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An investigation into the transformation of publishing in the United States from a field in which Jews were systematically excluded to one in which they became ubiquitous “From the very first page, this book is funnier and more gripping than a book on publishing has any right to be. Anyone interested in America’s intellectual or Jewish history must read this, and anyone looking for an engrossing story should.”—Emily Tamkin, author of Bad Jews In the 1960s and 1970s, complaints about a “Jewish literary mafia” were everywhere. Although a conspiracy of Jews colluding to control publishing in the United States never actually existed, such accusations reflected a genuine transformation from an industry notorious for excluding Jews to one in which they arguably had become the most influential figures. Josh Lambert examines the dynamics between Jewish editors and Jewish writers; how Jewish women exposed the misogyny they faced from publishers; and how children of literary parents have struggled with and benefited from their inheritances. Drawing on interviews and tens of thousands of pages of letters and manuscripts, The Literary Mafia offers striking new discoveries about celebrated figures such as Lionel Trilling and Gordon Lish, and neglected fiction by writers including Ivan Gold, Ann Birstein, and Trudy Gertler. In the end, we learn how the success of one minority group has lessons for all who would like to see American literature become more equitable.
"In this powerful and brutally honest book, Keene exposes the secrets of the séance room, including ghostly apparitions, floating trumpets, 'spirit sex, ' and other tricks used by mediums to exploit believers."--Cover.
An investigation into the transformation of publishing in the United States from a field in which Jews were systematically excluded to one in which they became ubiquitous "Readers with an interest in the industry will find plenty of insights."--Publishers Weekly "From the very first page, this book is funnier and more gripping than a book on publishing has any right to be. Anyone interested in America's intellectual or Jewish history must read this, and anyone looking for an engrossing story should."--Emily Tamkin, author of Bad Jews In the 1960s and 1970s, complaints about a "Jewish literary mafia" were everywhere. Although a conspiracy of Jews colluding to control publishing in the United States never actually existed, such accusations reflected a genuine transformation from an industry notorious for excluding Jews to one in which they arguably had become the most influential figures. Josh Lambert examines the dynamics between Jewish editors and Jewish writers; how Jewish women exposed the misogyny they faced from publishers; and how children of literary parents have struggled with and benefited from their inheritances. Drawing on interviews and tens of thousands of pages of letters and manuscripts, The Literary Mafia offers striking new discoveries about celebrated figures such as Lionel Trilling and Gordon Lish, and neglected fiction by writers including Ivan Gold, Ann Birstein, and Trudy Gertler. In the end, we learn how the success of one minority group has lessons for all who would like to see American literature become more equitable.
Gangsterismo is an extraordinary accomplishment, the most comprehensive history yet of the clash of epic forces over several decades in Cuba. It is a chronicle that touches upon deep and ongoing themes in the history of the Americas, and more specifically of the United States government, Cuba before and after the revolution, and the criminal networks known as the Mafia. The result of 18 years’ research at national archives and presidential libraries in Kansas, Maryland, Texas, and Massachusetts, here is the story of the making and unmaking of a gangster state in Cuba. In the early 1930s, mobster Meyer Lansky sowed the seeds of gangsterismo when he won Cuban strongman Fulgencio Batista’s support for a mutually beneficial arrangement: the North American Mafia were to share the profits from a future colony of casinos, hotels, and nightclubs with Batista, his inner circle, and senior Cuban Army and police officers. In return, Cuban authorities allowed the Mafia to operate its establishments without interference. Over the next twenty-five years, a gangster state took root in Cuba as Batista, other corrupt Cuban politicians, and senior Cuban army and police officers got rich. All was going swimmingly until a handful of revolutionaries upended the neat arrangement: and the CIA, Cuban