David Remnick è affascinato da quei personaggi ossessionati dall'idea di fare la storia di questa era e offre ai lettori imprevedibili sguardi della loro sfera intima, come quando ritrae Al Gore all'indomani della sua sconfitta alle elezioni presidenziali o Tony Blair nel pieno della crisi irachena. Remnick ritorna inoltre a due aree geopolitiche che ben conosce: Israele (con un'analisi accurata di Hamas e dello scenario politico dopo la morte di Arafat) e la Russia postcomunista (con un ritratto della figura di Vladimir Putin). Ma anche alcuni tra i maggiori scrittori della letteratura degli ultimi anni non sfuggono al suo sguardo acuto: Philip Roth, Don De Lillo, Amos Oz per non parlare di una sua vecchia passione, il pugilato, che già l'aveva fatto conoscere anche dal pubblico italiano. Il Mike Tyson da lui disegnato è un cammeo di rara bellezza. Una raccolta dei reportage e dei ritratti più memorabili del direttore del 'The New Yorker'. Ciò che li contraddistingue è la capacità di andare oltre l'immagine pubblica dei protagonisti che modellano la nostra contemporaneità, restituendo la sfera intima delle loro emozioni.

The book that Janet Maslin of The New York Times has called 'indispensable' and 'a transfixing study of American mores and manners that happens to incorporate boundless laughs, too' is finally available in paperback—fully updated and featuring a brand new introduction by Adam Gopnik.

Organized by decade, with commentary by some of the magazine's finest writers, this landmark collection showcases the work of the hundreds of talented artists who have contributed cartoons over the course ofThe New Yorker's eight-two-year history. From the early cartoons of Peter Arno, George Price and Charles Addams to the cutting-edge work of Alex Gregory, Matthew Diffee and Bruce Eric Kaplan (with stops along the way for the genius of Charles Barsotti, Roz Chast, Jack Ziegler, George Booth, and many others), the art collected here forms, as David Remnick puts it in his Foreword, 'the longest-running popular comic genre in American life.'

Throughout the book, brief overviews of each era's predominant themes—from the Depression and nudity to technology and the Internet, highlight various genres of cartoons and shed light on our pastimes and preoccupations. Brief profiles and mini-portfolios spotlight the work of key cartoonists, including Arno, Chast, Ziegler, and others.

The DVD-ROM included with the book is what really makes the 'Complete Cartoons' complete. Compatible with most home computers and easily browsable, the disk contains a mind-boggling 70,363 cartoons, indexed in a variety of ways. Perhaps you'd like to find all the cartoons by your favorite artist. Or maybe you'd like to look up the cartoons that ran the week you were born, or all of the cartoons on a particular subject. Of course, you can always begin at the beginning, February 21, 1925, and experience the unprecedented pleasure of reading through every single cartoon ever published in The New Yorker.

Enjoy this one-of-a-kind protrait of American life over the past eight decades, as captured by the talented pens and singular outlooks of the masters of the cartoonist's art.

The restaurants of the Latin Quarter and the city rooms of midtown Manhattan the beachhead of Normandy and the boxing gyms of Times Square the trackside haunts of bookmakers and the shadowy redoubts of Southern politicians--these are the places that A.J.Liebling shows to us in his unforgettable New Yorker articles, brought together here so that a new generation of readers might discover Liebling as if for the first time. Born a hundred years ago, Abbott Joseph 'Joe' Liebling was the first of the great New Yorker writers, a colorful and tireless figure who helped set the magazine's urbane style. Today, he is best known as a celebrant of the 'sweet science' of boxing or as a 'feeder' who ravishes the reader with his descriptions of food and wine. But as David Remnick, a Liebling devotee, suggests in his fond and insightful introduction, Liebling was a writer bounded only by his intelligence, taste, and ardor for life. Like his nemesis William Randolph Hearst, he changed the rules of modern journalism, banishing the distinctions between reporting and storytelling, between news and art. Whatever his role, Liebling is a most companionable figure, and to read the pieces in this grand and generous book is to be swept along on a thrilling adventure in a world of confidence men, rogues, press barons and political cronies, with an inimitable writer as one's guide.

Through brilliant portraits of real persons who created the myths and realities of the 1930s, the Pulitzer Prize-winning journalist Murray Kempton brings that turbulent decade to life. Himself a child of the time, Kempton examines with the insight and imagination of a novelist the men and women who embraced, grappled with, and in many cases were destroyed by the myth of revolution. What he calls the 'ruins and monuments of the Thirties' include Paul Robeson, Alger Hiss, and Whittaker Chambers, the Hollywood Ten, the rebel women Elizabeth Bentley and Mary Heaton Vorse, and the labor leaders Walter Reuther and Joe Curran.

More than a book, this is a bona fide publishing event. The largest-ever collection of New Yorker cartoons features the best of every decade in book form, plus two easy-to-browse CDs--Windows and Macintosh compatible--with every cartoon ever published in the magazine--more than 68,000 of them!

