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Dispatches from the Gilded Age is a collection of essays by Julia Reed, one of America's greatest chroniclers. In the middle of the night on March 11, 1980, the phone rang in Julia Reed’s Georgetown dorm. It was her boss at Newsweek, where she was an intern. He told her to get in her car and drive to her alma mater, the Madeira School. Her former headmistress, Jean Harris, had just shot Dr. Herman Tarnower, The Scarsdale Diet Doctor. Julia didn’t flinch. She dressed, drove to Madeira, got the story, and her first byline and the new American Gilded Age was off and running. The end of the twentieth century and the beginning of the twenty-first was a time in which the high and the low bubbled furiously together and Julia was there with her sharp eye, keen wit, and uproariously clear-eyed way of seeing the world to chronicle this truly spectacular era. Dispatches from the Gilded Age is Julia at her best as she profiles Andre Leon Talley, Sister Helen Prejean, President George and Laura Bush, Madeleine Albright, and others. Readers will travel to Africa and Cuba with Julia, dine at Le Bernardin, savor steaks at Doe’s Eat Place, consider the fashions of the day, get the recipes for her hot cheese olives and end up with the ride of their lives through Julia’s beloved South. With a foreword by Roy Blount, Jr. and edited by Julia's longtime assistant, Everett Bexley.
“I’ll take my share of the blame. I only ask that he take his.” In Bringing Down the Colonel, the journalist Patricia Miller tells the story of Madeline Pollard, an unlikely nineteenth-century women’s rights crusader. After an affair with a prominent politician left her “ruined,” Pollard brought the man—and the hypocrisy of America’s control of women’s sexuality—to trial. And, surprisingly, she won. Pollard and the married Colonel Breckinridge began their decade-long affair when she was just a teenager. After the death of his wife, Breckinridge asked for Pollard’s hand—and then broke off the engagement to marry another woman. But Pollard struck back, suing Breckinridge for breach of promise in a shockingly public trial. With premarital sex considered irredeemably ruinous for a woman, Pollard was asserting the unthinkable: that the sexual morality of men and women should be judged equally. Nearly 125 years after the Breckinridge-Pollard scandal, America is still obsessed with women’s sexual morality. And in the age of Donald Trump and Harvey Weinstein, we’ve witnessed fraught public reckonings with a type of sexual exploitation unnervingly similar to that experienced by Pollard. Using newspaper articles, personal journals, previously unpublished autobiographies, and letters, Bringing Down the Colonel tells the story of one of the earliest women to publicly fight back.
In her new book, But Mama Always Put Vodka in Her Sangria!, Julia Reed, a master of the art of eating, drinking, and making merry, takes the reader on culinary adventures in places as far flung as Kabul, Afghanistan and as close to home as her native Mississippi Delta and Florida's Gulf Coast. Along the way, Reed discovers the perfect Pimm's Royale at the Paris Ritz, devours delicious chuletons in Madrid, and picks up tips from accomplished hostesses ranging from Pat Buckley to Pearl Bailey and, of course, her own mother. Reed writes about the bounty—and the burden—of a Southern garden in high summer, tosses salads in the English countryside, and shares C.Z. Guest's recipe for an especially zingy bullshot. She understands the necessity of a potent holiday punch and serves it up by the silver bowl full, but she is not immune to the slightly less refined charms of a blender full of frozen peach daiquiris or a garbage can full of Yucca Flats. And then there are the parties: shindigs ranging from sultry summer suppers and raucous dinners at home to a Plymouth-like Thanksgiving feast and an upscale St. Patrick's Day celebration. This delightful collection of essays by Julia Reed, a master storyteller with an inimitable voice and a limitless capacity for fun, will show you how to entertain guests with style, have a good time yourself and always have that perfect pitcher of sangria ready at a moment's notice.
“Reed recounts with humor [post Katrina] home-improvement nightmares in a story that is part ‘Money Pitt’ and part love letter to her adopted home town.” —Washington Post, Front Page Feature After fifteen years of living like a vagabond on her reporter's schedule, Julia Reed got married and bought a house in the historic Garden District of New Orleans. Four weeks after she moved in, Hurricane Katrina struck. Rich with sumptuous details and with the author's trademark humor, The House on First Street is the chronicle of a remarkable and often hilarious homecoming, as well as a thoroughly original tribute to our country's most original city. “What emerges from a heartrending, soul-stirring, rib-tickling and palate-prickling banquet of details is why Ms. Reed cannot leave New Orleans: love. It’s an undeceived devotion to a place and particularity that is admirable, and almost astonishing, in our increasingly deracinated culture.” —Wall Street Journal “Reed shares this sliver of her life with a light, conversational tone, and though somewhat tangential, she conveys the richness of pace and flavor of the Big Easy as life gets back to ‘normal’ without pretense.” —Christian Science Monitor “Reed is a breezy writer who nicely captures the despair and elation of seeing the city slowly come back to life.” —Chicago Sun-Times “With her usual keen eye for the quirky and outrageous, Reed finds much to amuse the reader in this delightful volume.” —Cokie Roberts, ABC and NPR News, author of Ladies of Liberty “With great literary panache and a throaty humor, Julia Reed captures the magical allure of the city, its food and its people . . . destined to be a classic.” —Walter Issacson, bestselling author of Einstein and Elon Musk
A collection of essays written for the column "The high & the low" in the magazine Garden & gun.
