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The book contains almost fifty stories whose topics are drawn from world history, local history and family history. They cover the author's travel adventures and those of his family members. He writes about the local impact of big events such as World War II and of smaller things like a graduation ceremony or a drive-in movie. Big-city life and rural America each have stories included. Articles on sporting events are scattered throughout the book and include players and games ranging from local high school basketball through professional baseball.
Tuesday night: vodka and dancing at the Hungry Duck. Wednesday morning: posing as an expert on Pushkin at the university. Thursday night: more vodka and girl-chasing at Propaganda. Friday morning: a hungover tour of Gorky's house. Martin came to Moscow at the turn of the millennium hoping to discover the country of Dostoyevsky, Tolstoy, and his beloved Chekhov. Instead he found a city turned on its head, where the grimmest vestiges of Soviet life exist side by side with the nonstop hedonism of the newly rich. Along with his hard-living expat friends, Martin spends less and less time on his studies, choosing to learn about the Mysterious Russian Soul from the city's unhinged nightlife scene. But as Martin's research becomes a quest for existential meaning, love affairs and literature lead to the same hard-won lessons. Russians know: There is more to life than happiness. Back to Moscow is an enthralling story of debauchery, discovery, and the Russian classics. In prose recalling the neurotic openheartedness of Ben Lerner and the whiskey-sour satire of Bret Easton Ellis, Guillermo Erades has crafted an unforgettable coming-of-age story and a complex portrait of a radically changing city.
America's most talented storytellers share their most courageous, compelling, unputdownable work in a collection made for story lovers. Praised early on by Billy Lynn's Long Halftime Walk author Ben Fountain and The Weight of Blood author Laura McHugh, COOLEST AMERICAN STORIES is a new annual short story anthology whose guiding philosophy is that a collection of interesting "full meal" short stories could, as one @JustCoolStories Twitter follower put it, "make America cool again." Toward this end, COOLEST AMERICAN STORIES 2022 features a previously unpublished story by the multi-major-book-award-winning author of Blacktop Wasteland S. A. Cosby; the timeless, previously unpublished short story that led Tina Brown to sign Frances Park's When My Sister Was Cleopatra Moon; and Pulitzer Prize finalist Lee Martin's heartfelt rendering of married life that apparently was too startling for the editors of several university-affiliated literary magazines. And since interesting storytelling―rather than a list of publishing credits―matters most to story-hungry readers, COOLEST AMERICAN STORIES 2022 also includes a page-turner about dating in Hollywood written by MFA student Megan Ritchie; Brooklyn native D.Z. Stone's very first published fiction, a hilarious love story that celebrates the power of women; a heartbreaking account of adult siblinghood authored by David Ebenbach―among others in this treasure trove of unputdownable, sharply written, sometimes comic, sometimes frightening, always suspenseful stories loaded with twists and turns. "Coolest American Stories 2022 is a helluva lot of fun. These stories bump and brim with rambunctious energy and show that the American short story is alive and well. Many thanks to Mark Wish and Elizabeth Coffey for this breath―or let's call it a gale―of fresh literary air." --Ben Fountain, winner of the PEN/Hemingway Award and the National Book Critics’ Circle Award, author of Billy Lynn’s Long Halftime Walk "Extraordinarily rich storytelling from fresh, vibrant voices―Coolest American Stories promises to be an annual force." --Laura McHugh, internationally bestselling author of The Weight of Blood and What’s Done in Darkness "Love short stories? This collection is for you. Not yet sure how to feel about short stories? This collection is definitely for you. Whoever you are, wherever you are: read these stories!" --Lori Ostlund, Flannery O’Connor Award winner and author of After the Parade and The Bigness of the World
“Nothing short of a masterpiece.” —NPR Books A New York Times Bestseller and a Washington Post Notable Book of the Year In the most ambitious one-volume American history in decades, award-winning historian Jill Lepore offers a magisterial account of the origins and rise of a divided nation. Widely hailed for its “sweeping, sobering account of the American past” (New York Times Book Review), Jill Lepore’s one-volume history of America places truth itself—a devotion to facts, proof, and evidence—at the center of the nation’s history. The American experiment rests on three ideas—“these truths,” Jefferson called them—political equality, natural rights, and the sovereignty of the people. But has the nation, and democracy itself, delivered on that promise? These Truths tells this uniquely American story, beginning in 1492, asking whether the course of events over more than five centuries has proven the nation’s truths, or belied them. To answer that question, Lepore wrestles with the state of American politics, the legacy of slavery, the persistence of inequality, and the nature of technological change. “A nation born in contradiction… will fight, forever, over the meaning of its history,” Lepore writes, but engaging in that struggle by studying the past is part of the work of citizenship. With These Truths, Lepore has produced a book that will shape our view of American history for decades to come.
