On a shopping trip to the department store, Max's determination to get a dragon shirt leads him away from his distracted sister and into trouble.

Lone Star Rising, the first volume in Robert Dallek's biography of LBJ, was hailed as "a triumphant portrait of Lyndon Johnson as rich and oversized and complex as the nation that shaped him." Now, in the final volume, Dallek takes us through Johnson's tumultuous years in the White House, hisunprecedented accomplishments there, and the tragic war that would be his downfall. In these pages Johnson emerges as a character of almost Shakespearean dimensions, a man riddled with contradictions, a man of towering intensity and anguished insecurity, of grandiose ambition and grave self-doubt, a man who was brilliant, crude, intimidating, compassionate, overbearing,driven: "A tornado in pants." Drawing on hundreds of newly released tapes and extensive interviews with those closest to LBJ--including fresh insights from Ladybird and his press secretary Bill Moyers--Dallek takes us behind the scenes to give us a portrait of Johnson that is at once even-handedand completely engrossing. We see Johnson as the visionary leader who worked his will on Congress like no president before or since, enacting a range of crucial legislation, from Medicare, environmental protection, and the establishment of the National Endowment of the Arts and Humanities to themost significant advances in civil rights for black Americans ever achieved. And we see for the first time the depth of Johnson's private anguish as he became increasingly ensnared in Vietnam, a war he did not want to expand and which destroyed his hopes for The Great Society and a second term. Exhaustively researched and gracefully written, Flawed Giant reveals both the greatness and the tangled complexities of one of the most extravagant characters ever to step onto the presidential stage.

The man the Detroit Free Press calls "a blue collar Tom Wolfe" delivers a full-barreled blast of truth and gritty reality in Rivethead, a no-holds-barred journey through the belly of the American industrial beast.

If you're interested in Plato, you're reading the wrong book. If you're interested in difficult childhoods, sexual misadventures, aesthetics, cultural history, and the reasons that a club sandwich and other meals--including breakfast--have remained in the memory of the present writer, keep reading. --from Feelings Are Facts In this memoir, dancer, choreographer, and filmmaker Yvonne Rainer traces her personal and artistic coming of age. Feelings Are Facts(the title comes from a dictum by Rainer's one-time psychotherapist) uses diary entries, letters, program notes, excerpts from film scripts, snapshots, and film frame enlargements to present a vivid portrait of an extraordinary artist and woman in postwar America. Rainer tells of a California childhood in which she was farmed out by her parents to foster families and orphanages, of sexual and intellectual initiations in San Francisco and Berkeley, and of artistic discoveries and accomplishments in the New York City dance world. Rainer studied with Martha Graham (and heard Graham declare, "when you accept yourself as a woman, you will have turn-out"--that is, achieve proper ballet position) and Merce Cunningham in the late 1950s and early 1960s, cofounded the Judson Dance Theater in 1962 (dancing with Trisha Brown, Steve Paxton, David Gordon, and Lucinda Childs), hobnobbed with New York artists including Robert Rauschenberg, Robert Morris (her lover and partner for several years), and Yoko Ono, and became involved with feminist and anti-war causes in the 1970s and 1980s. Rainer writes about how she constructed her dances--including The Mind Is a Muscleand its famous section, Trio A, as well as the recent After Many a Summer Dies the Swan--and about turning from dance to film and back to dance. And she writes about meeting her longtime partner Martha Gever and discovering the pleasures of domestic life. The mosaic-like construction of Feelings Are Factsrecalls the composition-by-juxtaposition of Rainer's work in film and dance, displaying prismatic variations from what she calls her "reckless past" for our amazement and appreciation.

In June 1961, Nikita Khrushchev called Berlin "the most dangerous place on earth." He knew what he was talking about. Much has been written about the Cuban Missile Crisis a year later, but the Berlin Crisis of 1961 was more decisive in shaping the Cold War-and more perilous. It was in that hot summer that the Berlin Wall was constructed, which would divide the world for another twenty-eight years. Then two months later, and for the first time in history, American and Soviet fighting men and tanks stood arrayed against each other, only yards apart. One mistake, one nervous soldier, one overzealous commander-and the tripwire would be sprung for a war that could go nuclear in a heartbeat. On one side was a young, untested U.S. president still reeling from the Bay of Pigs disaster and a humiliating summit meeting that left him grasping for ways to respond. It would add up to be one of the worst first-year foreign policy performances of any modern president. On the other side, a Soviet premier hemmed in by the Chinese, East Germans, and hardliners in his own government. With an all-important Party Congress approaching, he knew Berlin meant the difference not only for the Kremlin's hold on its empire-but for his own hold on the Kremlin. Neither man really understood the other, both tried cynically to manipulate events. And so, week by week, they crept closer to the brink. Based on a wealth of new documents and interviews, filled with fresh-sometimes startling-insights, written with immediacy and drama, Berlin 1961 is an extraordinary look at key events of the twentieth century, with powerful applications to these early years of the twenty-first. Includes photographs