"The best book to have been written about the Vietnam War" (The New York Times Book Review); an instant classic straight from the front lines. From its terrifying opening pages to its final eloquent words, Dispatches makes us see, in unforgettable and unflinching detail, the chaos and fervor of the war and the surreal insanity of life in that singular combat zone. Michael Herr’s unsparing, unorthodox retellings of the day-to-day events in Vietnam take on the force of poetry, rendering clarity from one of the most incomprehensible and nightmarish events of our time. Dispatches is among the most blistering and compassionate accounts of war in our literature.

Named one of the Ten Best Books About Food of 2018 by Smithsonian magazine MAD Dispatches: Furthering Our Ideas About Food Good food is the common ground shared by all of us, and immigration is fundamental to good food. In eighteen thoughtful and engaging essays and stories, You and I Eat the Same explores the ways in which cooking and eating connect us across cultural and political borders, making the case that we should think about cuisine as a collective human effort in which we all benefit from the movement of people, ingredients, and ideas. An awful lot of attention is paid to the differences and distinctions between us, especially when it comes to food. But the truth is that food is that rare thing that connects all people, slipping past real and imaginary barriers to unify humanity through deliciousness. Don’t believe it? Read on to discover more about the subtle (and not so subtle) bonds created by the ways we eat. Everybody Wraps Meat in Flatbread: From tacos to dosas to pancakes, bundling meat in an edible wrapper is a global practice. Much Depends on How You Hold Your Fork: A visit with cultural historian Margaret Visser reveals that there are more similarities between cannibalism and haute cuisine than you might think. Fried Chicken Is Common Ground: We all share the pleasure of eating crunchy fried birds. Shouldn’t we share the implications as well? If It Does Well Here, It Belongs Here: Chef René Redzepi champions the culinary value of leaving your comfort zone. There Is No Such Thing as a Nonethnic Restaurant: Exploring the American fascination with “ethnic” restaurants (and whether a nonethnic cuisine even exists). Coffee Saves Lives: Arthur Karuletwa recounts the remarkable path he took from Rwanda to Seattle and back again.

"The Onion is laugh-out-loud, go-tell-your-friends, get-angry-you-didn't-think-of-it funny." -Conan O'Brien "Outside of maybe Dario Fo, an Italian who few are sure exists, the Onion people make the most consistently perfect and excoriating social commentary we currently have. But will those Nobel bastards honor them, too? Only God, our merciless and just God, knows." -Dave Eggers "The funniest publication in the United States." -The New Yorker "This publication is tasteless and destructive to our shared values. Read it for yourself and you'll see what I mean. Seriously, what else could make me laugh-much less laugh uproariously-while being offended week after week after week?" -Al Gore "The Onion is the funniest thing in news since Dan Rather's spooky stare." -Matt Groening "Brutal satire that rushes into the far reaches of race, class, sexuality, and culture where many publications-and critics-fear to tread." -Chicago Tribune "The Onion, unlike any other entity in our media culture, offers a refreshingly honest look at our complicated life." -Ken Burns

dispatches publishes in-depth analysis, on-the-ground reporting, and photography essays focused on one critical global topic per issue.

From the laboratory of neoliberalismpopularly known as 'globalization' Latin America has transformed itself into a launching pad for resistance. As globalization began to spread its devastation, robust and thoughtful opposition emerged in response in the recovered factory movement of Argentina, in the presidential elections of indigenous leaders and radicals like Chavez and Morales, against the privatization of water in Bolivia. Across Latin America, people have built social movements that are starting to take back control of their countries and their lives.In Dispatches from Latin America, 28 authors report on 11 different countries from Mexico to Argentina, together mapping the contemporary political and social terrain. Drawn from the pages of the well-respected NACLA Report, this collection offers us a riveting series of accounts that bring new insight into the region's struggles and victories.With shrewd analysis rendered in accessible language, Dispatches lays plain the complex and vitally important conditions unfolding in 21st-century Latin America.

“Attention reveals a fresh, vital literary voice as it covers seemingly every imaginable topic relating to modern life.”—Entertainment Weekly “Joshua Cohen may be America’s greatest living writer.”—The Washington Post NAMED ONE OF THE BEST BOOKS OF THE YEAR BY WIRED One of Granta’s Best of Young American Novelists, Joshua Cohen arrives with his first collection of nonfiction, the culmination of two decades of writing and thought about life in the digital age. In essays, memoir, criticism, diary entries, and letters—many appearing here for the first time—Cohen covers the full depth and breadth of modern life: politics, literature, art, music, travel, the media, and psychology, and subjects as diverse as Google, Donald Trump, Bernie Sanders, fictional animals, Gustav Mahler, Aretha Franklin, John Zorn, landscape photography, fake Caravaggios, Wikipedia, Gertrude Stein, Edward Snowden, Jonathan Franzen, Olympic women’s fencing, Atlantic City casinos, the closing of the Ringling Bros. circus, and Azerbaijan. Throughout ATTENTION, Cohen directs his sharp gaze at home and abroad, calling upon his extraordinary erudition and unrivaled ability to draw connections between seemingly unlike things to show us how to live without fear in a world overflowing with information. In each piece, he projects a quality of thought that is uniquely his, and a voice as witty, profound, and distinct as any in American letters. At this crucial juncture in history, ATTENTION is a guide for the perplexed—a handbook for anyone hoping to bring the wisdom of the past into the culture of the future. Praise for ATTENTION “Dazzling in its scope . . . If curiosity is a writer’s greatest innate gift, Joshua Cohen may be America’s greatest living writer.”—The Washington Post “Cause for celebration and close study . . . [Cohen] will hunt after neglected shards of the past, minor histories, and charge them with an immediacy in the present. . . . He is experimenting with the essay form much more, and more cleverly, than any major American writer today.”—The Wall Street Journal “In Attention, Joshua Cohen makes an eclectic argument for how to improve our lives. . . . [He] tackles a surprising range of subjects to underline distraction’s role in our fraught predicament and to argue that paying attention could help us get out of it. . . . When it comes to making sense of our times with verve and imagination, few authors are more rewarding.”—Financial Times