Feminist essays for the #MeToo era from “the voice of the resistance,” the international bestselling author of Men Explain Things to Me (The New York Times Magazine). Who gets to shape the narrative of our times? The current moment is a battle royale over that foundational power, one in which women, people of color, non-straight people are telling other versions, and white people and men and particularly white men are trying to hang onto the old versions and their own centrality. In Whose Story Is This? Rebecca Solnit appraises what’s emerging and why it matters and what the obstacles are. Praise for Rebecca Solnit and her essays “Rebecca Solnit is essential feminist reading.” —The New Republic “In these times of political turbulence and an increasingly rabid and scrofulous commentariat, the sanity, wisdom and clarity of Rebecca Solnit’s writing is a forceful corrective. Whose Story Is This? is a scorchingly intelligent collection about the struggle to control narratives in the internet age.” —The Guardian “Solnit’s passionate, shrewd, and hopeful critiques are a road map for positive change.” —Kirkus Reviews “Solnit’s exquisite essays move between the political and the personal, the intellectual and the earthy.” —Elle “Rebecca Solnit reasserts herself here as one of the most astute cultural critics in progressive discourse.” —Publishers Weekly “No writer has better understood the mix of fear and possibility, peril and exuberance that’s marked this new millennium.” —Bill McKibben, founder of 350.org
Humphrey Bogart said of Confidential: “Everybody reads it but they say the cook brought it into the house” . . . Tom Wolfe called it “the most scandalous scandal magazine in the history of the world” . . . Time defined it as “a cheesecake of innuendo, detraction, and plain smut . . . dig up one sensational ‘fact,’ embroider it for 1,500 to 2,000 words. If the subject thinks of suing, he may quickly realize that the fact is true, even if the embroidery is not.” Here is the never-before-told tale of Confidential magazine, America’s first tabloid, which forever changed our notion of privacy, our image of ourselves, and the practice of journalism in America. The magazine came out every two months, was printed on pulp paper, and cost a quarter. Its pages were filled with racy stories, sex scandals, and political exposés. It offered advice about the dangers of cigarettes and advocated various medical remedies. Its circulation, at the height of its popularity, was three million. It was first published in 1952 and took the country by storm. Readers loved its lurid red-and-yellow covers; its sensational stories filled with innuendo and titillating details; its articles that went far beyond most movie magazines, like Photoplay and Modern Screen, and told the real stories such trade publications as Variety and the Hollywood Reporter couldn’t, since they, and the movie magazines, were financially dependent on—or controlled by—the Hollywood studios. In Confidential’s pages, homespun America was revealed as it really was: our most sacrosanct movie stars and heroes were exposed as wife beaters (Bing Crosby), homosexuals (Rock Hudson and Liberace), neglectful mothers (Rita Hayworth), sex obsessives (June Allyson, the cutie with the page boy and Peter Pan collar), mistresses of the rich and dangerous (Kim Novak, lover of Ramfis Trujillo, playboy son of the Dominican Republic dictator). Confidential’s alliterative headlines told of tawny temptresses (black women passing for white), pinko partisans (liberals), lisping lads (homosexuals) . . . and promised its readers what the newspapers wouldn’t reveal: “The Real Reason for Marilyn Monroe’s Divorce” . . . How “James Dean Knew He Had a Date with Death” . . . The magazine’s style, success, and methods ultimately gave birth to the National Enquirer, Star, People, E!, Access Hollywood, and TMZ . . . We see the two men at the magazine’s center: its founder and owner, Robert Harrison, a Lithuanian Jew from New York’s Lower East Side who wrote for The New York Graphic and published a string of girlie magazines, including Titter, Wink, and Flirt (Bogart called the magazine’s founder and owner the King of Leer) . . . and