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How many people can count among their closest friends Ethel Merman (the Queen of Broadway), Mother Teresa (beatified by the Vatican in October, 2003), Lee Lehman, (wife of Robert Lehman, head of Lehman Brothers), Pierre Cardin (legendary couturier and major show-business force in Europe), and many others? Well, Tony Cointreau, a scion of the French liqueur family, can. After a successful international singing career, and several years on the Cointreau board of directors, he felt a need for something more meaningful in his life. His voice had taken him to the stage, and his heart took him to Calcutta. Tony’s childhood experiences with an emotionally remote mother, an angry bullying brother, a cold and unprotective Swiss nurse, and a sexually predatory schoolteacher left him convinced that the only way to be loved is to be perfect. This led him on a lifelong quest for love and for a mother figure. His first “other mother” was the internationally acclaimed beauty Lee Lehman. Then, after Tony met the iconic Broadway diva Ethel Merman, she became his mentor and second “other mother.” His memoir describes in detail his intimate family relationships with both women, as well as his years of work and friendship with Mother Teresa, his last “other mother.” Tony’s memoir voices his opinion that he had no special gifts or talents to bring to Mother Teresa’s work and that if he could do it, then anyone could do it. In the end, all that really matters is a willingness to share even a small part of oneself with others.
Tony Cointreau, the heir of the French liqueur family and international singing star, search for a life of meaning took him to Calcutta and work with Mother Teresa. Mr. Cointreau wrote A Gift of Love because people kept asking him to do so, telling him that there was a great need for it. Perhaps it was their parents who were dying, or another family member, or a close friend, and they needed to know what they could do for their loved ones in those last weeks, days, or hours. They knew that he had worked with Mother Teresa as a volunteer in her homes for the dying, and had twelve years' experience in what they were facing perhaps for the first time, and asked me to pass on some of my knowledge.
Broken Machines is a gritty mystery in the tradition of Robert Parker and Elmore Leonard. James Joseph Donovan stares out his own window, watching as the rain soaks Manhattan and puts a damper on his thirty-ninth birthday. J.J. Donovan is a private consultant - an expert people turn to when they've run out of options. Before the day is out, Janet Fein, a social worker friend, will ask Donovan to help a little boy named Clifford Brice. Clifford's mother Ruby - a prostitute and a heroin addict - has been brutally murdered. The police have a suspect in custody, but Janet and Clifford don't think it's the right man. The police don't seem to care. Janet wants Donovan and his eccentric partner, Doctor Boris Koulomzin, to find out the truth. Neither man can abandon the bright young boy. As they are formulating a plan, there is a second murder... and an attempt on Clifford himself. Donovan finds himself going undercover at a dank manufacturing plant in Brooklyn, where the rats, the criminals, and the immigrant laborers all struggle to make ends meet. It is a place where the people, like the machines, are broken. In this place, there is little room for repair or redemption, but Donovan pushes on. In the process, he and Boris expose a fraud, catch a murderer, and manage to blow up the better part of a city block.
Set in a time-bending, seriocomically imagined world between Heaven and Hell, The Last Days of Judas Iscariot is a philosophical meditation on the conflict between divine mercy and human free will that takes a close look at the eternal damnation of the Bible's most notorious sinner.--[book cover].
One of The New Yorker's favorite nonfiction book of 2019 | A New York Times Book Review Editors' Choice Named one of Vogue's "17 Books We Can't Wait to Read This Fall" "Compulsively readable . . . ravenously consuming . . . manna from heaven . . . If ever someone knew how to put a genuinely irresistible book together, it's Jacobs in Still Here." —Jeff Simon, The Buffalo News Still Here is the first full telling of Elaine Stritch’s life. Rollicking but intimate, it tracks one of Broadway’s great personalities from her upbringing in Detroit during the Great Depression to her fateful move to New York City, where she studied alongside Marlon Brando, Bea Arthur, and Harry Belafonte. We accompany Elaine through her jagged rise to fame, to Hollywood and London, and across her later years, when she enjoyed a stunning renaissance, punctuated by a turn on the popular television show 30 Rock. We explore the influential—and often fraught—collaborations she developed with Noël Coward, Tennessee Williams, and above all Stephen Sondheim, as well as her courageous yet flawed attempts to control a serious drinking problem. And we see the entertainer triumphing over personal turmoil with the development of her Tony Award–winning one-woman show, Elaine Stritch at Liberty, which established her as an emblem of spiky independence and Manhattan life for an entirely new generation of admirers. In Still Here, Alexandra Jacobs conveys the full force of Stritch’s sardonic wit and brassy charm while acknowledging her many dark complexities. Following years of meticulous research and interviews, this is a portrait of a powerful, vulnerable, honest, and humorous figure who continues to reverberate in the public consciousness.