“Why are Kazakhstan and Montana the same place?” asks one chapter of Kate Brown’s surprising and unusual journey into the histories of places on the margins, overlooked or erased. It turns out that a ruined mining town in Kazakhstan and Butte, Montana—America’s largest environmental Superfund site—have much more in common than one would think thanks to similarities in climate, hucksterism, and the perseverance of their few hardy inhabitants. Taking readers to these and other unlikely locales, Dispatches from Dystopia delves into the very human and sometimes very fraught ways we come to understand a particular place, its people, and its history. In Dispatches from Dystopia, Brown wanders the Chernobyl Zone of Alienation, first on the Internet and then in person, to figure out which version—the real or the virtual—is the actual forgery. She also takes us to the basement of a hotel in Seattle to examine the personal possessions left in storage by Japanese-Americans on their way to internment camps in 1942. In Uman, Ukraine, we hide with Brown in a tree in order to witness the annual male-only Rosh Hashanah celebration of Hasidic Jews. In the Russian southern Urals, she speaks with the citizens of the small city of Kyshtym, where invisible radioactive pollutants have mysteriously blighted lives. Finally, Brown returns home to Elgin, Illinois, in the midwestern industrial rust belt to investigate the rise of “rustalgia” and the ways her formative experiences have inspired her obsession with modernist wastelands. Dispatches from Dystopia powerfully and movingly narrates the histories of locales that have been silenced, broken, or contaminated. In telling these previously unknown stories, Brown examines the making and unmaking of place, and the lives of the people who remain in the fragile landscapes that are left behind.

“A remarkably nuanced, empathetic, and well-crafted work of journalism, [The Inevitable] explores what might be called the right-to-die underground, a world of people who wonder why a medical system that can do so much to try to extend their lives can do so little to help them end those lives in a peaceful and painless way.”—Brooke Jarvis, The New Yorker More states and countries are passing right-to-die laws that allow the sick and suffering to end their lives at pre-planned moments, with the help of physicians. But even where these laws exist, they leave many people behind. The Inevitable moves beyond margins of the law to the people who are meticulously planning their final hours—far from medical offices, legislative chambers, hospital ethics committees, and polite conversation. It also shines a light on the people who help them: loved ones and, sometimes, clandestine groups on the Internet that together form the “euthanasia underground.” Katie Engelhart, a veteran journalist, focuses on six people representing different aspects of the right to die debate. Two are doctors: a California physician who runs a boutique assisted death clinic and has written more lethal prescriptions than anyone else in the U.S.; an Australian named Philip Nitschke who lost his medical license for teaching people how to end their lives painlessly and peacefully at “DIY Death” workshops. The other four chapters belong to people who said they wanted to die because they were suffering unbearably—of old age, chronic illness, dementia, and mental anguish—and saw suicide as their only option. Spanning North America, Europe, and Australia, The Inevitable offers a deeply reported and fearless look at a morally tangled subject. It introduces readers to ordinary people who are fighting to find dignity and authenticity in the final hours of their lives.

The official behind-the-scenes companion to The French Dispatch and the latest volume in the bestselling Wes Anderson Collection series The French Dispatch—the tenth feature film from writer-director Wes Anderson—is a love letter to journalists set at the titular American newspaper in the fictional 20th-century French city of Ennui-sur-Blasé. The film stars a number of Anderson's frequent collaborators, including Bill Murray as the newspaper's editor in chief; Owen Wilson, Tilda Swinton, and Frances McDormand, as well as new players Jeffrey Wright, Benicio del Toro, Elisabeth Moss, and Timothée Chalamet, who bring to life a collection of stories published in The French Dispatch magazine. In this latest one-volume entry in The Wes Anderson Collection series—the only book to take readers behind the scenes of The French Dispatch—everything that goes into bringing Anderson's trademark style, meticulous compositions, and exacting production design to the screen is revealed in detail. Written by film and television critic and New York Times bestselling author Matt Zoller Seitz, The Wes Anderson Collection: The French Dispatch presents the complete story behind the film’s conception, anecdotes about the making of the film, and behind-the-scenes photos, production materials, and artwork.

"Wound Building is a volume of essays, with digressions, on one group of contemporary poets active in a self-organizing political poetry scene in the UK, most of whom have little to no audience outside of the little magazines that they publish and the reading series they put on. The book is a front-line report on the rapid development of this poetry in the period between 2015 and 2020, with a particular focus on the relationship of poetry to violence and its representation ... Ultimately, Hayward argues that the lessons this poetry teaches is never to write a "worthy" narrative when a fucked up collage will do. Rather than a cohesive "account" of a "school" of poets, or a "contribution" to the boring tittle-tattle of aesthetic debates over British poetry as an institution, Wound Building is a front-line report on the local disasters of a contemporary UK poetry caught in the grip of the historical cataclysm of capitalist culture. Wound Building is further concerned with aesthetic problems related to Marxism, anarchism, contemporary trans politics, and class, though its "theoretical" preoccupations are subordinated to its desire to provide a ground-level view on the writing itself, its production, its intellectual aporia, and the ways it finds itself outstripped by the ongoing "march of events" ... "--From publisher's description.