"Suppose that everything we think we know about the Victorians is wrong." So begins Inventing the Victorians by Matthew Sweet, a compact and mind-bending whirlwind tour through the soul of the nineteenth century, and a round debunking of our assumptions about it. The Victorians have been victims of the "the enormous condescension of posterity," in the historian E. P. Thompson's phrase. Locked in the drawing room, theirs was an age when, supposedly, existence was stultifying, dank, and over-furnished, and when behavior conformed so rigorously to proprieties that the repressed results put Freud into business. We think we have the Victorians pegged--as self-righteous, imperialist, racist, materialist, hypocritical and, worst of all, earnest. Oh how wrong we are, argues Matthew Sweet in this highly entertaining, provocative, and illuminating look at our great, and great-great, grandparents. One hundred years after Queen Victoria's death, Sweet forces us to think again about her century, entombed in our minds by Dickens, the Elephant Man, Sweeney Todd, and by images of unfettered capitalism and grinding poverty. Sweet believes not only that we're wrong about the Victorians but profoundly indebted to them. In ways we have been slow to acknowledge, their age and our own remain closely intertwined. The Victorians invented the theme park, the shopping mall, the movies, the penny arcade, the roller coaster, the crime novel, and the sensational newspaper story. Sweet also argues that our twenty-first century smugness about how far we have evolved is misplaced. The Victorians were less racist than we are, less religious, less violent, and less intolerant. Far from being an outcast, Oscar Wilde was a fairly typical Victorian man; the love that dared not speak its name was declared itself fairly openly. In 1868 the first international cricket match was played between an English team and an Australian team composed entirely of aborigines. The Victorians loved sensation, novelty, scandal, weekend getaways, and the latest conveniences (by 1869, there were image-capable telegraphs; in 1873 a store had a machine that dispensed milk to after-hours' shoppers). Does all this sound familiar? As Sweet proves in this fascinating, eye-opening book, the reflection we find in the mirror of the nineteenth century is our own. We inhabit buildings built by the Victorians; some of us use their sewer system and ride on the railways they built. We dismiss them because they are the age against whom we have defined our own. In brilliant style, Inventing the Victorians shows how much we have been missing.
A humorist and honest look at a life in public service. For most of us, librarians are the quiet people behind the desk, who, apart from the occasional "shush," vanish into the background. But in Quiet, Please, McSweeney's contributor Scott Douglas puts the quirky caretakers of our literature front and center. With a keen eye for the absurd and a Kesey-esque cast of characters (witness the librarian who is sure Thomas Pynchon is Julia Roberts's latest flame), Douglas takes us where few readers have gone before. Punctuated by his own highly subjective research into library history-from Andrew Carnegie's Gilded Age to today's Afghanistan-Douglas gives us a surprising (and sometimes hilarious) look at the lives which make up the social institution that is his library. This 10th Anniversary Edition includes nearly 100 pages of added content (including a new forward and afterward).
An unflinching look at the most urgent humanitarian crises around the globe, from one of the world’s most daring philosopher-reporters “Call[s] on people not just to see the world, but to be moved and interested by what they find there, and to do something about it.”—Anne Applebaum, The Atlantic “Fierce and elegant, Lévy’s musings will be of profound interest to any reader of modern continental philosophy.”—Kirkus Reviews, starred review Over the past fifty years, renowned public intellectual Bernard-Henri Lévy has reported extensively on human rights abuses around the world. This new book follows the intrepid Lévy into eight international hotspots—in Nigeria; Syrian and Iraqi Kurdistan; Ukraine; Somalia; Bangladesh; Lesbos, Greece; Libya; and Afghanistan—that have escaped global attention or active response. In a deeply personal introduction, Lévy recounts the intellectual journey that led him to advocacy, arguing that a truly humanist philosophy must necessarily lead to action in defense of the most vulnerable. In the second section, he reports on the eight investigative trips he undertook just before or during the coronavirus pandemic, from the massacred Christian villages in Nigeria to a dangerously fragile Afghanistan on the eve of the Taliban talks, from an anti-Semitic ambush in Libya to the overrun refugee camp on the island of Lesbos. Part manifesto, part missives from the field, this new book is a stirring rebuke to indifference and an exhortation to level our gaze at those most hidden from us.
In classic Dixie storytelling fashion, with a rare blend of literary elegance and plainspoken humor, the inimitably charming, staunchly Southern Julia Reed wends her way below the Mason-Dixon line and observes many phenomena– from politics, religion, and women to weather, guns, and what she calls “drinking and other Southern pursuits.” To hear Reed tell it, the South is another country. She builds an entertaining and persuasive case, using as examples everything from its unfathomable codes of conduct to its disciplined fashion sense. And then there is Southern food, which is an entire world apart: Gumbo, grits, greens, and, of course, fried chicken make memorable appearances in Reed’s essays, which will amuse, delight, and even explain a thing or two to baffled Yankees everywhere.
Examines Victorian homes, shows and describes their halls, drawing rooms, dining rooms, libraries, music rooms, guest rooms, and parlors