Since its founding in the 1920s, The New Yorker has had a profound cultural impact on the country and the world, and has almost singlehandedly elevated the cartoon to an art form. For the first time ever, EVERY cartoon ever published in The New Yorker is collected in one place.

Accompanying the cartoons in the book, several thousand of them organized chronologically, are essays by eminent New Yorker writers reflecting on the life and times (and sense of humor) of each successive decade. Additionally, each decade includes profiles and mini-portfolios of the cartoonists who made their marks on the era, from Peter Arno and Charles Addams to Bruce Eric Kaplan and Roz Chast. 'Theme' features cover such subjects as Drinking, The Depression, and Politics.

The two accompanying CDs feature every cartoon ever published in the magazine in a format that is accessible on any home computer and is browsable by date, cartoonist, subject, and more. This groundbreaking book, several years in the making, has been lovingly compiled by current New Yorker cartoon editor (and respected cartoonist and author) Robert Mankoff, and the foreword is by David Remnick, the magazine's esteemed editor.

When Harold Ross founded The New Yorker in 1925, he called it a “comic weekly.” And although it has become much more than that, it has remained true in its irreverent heart to the founder's description, publishing the most illustrious literary humorists in the modern era—among them Robert Benchley, Dorothy Parker, Groucho Marx, James Thurber, S. J. Perelman, Mike Nichols, Woody Allen, Calvin Trillin, Garrison Keillor, Ian Frazier, Roy Blount, Jr., Steve Martin, and Christopher Buckley. Fierce Pajamas is a treasury of laughter from the magazine W. H. Auden called the “best comic magazine in existence.”

New York City is not only The New Yorker's place of origin and its sensibility's lifeblood; it is the heart of American literary culture. Wonderful Town collects superb short fiction by many of the magazine's and this country's most accomplished writers. Like all good fiction, these stories take particular places, particular people, and particular events and turn them into dramas of universal enlightenment and emotional impact. Here New York is every great place and every ordinary place. Each life in it, and each life in Wonderful Town, is the life of us all.

One of art's purest challenges is to translate a human being into words. The New Yorker has met this challenge more successfully and more originally than any other modern American journal. It has indelibly shaped the genre known as the Profile. Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail Baryshnikov and Richard Pryor, this collection of New Yorker Profiles presents readers with a portrait gallery of some of the most prominent figures of the twentieth century. These Profiles are literary-journalistic investigations into character and accomplishment, motive and madness, beauty and ugliness, and are unrivalled in their range, their variety of style, and their embrace of humanity.

'Succeeds more than any previous book in bringing Ali into focus . . . as a starburst of energy, ego and ability whose like will never be seen again.' —The Wall Street Journal

'Best Nonfiction Book of the Year' —Time

'Penetrating . . . reveal[s] details that even close followers of [Ali] might not have known. . . . An amazing story.' —The New York Times

On the night in 1964 that Muhammad Ali (then known as Cassius Clay) stepped into the ring with Sonny Liston, he was widely regarded as an irritating freak who danced and talked way too much. Six rounds later Ali was not only the new world heavyweight boxing champion: He was 'a new kind of black man' who would shortly transform America's racial politics, its popular culture, and its notions of heroism.
        
No one has captured Ali--and the era that he exhilarated and sometimes infuriated--with greater vibrancy, drama, and astuteness than David Remnick, the Pulitzer Prize-winning author of Lenin's Tomb (and editor of The New Yorker). In charting Ali's rise from the gyms of Louisville, Kentucky, to his epochal fights against Liston and Floyd Patterson, Remnick creates a canvas of unparalleled richness. He gives us empathetic portraits of wisecracking sportswriters and bone-breaking mobsters; of the baleful Liston and the haunted Patterson; of an audacious Norman Mailer and an enigmatic Malcolm X. Most of all, King of the World does justice to the speed, grace, courage, humor, and ebullience of one of the greatest athletes and irresistibly dynamic personalities of our time.

'Nearly pulse-pounding narrative power . . . an important account of a period in American social history.' —Chicago Tribune

'A pleasure . . . haunting . . . so vivid that one can imagine Ali saying, 'How'd you get inside my head, boy?'' —Wilfrid Sheed, Time

Esistevano già delle figure mitiche nello sport americano (come per esempio Joe Di Maggio), ma quando irruppe sulla scena Cassius Clay, proveniente dalla natia Louisville negli anni Cinquanta, nulla fu come prima: cambiò il mondo della boxe e dello sport in generale, ma per certi versi influenzò anche il mondo intero. In questo libro l'autore traccia non solo il profilo di un pugile e di un uomo, ma anche delle grandi speranze degli anni Sessanta, attravero le figure chiave dell'epoca.

In the tradition of John Reed's classic Ten Days That Shook the World, this bestselling account of the collapse of the Soviet Union combines the global vision of the best historical scholarship with the immediacy of eyewitness journalism. "A moving illumination . . . Remnick is the witness for us all."--Wall Street Journal.