The year 1968 is symbolic in Italy of a decade of struggles by students, women, workers, intellectuals, and technicians. This work documents the intricate web of individual and communal experiences in the political movements of the 1960s. Passerini alternates chapters based on her diaries with interviews of other participants.

John Hazlett's engaging study of writers from the 1960s demonstrates the ways in which the idea of the generation has affected autobiographical writing in this century. Autobiographers from the sixties claim to speak on behalf of all members of their generation. However, each writer presents a unique political and personal agenda.

Members of the Lost Generation, American writers and artists who lived in Paris during the 1920s, continue to occupy an important place in our literary history. Rebelling against increased commercialism and the ebb of cosmopolitan society in early twentieth-century America, they rejected the culture of what Ernest Hemingway called a place of “broad lawns and narrow minds.” Much of what we know about these iconic literary figures comes from their own published letters and essays, revealing how adroitly they developed their own reputations by controlling the reception of their work. Surprisingly the literary world has paid less attention to their autobiographies. In Writing the Lost Generation, Craig Monk unlocks a series of neglected texts while reinvigorating our reading of more familiar ones. Well-known autobiographies by Malcolm Cowley, Ernest Hemingway, and Gertrude Stein are joined here by works from a variety of lesser-known—but still important—expatriate American writers, including Sylvia Beach, Alfred Kreymborg, Samuel Putnam, and Harold Stearns. By bringing together the self-reflective works of the Lost Generation and probing the ways the writers portrayed themselves, Monk provides an exciting and comprehensive overview of modernist expatriates from the United States.

Noel Riley Fitch has written a perfect book, full to the brim with literary history, correct and whole-hearted both in statement and in implication. She makes me feel and remember a good many things that happened before and after my time. I'm glad to have lived long enough to read it. --Glenway Wescott

"Like many 18-year-olds who sign up to serve with the U.S. Navy, Petersen was looking for adventure when he enlisted. The difference between him and the average kid of 1950, when he enlisted, was that Petersen was African American. At the time military opportunities were limited for blacks, so it was remarkable that Petersen, revealed here as an intense go-getter, was admitted to the highly competitive naval aviation cadet program. He would go on to become the first African American pilot, then flag officer, then three-star general in the deeply conservative Marine Corps. Assisted by veteran biographer Phelps, Petersen relates his personal and career trajectory from wide-eyed kid to seasoned combatant. Although the presentation at times is overly detailed, with recollections of Petersen's acquaintances sprinkled liberally throughout. This work offers valuable insight into the evolution of both the military and the society at large through the experience of one man and his family. It's hard not to wince when Petersen describes being stopped for impersonating a military officer at a time when blacks in the service were presumed to be enlisted men. Other anecdotes are more benign, such as the time a puzzled young Korean woman tried to wipe the color from his face. To Petersen's credit, he includes much commentary from his first wife, Ellie, who is candid about the toll of being married to an ambitious pioneer. Through her, readers see the mettle of that rare breed of social groundbreakers." — Publishers Weekly

Act One is the autobiography of Moss Hart, an American playwright and theatre director. Born into impoverished circumstances—his father was often unemployed—Hart left school at age twelve for a series of odd jobs that included being an entertainment director at a Catskills summer resort. Hart’s big break came in 1930 with the Broadway hit Once in a Lifetime, written with George Kaufman. The two would collaborate again on You Can’t Take It With You (1936) and The Man Who Came To Dinner (1939). You Can’t Take It With You won the Pulitzer Prize for drama in 1937, and the 1938 film version, directed by Frank Capra, won Oscars for both Best Picture and Best Director. Act One was adapted for a 1963 film starring George Hamilton, and for a 2014 stage production starring Tony Shalhoub and Andrea Martin. HarperTorch brings great works of non-fiction and the dramatic arts to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperTorch collection to build your digital library.

"I'm not alone. I am part of a generation of fragmented Jews. We're in a kind of limbo. We're suspended between young adulthood and middle age, between Judaism and atheism, between a desire to believe in religion and a personal history of skepticism. Call us a bunch of searchers. Call us post-Holocaust Jews. Call us Generation J." Generation J is the ambivalent generation: unaffiliated seekers, men and women who have grown up questioning the bounds of organized religion. Lisa Schiffman is one of these seekers, and Generation J chronicles her journey through the contradictory landscape of Jewish identity. Moving from the personal to the universal, from autobiography to anthropology, from laughter to tears, Schiffman shows us the many ways in which one can be religious. Whether dipping into a ritual bath, getting henna-tattooed with the Star of David, unravelling the mysteries of the kabbalah, or confronting what Jewish tradition has to say about gay marriage, Schiffman reveals the conflicts of meaning and connection common to all who try to chart their own spiritual path. And, through it all, with humor and sensitivity, she confronts the reasons for her own quest and begins to untangle some of the thorniest questions about identity, community, and religion in America today. This engaging exploration of what it means to be Jewish is every bit as much a fascinating tour of the varieties of contemporary Jewish practice as it is an unusual personal quest. Smart, funny, and provocative, Schiffman brilliantly explores the problems and possibilities facing any spiritual seeker today.

The Autobiography of Jean-Luc Picard tells the story of one of the most celebrated names in Starfleet history. His extraordinary life and career makes for dramatic reading: court martials, unrequited love, his capture and torture at the hand of the Cardassians, his assimilation with the Borg and countless other encounters as captain of the celebrated Starship Enterprise.

Eloise Greenfield‘Three [African-American] women—grandmother, mother, daughter—recall significant aspects of their respective childhoods [from the 1800s through the 1950s]. The effect is poignant and moving [as familiar patterns develop]: household chores, school life and socials, encounters with prejudice, love of family, pride of heritage.’ —H. Notable 1979 Children’s Trade Books in Social Studies (NCSS/CBC) 1980 Carter G. Woodson Outstanding Merit Book (NCSS) 1979 Children's Book Show (American Institute of Graphic Arts) Children's Books of 1979 (Library of Congress)