counterrevolutionaries, and the Mafia joined forces to attempt the overthrow of Castro. Gangsterismo is unique in the literature on Cuba, and establishes for the first time the integral, extensive role of mobsters in the Cuban exile movement. The narrative unfolds against a broader historical backdrop of which it was a part: the confrontation between the United States and the Cuban revolution, which turned Cuba into one of the most perilous battlegrounds of the Cold War. ……………………………… “The anti-communist hysteria generated by the Cold War frequently unhinged the policy judgments of US government officials in many areas, but nowhere so completely as in our relations with Cuba. This conclusion is inescapable as Gangsterismo brilliantly unravels the bizarre tale of the Mafia army the Kennedy brothers recruited in their manic determination to rid Cuba of Castro, that vexing, seemingly indomitable Communist.” —Martin J. Sherwin, co-winner of the Pulitzer Prize (together with Kai Bird) for American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer “What is shocking is not what is new, but how much that is old – already on the record in presidential and other archives, CIA and FBI files, memoirs and histories – in Jack Colhoun’s Gangsterismo. Drawing on the National Security Archives, papers and books, public and private, he damningly documents the pathetic, incompetent and sometimes comic, but always inappropriate and anti-democratic, attempts by the CIA and/or its confederates, working in tandem with members of the mob, to assassinate Castro and overthrow the Cuban revolution.” —Victor S. Navasky, publisher emeritus, The Nation; professor, Columbia University Graduate School of Journalism “Gangsterismo is an invaluable addition to our background knowledge about that small island nation that has incurred so much devotion and ire from U.S. Americans. Books about Cuba abound, but this one lays bare an often forgotten pre-revolutionary history of U.S.-based organized crime, and subsequent hidden U.S. government covert action. Colhoun has done his homework. This is a must-read.” —Margaret Randall, author of To Change the World: My Years in Cuba “Few aspects of Cuba-U.S. relations have so doggedly resisted serious inquiry as the subject of organized crime in Cuba. Much of what we know has reached us by way of popular culture, principally through film and fiction, to which the subject of the underworld in the tropics so aptly lends itself. Colhoun represents a breakthrough: serious scholarship on a serious subject. He casts light upon one of the darkest recesses of a dark history, calling attention to the convergence of interests between the underworld of criminal activity and nether world of covert operations – and reveals in the process that film and fiction have actually only scratched the surface of a sordid story.” —Louis A. Pérez, Jr.editor, Cuba Journal; professor of history, University of North Carolina at Chapel Hill
Pickering-Iazzi uses an array of cultural documents from 1990 to the present to examine the myths, values, codes of behaviour, and relationships produced by the Italian mafia through a wide cross-disciplinary lens.
The first book in the classic vigilante action series from a “writer who spawned a genre” (The New York Times). Overseas, Mack Bolan was dubbed “Sgt. Mercy” for the compassion he showed the innocent. On the home front, they’re calling him the Executioner for what he’s doing to the guilty. In the jungles of Southeast Asia, American sniper Mack Bolan honed his skills. After twelve years, with ninety-five confirmed hits, he returns home to Massachusetts. But it’s not to reunite with his family, it’s to bury them—victims in a mass murder/suicide. Even though Bolan’s own father pulled the trigger, he knows the old man was no killer. He was driven to madness by Mafia thugs who have turned his idyllic hometown into a new kind of war zone. Duty calls . . . Introducing an action hero “who would make Jack Reacher think twice,” this is the first book in the iconic series of vigilante justice that has become a publishing phenomenon (Empireonline.com). With more than two hundred million Executioner books sold since its debut, the series continues to stimulate. Gerry Conway, cocreator of Marvel Comics’ The Punisher, credits the Executioner as “my inspiration . . . that’s what gave me the idea for the lone, slightly psychotic avenger.” The series is also now in development as a major motion picture. War Against the Mafia is the 1st book in the Executioner series, but you may enjoy reading the series in any order.