Confidential ’s most important editor: Howard Rushmore, small-town boy from a Wyoming homestead; passionate ideologue; former member of the Communist Party who wrote for the Daily Worker, renounced his party affiliation, and became a virulent Red-hunter; close pal of FBI director J. Edgar Hoover and expert witness before the House Committee on Un-American Activities, naming the names of actors and writers Rushmore claimed had been Communists and fellow travelers. Henry Scott writes the story of two men, who out of their radically different pasts and conflicting obsessions, combined to make the magazine the perfect confluence of explosive ingredients that reflected the America of its time, as the country struggled to reconcile Hollywood’s blissful fantasy of American life with the daunting nightmare of the nuclear age . . .
Finalist for the 2022 Los Angeles Times Book Prize in Fiction Longlisted for the 2022 Story Prize A New York Times Editors' Choice pick One of Literary Hub's Most Anticipated Books of 2021 Stories that capture our times by “a young author who has already established himself as a unique American voice” (Elle). Saïd Sayrafiezadeh has been hailed by Philip Gourevitch as "a masterful storyteller working from deep in the American grain." His new collection of stories—some of which have appeared in The New Yorker, the Paris Review, and the Best American Short Stories—is set in a contemporary America full of the kind of emotionally bruised characters familiar to readers of Denis Johnson and George Saunders. These are people contending with internal struggles—a son’s fractured relationship with his father, the death of a mother, the loss of a job, drug addiction—even as they are battered by larger, often invisible, economic, political, and racial forces of American society. Searing, intimate, often slyly funny, and always marked by a deep imaginative sympathy, American Estrangement is a testament to our addled times. It will cement Sayrafiezadeh’s reputation as one of the essential twenty-first-century American writers.
This volume offers a survey of American short fiction in 59 tales that combine classic works with 'different, unexpected gems', which invite readers to explore a wealth of important pieces by women and minority writers. Authors include: Amy Tan, Alice Adams, David Leavitt and Tim O'Brien.
Upon receiving his execution date, one of the thousands of men living on death row in the United States had an epiphany: “All there ever is, is this moment. You, me, all of us, right here, right now, this minute, that's love.” Right Here, Right Now collects the powerful, first-person stories of dozens of men on death rows across the country. From childhood experiences living with poverty, hunger, and violence to mental illness and police misconduct to coming to terms with their executions, these men outline their struggle to maintain their connection to society and sustain the humanity that incarceration and its daily insults attempt to extinguish. By offering their hopes, dreams, aspirations, fears, failures, and wounds, the men challenge us to reconsider whether our current justice system offers actual justice or simply perpetuates the social injustices that obscure our shared humanity.
They also consider the artists' responses to foreign prototypes, travel and training, changing exhibition venues, and audience expectations. The persistence of certain themes--childhood, marriage, the family, and the community; the attainment and reinforcement of citizenship; attitudes toward race; the frontier as reality and myth; and the process and meaning of making art--underscores evolving styles and standards of storytelling. Divided into four chronological sections, the book begins with the years surrounding the American Revolution and the birth of the new republic, when painters such as Copley, Peale, and Samuel F. B. Morse incorporated stories within the expressive bounds of portraiture. During the Jacksonian and pre-Civil War decades from about 1830 to 1860, Mount, Bingham, Lilly Martin Spencer, and others painted genre scenes featuring lighthearted narratives that growing audiences for art could easily read and understand.