2012 has been a very jittery year — what with the presidential election, extreme weather events and the looming "fiscal cliff." In response to these tense times, some readers seek out escape; others look to literature that directly confronts the atmospheric uncertainty of the age. I guess I'm in the latter camp, because many of my favorite books this year told stories, imagined and real, about ordinary people who felt like they didn't have a clue what hit 'em.
Ke$ha uses a dollar-sign instead of an "s" in the middle of her stage name. It's one of those gestures that's meant to bait her detractors — suggesting before anyone else does that she's only in it for the money. It turns out, though, that like pop stars ranging from Madonna on back to Chuck Berry, Ke$ha wants it both ways: mass-audience success and artistic acknowledgment. For Ke$ha, that's what her album title Warrior means: She's fighting a war on multiple fronts.
By the time he turned 40, Joseph Kennedy was a millionaire many times over and the head of what would soon become one of America's greatest political dynasties. In his new biography of the senior Kennedy, The Patriarch: The Remarkable Life and Turbulent Times of Joseph P. Kennedy, David Nasaw charts Kennedy's life and trajectory from Boston society boy to Hollywood bigwig to controversial ambassador to Great Britain as World War II unfolded on the European stage.
In the latest issue of The New Yorker, journalist Raffi Khatchadourian writes about a secret chemical weapons testing program run by the U.S. Army during the Cold War.
Throughout the 1950s and '60s, at the now-crumbling Edgewood Arsenal by the Chesapeake Bay in Maryland, military doctors tested the effects of nerve gas, LSD and other drugs on 5,000 U.S. soldiers to gauge the effects on their brain and behavior.
On a new box set from mail-order house Mosaic Records, Charles Mingus, The Jazz Workshop Concerts 1964-65, the jazz legend's bands usually number between five and eight players. The bassist often made those bands sound bigger. He'd been using midsize ensembles since the '50s, but his new ones were more flexible than ever, light on their feet but able to fill in backgrounds like a large group.