I wrote A Gift of Love because people kept asking me to do so, telling me that there was a great need for it. Perhaps it was their parents who were dying, or another family member, or a close friend, and they needed to know what they could do for their loved ones in those last weeks, days, or hours. They knew that I had worked with Mother Teresa as a volunteer in her homes for the dying, and had twelve years’ experience in what they were facing perhaps for the first time, and asked me to pass on some of my knowledge. In 1979, when I saw a magazine photograph of one of Mother Teresa’s volunteers carrying a dying man in his arms, I knew in an instant that I had to become a part of this work. It was certainly not a religious calling, but a simple calling to give something of myself to others. I felt that if I could comfort one dying person, my life would have had purpose. It took me ten years to enter the world that I had only seen a glimpse of in that magazine article. When I did, it was during the worst of the AIDS crisis in the United States, in a hospice called “Gift of Love” in New York City, which had been opened by Mother Teresa in 1985. It had room for fifteen dying men, most of them from a world I had never known?a world of drugs, poverty, and crime, a far cry from the privileged life of châteaus in Europe that I had been brought up in, and later on, the world of show business in which I had been able to fulfill some of my greatest dreams. In the years to come, these men, who were dying of AIDS and had never been given much of a chance in life, taught me not only about the many ways to help others die in an atmosphere of peace and love, but also how to enjoy the richness of living our lives fully until the very end. Whenever Mother Teresa asked me to sing for her on her little terrace in Calcutta, I never said “No.” And when I asked her to help me write about caring for loved ones in their last days, she also never said “No.” What a blessing—thank you, Mother! If I can reach just one person who is flailing around in panic and fear while trying to help a loved one at the end of their life, my journey will have been worthwhile.
The Star: The public saw her as a gifted child star: the youngest actor to win an Oscar for her role as Helen Keller in The Miracle Worker and the youngest actor to have a prime-time television series bearing her own name. The Nightmare: What the public did not see was Anna Marie Duke, a young girl whose life changed forever at age seven when tyrannical mangers stripped her of nearly all that was familiar, beginning with her name. She was deprived of family and friends. Her every word was programmed, her every action monitored and criticized. She was fed liquor and prescription drugs, taught to lie to get work, and relentlessly drilled to win roles. The Legend: Out of this nightmare emerged Patty Duke, a show business legend still searching for the child, Anna. She won three Emmy Awards and divorced three husbands. A starring role in Valley of the Dolls nearly ruined her career. She was notorious for wild spending sprees, turbulent liaisons, and an uncontrollable temper. Until a long hidden illness was diagnosed, and her amazing recovery recovery began. The Triumph: Call Me Anna is an American success story that grew out of a bizarre and desperate struggle for survival. A harrowing, ultimately triumphant story told by Patty Duke herself—wife, mother, political activist, President of the Screen Actors Guild, and at last, a happy, fulfilled woman whose miracle is her own life.
Though often thought of as primarily a male vehicle, the film noir offered some of the most complex female roles of any movies of the 1940s and 1950s. Stars such as Barbara Stanwyck, Gene Tierney and Joan Crawford produced some of their finest performances in noir movies, while such lesser known actresses as Peggie Castle, Hope Emerson and Helen Walker made a lasting impression with their roles in the genre. These six women and 43 others who were most frequently featured in films noirs are profiled here, focusing primarily on their work in the genre and its impact on their careers. A filmography of all noir appearances is provided for each actress.