s stylish homage to Brooklyn was brought back into print, but not until 2014— more than fifty years after they were taken—were the original photographs commissioned to illustrate the essay discovered by the late photographer’s son. Also found among the negatives were previously unknown portraits of Capote; none of the photos had ever been published. Now, with the publication of Brooklyn: A Personal Memoir, with the lost photographs of David Attie, the words and images are united for the first time. With an introduction by George Plimpton and afterword by Eli Attie.
"In 2001, The Little Bookroom published Truman Capote's long-out-of-print homage to Brooklyn, A House in the Heights. In 2014, more than fifty years after they were taken, the original photographs commissioned to illustrate the piece have been discovered by the photographer's son. Also found among the negatives were portraits of Capote taken on that same day; none of the photos have ever been published. Now, in a new edition with a new title, Brooklyn : A Personal Memoir, with the lost photographs of David Attie, the words and images will be united for the first time. The images of Brooklyn provide a stunning and atmospheric visual portrait of the city in 1959--its building, shops, street life, lost moments-- a Brooklyn at once strangely familiar yet largely vanished: horse-drawn wagons delivering produce to housewives, kids swimming in the East River and getting into mischief on the docks, dimly-lit bars, vintage signs, little girls jumping rope, bricklayers, barbers, neighborhood characters, all set against a backdrop of period architecture, that spectacular bridge, and the skyline of Manhattan. The essay itself brings to life the landscape that was for the author a world of grand homes and dimly recalled gentility, of mysterious warehouses and menacing street thugs, a garden overhung with wisteria, and the famous Promenade and waterfront--all rendered in his deft and stylish prose. Originally commissioned for Holiday magazine by John Knowles (later the author of A Separate Peace), the piece remained one of his favorites--especially its surprise ending. At the time, George Plimpton wrote that in the essay, Capote's 'love of history, gossip, character, and a skill at putting all this to words...brings Brooklyn Heights to life as vividly as any landscape Truman ever undertook to survey.' David Attie's photos enhance that landscape in a breathtaking way"--
The voices of Brooklyn: “I’m a Brooklyn guy, it’s in my bones and it’s there in Brooklyn. There’s a certain rhythm you get growing up there. Every Brooklyn kid has it. Always on the right beat. The Bronx, no; Queens, you were out of it; but Brooklyn, that was it.” —Mel Brooks, Williamsburg “Everyone got along because we had one major thing that held everyone in Brooklyn…together: the emergence of big-time sports that happened after World War I. You could be an Irishman, an Italian, and a Jew and you could all be in Ebbets Field, sitting together, rooting for the Dodgers.” —Pete Hamill, Park Slope “I never really saw anyplace in the world as a kid except Brooklyn, so to me Brooklyn was the world. Every avenue was another country. It was a rough place, to be sure. You could say the wrong thing, make the wrong turn and be rubbed or killed, and I guess I was lucky because I had a talent that enabled me to get out . . . A part of me will always be that kid shooting hoops, with a dream in my hand as much as a basketball.” —Stephon Marbury, Coney Island “Both my parents were hard, hands-on workers, and that was the foundation of everything for me. Their work ethic was just over the top, and as a result of that I worked hard no matter what level job I had in the media. I was that tough Brooklyn girl pushing my way to the front, which eventually became the top. I was never afraid of hard work; I was always a go-getter, and that was something that came directly out of being born in Brooklyn. I cherish that, as I cherish my entire upbringing in Brooklyn.” —Maria Bartiromo, Bay Ridge A captivating oral portrait of America's favorite borough, in the words of those who know Brooklyn best—Mel Brooks, Spike Lee, Arthur Miller, Joan Rivers, Norman Mailer, Cousin Brucie, Maria Bartiromo, Pete Hamill, and many other current and former inhabitants. Song of Brooklyn gathers the oral testimony of nearly one hundred Brooklynites past and present, famous and unknown, about a mythic borough that is also an indisputably real place. These witnesses speak eloquently of what it was like back then, when the Dodgers played in Ebbets Field; later, when the borough fell on hard times; and now, when it has come roaring back on the tracks of a real-estate boom, giving it celebrity chic and hipster cred. With this surprising and inspiring renaissance in full swing, the story of Brooklyn is one of the great and still ongoing chapters of the American urban experience, and Song of Brooklyn sings that tune in pitch-perfect key.
Reprint of the original, first published in 1881.
The Oxford History of the Novel in English is a twelve-volume series presenting a comprehensive, global, and up-to-date history of English-language prose fiction, written by a large, international team of scholars. The series is concerned with novels as a whole, not just the 'literary' novel, and each volume includes chapters on the processes of production, distribution, and reception, and on popular fiction and the fictional sub-genres, as well as outlining the work of major novelists, movements, and tendencies. This book offers an account of US fiction during a period demarcated by two traumatic moments: the eve of the entry of the United States into the Second World War and the onset of the Covid-19 pandemic. The aftermath of the Second World War was arguably the high point of US nationalism, but in the years that followed, US writers would increasingly explore the possibility that US democracy was a failure, both at home and abroad. For so many of the writers whose work this volume explores, the idea of "nation" became suspect as did the idea of "national literature" as the foundation for US writing. Looking at post-1940s writing, the literary historian might well chart a movement within literary cultures away from nationalism and toward what we would call "cosmopolitanism," a perspective that fosters conversations between the occupants of different cultural spaces and that regards difference as an opportunity to be embraced rather than a problem to be solved. During this period, the novel has had significant competition for the US public's attention from other forms of narrative and media: film, television, comic books, videogames, and the internet and the various forms of social media that it spawned. If, however, the novel becomes a "residual" form during this period, it is by no means archaic. The novel has been reinvigorated over the past eighty years by its encounters with both emergent forms (such as film, television, comic books, and digital media) and the emergent voices typically associated with multiculturalism in the United States.
Reprint of the original, first published in 1873.
“The journals are those of a girl I once knew – who had cancer and wrote about her experiences. She wanted to share her story, in a way that would have helped her: in a book about having cancer as a teen – written by a teen who experienced it. She wasn’t lost in battle, but she’s been gone a long time; and I haven’t been able to forget her, or let her go. The story seems unfamiliar, and yet I know it by heart. It feels like yesterday, but seems like a lifetime ago. It’s the story I never wrote – because it was already written; and at the heart of it is my journey with cancer: a muse, a curse, and a blessing. I’ve read the book before, but I never closed the first chapter: a book of journals – written by a girl who had cancer.” Cancer is a part of my story, and being a survivor is part of my identity, but it is not my entire identity as I felt it was when I was younger. At the end of my second treatment, I decided I was going to write my story and publish it. I even thought of the perfect title for my book: Two-Timed: An Adolescent Cancer Memoir. I thought of it because I felt two-timed by my own body, whose very defense system had attacked itself, and it had happened to me twice. But I didn’t write the story. The years went by, and I decided I could not very well write an “adolescent memoir” when I was well into my twenties, but I still had my journals – all the journals. Several more years elapsed until now – twenty three years after the journey began – I am finally “writing” the story.