You can be called a Bad Jew—by the community or even yourself—if you don’t keep kosher, don’t send your children to Hebrew school, or enjoy Christmas music; if your partner isn’t Jewish, or you don’t call your mother enough. But today, amid fears of rising antisemitism, what makes a Good or Bad Jew is a particularly fraught question. There is no answer, argues Emily Tamkin. Several million now identify as American Jews; but they don’t all identify with one another. American Jewish history, like all Jewish history, has been about transformation—and full of discussions, debates and hand-wringing over who is Jewish, how to be Jewish, and what it means to be Jewish. Bad Jews is a rich, absorbing reflection on 100 years of American Jewish identities and arguments. Tamkin’s fascinating, diverse interviews explore the complex story of American Jewishness, and its evolving, conflicting positions, from assimilation, race, and social justice; to politics, Zionism, and Israel. She pinpoints the one truth about Jewish identity: It’s always changing.
Sexual anti-Semitism and pornotopia: Theodore Dreiser, Ludwig Lewisohn, and the Harrad experiment -- The prestige of dirty words and pictures: Horace Liveright, Henry Roth, and the graphic novel -- Otherfuckers and motherfuckers: reproduction and allegory in Philip Roth and Adele Wiseman -- Seductive modesty: censorship vs. Yiddish and Orthodox tsnies -- Conclusion: Dirty Jews and the Christian right: Larry David and FCC v. Fox.
Based on real events, The Devil Himself is a high-energy novel of military espionage and Mafia justice. "I'll talk to anybody, a priest, a bank manager, a gangster, the devil himself, if I can get the information I need. This is a war." -- Lt. Commander Charles Radcliffe Haffenden, Naval Intelligence Unit, B-3 In late 1982, a spike in terrorism has the Reagan Administration considering covert action to neutralize the menace before it reaches the United States. There are big risks to waging a secret war against America's enemies---but there is one little-known precedent. Forty years earlier, German U-boats had been prowling the Atlantic, sinking hundreds of U.S. ships along the east coast, including the largest cruise ship in the world, Normandie, destroyed at a Manhattan pier after Pearl Harbor. Nazi agents even landed on Long Island with explosives and maps of railways, bridges, and defense plants. Desperate to secure the coast, the Navy turned to Meyer Lansky, the Jewish Mob boss. A newly naturalized American whose fellow Eastern European Jews were being annihilated by Hitler, Lansky headed an unlikely fellowship of mobsters Lucky Luciano, Bugsy Siegel, Frank Costello, and naval intelligence officers. Young Reagan White House aide Jonah Eastman, grandson of Atlantic City gangster Mickey Price, is approached by the president's top advisor with an assignment: Discreetly interview his grandfather's old friend Lansky about his wartime activities. There just might be something to learn from that secret operation. The notoriously tight-lipped gangster, dying of cancer, is finally ready to talk. Jonah gets a riveting---and darkly comic---history lesson. The Mob caught Nazi agents, planted propaganda with the help of columnist Walter Winchell, and found Mafia spies to plot the invasion of Sicily, where General Patton was poised to strike at the soft underbelly of the Axis. Lansky's men stopped at nothing to sabotage Hitler's push toward American shores.
Twelve-year-old private detective Nelle is swept up in a world of candy smuggling in this illustrated, middle grade mystery-comedy from World Fantasy Award-winner Lavie Tidhar. In a city where candy is outlawed, Nelle Faulkner is a preteen private detective working from her mother's garden shed. When Eddie de Menthe, a notorious kid-gangster from a criminal candy ring, asks for help finding a lost teddy bear, Nelle Faulkner is on the case. But one sinister turn of events leads to another and Eddie himself goes missing! Nelle and her friends quickly find themselves navigating a shady underworld of sweets smugglers, back alley-deals, and storefront firebombs. If Nelle has any hope of tracking down her missing client, she'll first have to unmask the true faces behind the smuggling operation. Is this the easy case Nelle thought it would be, or has she unknowingly put herself and everyone around her in inescapable danger? Daniel Duncan's comical illustrations add a smooth layer of fun to Lavie Tidhar's tongue-in-cheek narrative. Hand this fun detective adventure to fans of Bugsy Malone and Charlie and the Chocolate Factory.