For the past twenty-five years, no one has been better atrevealing secrets than Oprah Winfrey. On what is arguably the mostinflu?ential show in television history, she has gotten herguests—often the biggest celebrities in the world—to bare theirlove lives, explore their painful pasts, admit theirtransgressions, reveal their pleasures, and explore their demons.In turn, Oprah has repeatedly allowed her audience to share in herown life story, opening up about the sexual abuse in her past anddiscussing her romantic relationships, her weight problems, herspiritual beliefs, her charitable donations, and her strongly heldviews on the state of the world. After a quarter of a century of the Oprah-ization of America, canthere be any more secrets left to reveal? Yes. Because Oprah has met her match. Kitty Kelley has, over the same period of time, fear?lessly andrelentlessly investigated and written about the world’s mostrevered icons: Jacqueline Kennedy Onassis, Frank Sinatra, NancyReagan,
Book De*ion He’s an American legend, a straight-shooting businessman whobrought Chrysler back from the brink and in the process became amedia celebrity, newsmaker, and a man many had urged to run forpresident. The son of Italian immigrants, Lee Iacocca rose spectacularlythrough the ranks of Ford Motor Company to become its president,only to be toppled eight years later in a power play that shouldhave shattered him. But Lee Iacocca didn’t get mad, he got even. Heled a battle for Chrysler’s survival that made his name a symbol ofintegrity, know-how, and guts for millions of Americans. In his classic hard-hitting style, he tells us how he changed theautomobile industry in the 1960s by creating the phenomenalMustang. He goes behind the scenes for a look at Henry Ford’s reignof intimidation and manipulation. He recounts the miraculousrebirth of Chrysler from near bankruptcy to repayment of its $1.2billion government loan so early that Washington didn't know how tocash the check.
In Going Within, MacLaine asks tough questions of and givesgood advice to the spiritual seeker. She has suffered, felt sorrowand anger, stress, fear, and anxiety, yet she has never allowedherself to be defined by her negative emotions. Instead she asks,"If we are not in harmony with ourselves, how can we possibly be inharmony with anyone else, much less the world that we inhabit?"MacLaine celebrates the independence that comes with therecognition of all emotions, both negative and positive. MacLainehas created many memorable roles as an actress but ironicallyyounger adults may be more familiar with her work as a memoiristand spiritual seeker. In Out on a Limb, MacLaine reveals an intenseand secretive loving relationship with a prominent politician,which sparked her quest for self-discovery. Fans of the actress'searlier works will be aware of her love of the journey. Herde*ions of her travels from Stockholm to Hawaii to Peru willstimulate even the most sedate armchair traveler wanting to seemore of the
Fully documented and highly detailed, this is the biographythat Sinatra tried but failed to stop. A runaway #1 bestseller. HC:Bantam. (Nonfiction)
More a biography of Mozart's music than a study of the man himself, Sadie's final opus—he died this year after publishing some 30 books—should delight musicologists but puzzle general readers. Not only is the music Sadie's primary interest, he does not believe it reveals anything, necessarily, about its composer. Indeed, he reminds readers not to impose contemporary values on Mozart's era. "Romantic eyes," for example, might see certain minor-key compositions as expressions of Mozart's grief over his mother's death, but Sadie argues that there's "no real reason to imagine that he used his music as [a] vehicle for the expression of his own personal feelings." Likewise, modern critics expect to see a certain type of progress in Mozart's oeuvre, with subsequent works building and elaborating former ones, in ways alien to Mozart on his contemporaries. Sadie is deft at situating various styles of musical composition in their cultural context: preferences for serious vs. comic opera, shorter vs. longer works, e
