Wry Martinis

A NEW YORK TIMES NOTABLE BOOK OF THE YEAR • “One of the best and surest political humorists in America.”—Los Angeles Times In the most inebriating humor book of the year, the author of Steaming to Bamboola and The White House Mess goes straight for the funny bone with essays and mischief that includes such gems of gullibility as the pope's appearance on Oprah, O.J. Simpson's search for a new apartment, the true story behind Whitewater, and so much more. “Funny and devastating.”—Entertainment Weekly “Clever, erudite, sophisticated, funny and flip. Buckley shows that his antennae are ever alert to the absurdities in our world.”—Cleveland Plain Dealer

The public face of Washington-the gridiron of L'Enfant's avenues, the buttoned-down demeanor Sloan Wilson's archetypal "Man in the Grey Flannel Suit," the monumental buildings of the Triangle-rarely gives up the secrets of this city's rich life. But, beneath the surface there are countless stories to be told. From the early swamp days to the Civil War, the "gilded age" to the New Deal and McCarthy eras, as the center of world power to its underlying multicultural social fabric, Washington is a writer's town. While this is surprising to some, it is not news to the close observer. Alan Cheuse, in his foreword to Literary Washington, D.C. comments: "Part of this peculiar city's sense of place is that it serves as a capital for people who have no permanent sense of place. . . . War has brought us here, peace has brought us here, love has kept us here, and love or loss of love will give some of us reason to leave again. Which makes Washington, D.C. exactly like most other places in the rest of the country and the rest of the world-only more so." In fact, D.C. has been a magnet for great writers for centuries. Including novelists, poets, journalists, essayists, and politicians and patriots, finally, in Literary Washington D.C., the story of the capital of world power is finally told.

Pressured by a patron who would buy a cardinalship, a sixteenth-century relic hunter and his best friend unsuccessfully forge a shroud before being placed in the custody of mercenaries to steal the celebrated Shroud of Chambéry.

In many ways, the history of domestic humor writing is also a history of domestic life in the twentieth century. For many years, domestic humor was written primarily by females; significant contributions from male writers began as times and family structures changed. It remains timeless because of its basis on the relationships between husbands and wives, parents and children, houses and inhabitants, pets and their owners, chores and their doers, and neighbors. This work is a historical and literary survey of humorists who wrote about home. It begins with a chapter on the social context of and attitudes toward traditional domestic roles and housewives. The following chapters, beginning with the 1920s and continuing through today, cover the different time periods and the foremost American domestic humorists, and the humor written by surrogate parents, grown children about their childhood families, husbands, and Canadian and English writers. Also covered are the differences among various writers toward traditional domestic roles--some, like Erma Bombeck and Judith Viorst, embraced them, while others, like Caryl Kristenson and Marilyn Kentz, resisted them. Common themes, such as the isolation and competitiveness of housework, home as an idealized metaphysical goal and ongoing physical challenge, and the urban, suburban, and rural life, are also explored.

Elizabeth D. Samet and her students learned to romanticize the army "from the stories of their fathers and from the movies." For Samet, it was the old World War II movies she used to watch on TV, while her students grew up on Braveheart and Saving Private Ryan. Unlike their teacher, however, these students, cadets at the United States Military Academy at West Point, have decided to turn make-believe into real life. West Point is a world away from Yale, where Samet attended graduate school and where nothing sufficiently prepared her for teaching literature to young men and women who were training to fight a war. Intimate and poignant, Soldier's Heart chronicles the various tensions inherent in that life as well as the ways in which war has transformed Samet's relationship to literature. Fighting in Iraq, Samet's former students share what books and movies mean to them—the poetry of Wallace Stevens, the fiction of Virginia Woolf and J. M. Coetzee, the epics of Homer, or the films of James Cagney. Their letters in turn prompt Samet to wonder exactly what she owes to cadets in the classroom. Samet arrived at West Point before September 11, 2001, and has seen the academy change dramatically. In Soldier's Heart, she reads this transformation through her own experiences and those of her students. Forcefully examining what it means to be a civilian teaching literature at a military academy, Samet also considers the role of women in the army, the dangerous tides of religious and political zeal roiling the country, the uses of the call to patriotism, and the cult of sacrifice she believes is currently paralyzing national debate. Ultimately, Samet offers an honest and original reflection on the relationship between art and life.

Published in 1981, The Great American Writers Cookbook was a treasure trove of recipes submitted by the country's most celebrated authors. This all-new collection, a fine follow-up for a new era, features recipes that range from peanut butter sandwiches to eggplant caviar, with dishes—and anecdotes—offered by writers of every imaginable stripe, ethnicity, region, and culture in America. Contemporary novelists such as National Book Award winners Jonathan Franzen and the late, great Bernard Malamud share space with columnists Dave Barry, P. J. O'Rourke, and Christopher Buckley, with journalists and novelists Andrei Codrescu, Anna Quindlen, and John Berendt, and with poet and novelist Sandra Cisneros. The interspersing of recipes from older and younger generations reveals cookery as creatively diverse as the writings from David Guterson, T. C. Boyle, Elizabeth McCracken, and former First Lady Barbara Bush. This unusually tangy assortment of more than 150 recipes runs the gamut from tofu to heart-clogging chili. Writers play fast and loose with ingredients and forewarn readers planning to try them that some of the most seductive recipes are loaded with cholesterol. With such temptations as “Thighs of Delight,” “Crevettes Désir,” a “sexy spaghetti sauce,” and a lemon icebox pie that allegedly elicits proposals of marriage, the recipes—and stories revealing their origins—is enticing, bizarre, and promisingly tasty. The collection gives particular emphasis to contemporary southern writers—Padgett Powell, Jack Butler, Larry Brown, Ellen Gilchrist, and Josephine Humphreys, among others, although their recipes are often far from being quintessentially “southern.” Scintillating with writerly antics and witty histories as transfixing as the recipes themselves, The New Great American Writers Cookbook is not just for daring cooks. It's also a collector’s item for food-doting lovers of American literature.

In an attempt to gain Congressional approval for a top secret weapons system, Washington lobbyist "Bird" McIntyre and sexy Neo-Con wonkette Angel Templeton start a rumour that the Chinese secret service is trying to assassinate the Dalai Lama. Their outrageous scheme provokes a series of crises involving the White House, the CIA, and a strangely sympathetic and vulnerable Chinese president, with both countries veering perilously towards war. Buckley has drawn his most convincing and outrageous characters to date: Bird, failed novelist of amusingly awful Clancy-esque thrillers; Angel, combination Anne Coulter and Ayn Rand; Bird's demanding, equestrian wife, Myndi; Bewks, his feckless but endearing Civil War re-enactor brother; the mild-mannered Chinese President Fa and his devoted aide Gang, manoeuvring desperately against sinister Politburo hard-liners Minister Lo and General Han. Blending the skewering genius of Thank You For Smoking with Dr. Strangelove's dark comedy, They Eat Puppies Don't They? has something to offend -- and amuse -- everyone. Praise for Christopher Buckely: "One of the funniest writers in the English language." Tom Wolfe. "A Benchley with WordPerfect." John Updike. "An effervescent joy." Joseph Heller.

"From the earliest records of human civilization until the dawn of the twentieth century, and in widely separated cultures throughout the world, the story of honor was inseparable from the story of mankind. Today, an acquaintance with the concept of honor is indispensable to understanding the culture of the Islamic world and its sense of grievance against the West, where honor has been disregarded or actively despised for three-quarters of a century." "James Bowman draws from an wealth of sources across many centuries to illuminate honor's curious history in our own culture, and he discovers that Western honor was always different from that found elsewhere. Its idiosyncratic qualities derived partly from the classical tradition but mainly from the Judeo-Christian heritage, whose emphases on individual morality and, more recently, on sincerity and authenticity in private and personal life have acted as continual challenges to the traditional notion of honor as it is still maintained in other parts of the world. These challenges to honor and the accommodations with it that they ultimately produced are a fundamental theme in our own culture's distinctive history; and the eventual collapse of the honor culture in the West is the background against which the War on Terror and the Clash of Civilizations ought to be seen."--Jacket.