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Who doesn't love to be able to walk out of a holiday blockbuster and say, "Well, not bad but the book was better"? Get a jump on the season's upcoming films by reading the great books that inspired them, several of which are available in new editions.

It would be impossible to read the entrancing prologue to The Hours by Michael Cunningham and not keep going. The novel, awarded both the Pulitzer Prize for fiction and the PEN/Faulkner Award in 1999, begins with an evocation of Virginia Woolf's suicide, then jumps to the contemporary era, where two women seek to escape their varied bonds through Woolf's writing. The film, with a screenplay by David Hare, stars Meryl Streep and Julianne Moore as the two women and Nicole Kidman as Woolf.

In About Schmidt by Louis Begley, Jack Nicholson again plays the unlikable guy who grows on you; this is said to be among his most affecting performances. Schmidt is an old-school lawyer, now retired, whose beloved wife has recently died. Always cool and distant toward his daughter, Schmidt now finds himself unable to accept the Jewish lawyer she married. The novel sets his pride and loneliness against warmly humorous social commentary as Schmidt's reserve is shaken by the two women who enter his life. The Ballantine Reader's Circle edition includes a reading group guide.

Was Chuck Barris, undisputed eccentric and the mastermind behind The Gong Show, really an undercover CIA assassin known as Sunny Sixkiller? So he claims in his characteristically nutzoid memoir, Confessions of a Dangerous Mind, soon to be a major motion picture directed by George Clooney and starring Sam Rockwell as Barris. First published in 1982, the book has long been out of print; Talk Miramax's new trade paperback coincides with the film's December release and includes eight pages of film stills. The script was co-authored by fellow eccentric Charlie Kaufman, the man who brought us Being John Malkovich and Adaptation (see below).

Sticking with the theme of the zany memoir, Adaptation is screenwriter Charlie Kaufman's manic account of his effort to make a film adaptation of Susan Orlean's The Orchid Thief. In the film, Orlean's true story of the orchid thief, John Laroche (Chris Cooper), has to compete with the screenwriter's self-obsessed fever dream sparked by his infatuation with the back-cover photo of Orlean (Meryl Streep). Nicolas Cage plays Kaufman and his imaginary twin brother, Donald, a character-within-a-character in a story-within-a-story. The film, both a wacked-out satire of Hollywood and a writer's quest for meaning, reunites Kaufman with Being John Malkovich director Spike Jonze.

Occasionally you come across a book that makes you wonder at the deep wells of strength and gumption its author must draw from. Finding Fish by Antwone Quenton Fisher is one such book. Fisher was born in prison to a teenage mom and spent two years with a loving foster family before being moved to the home of the Pickett clan, where he endured 14 years of unimaginable abuse. At 18 he joined the Navy, and it almost certainly saved his life. His remarkable memoir has been adapted for the screen by first-time director Denzel Washington, who stars as the Navy psychiatrist who mentored Fisher.

In conjunction with the film Gods and Generals, directed by Ronald F. Maxwell (Gettysburg), Ballantine is releasing a new boxed set of the Civil War trilogy by Michael Shaara and his son, Jeff M. Shaara Gods and Generals, The Killer Angels and The Last Full Measure. Gods and Generals, a prequel to Gettysburg, documents one of this country's bloodiest eras and follows the rise and fall of legendary war hero Stonewall Jackson (Stephen Lang); Robert Duvall and Jeff Daniels also star. Also timed to coincide with the film is Gods and Generals: The Paintings of Mort Kunstlerfeaturing more than 65 works by the noted Civil War artist and text by historian James I. Robertson Jr.

 

Who doesn't love to be able to walk out of a holiday blockbuster and say, "Well, not bad but the book was better"? Get a jump on the season's upcoming films by reading the great books that inspired them, several of which are available in…

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Montana native Blunt makes a strong debut with this memoir of life on a cattle ranch during the 1950s and ’60s. Raised in a rural area with no running water, the author was early initiated into the harsh realities of ranching, tackling chores and attending a one-room school. Unwillingly, she adhered to established gender roles, marrying a man from a neighboring homestead and trying to be a suitable wife. But after 12 years of marriage and the birth of three children, Blunt decided to follow her dream of becoming a writer. She said goodbye to the farm, enrolled in college and began composing award-winning verse. Her memoir reflects her penchant for the poetic. It’s beautifully written, full of unforgettable anecdotes about the severity of Montana living and the constraints of being a female in a man’s world. It’s also proof that you can’t keep a good woman down. A reading group guide is available in print and online at www.vintagebooks.com/read.

Montana native Blunt makes a strong debut with this memoir of life on a cattle ranch during the 1950s and '60s. Raised in a rural area with no running water, the author was early initiated into the harsh realities of ranching, tackling chores and attending…
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Sherwin Nuland recalls his “ambivalent heritage” Throughout his childhood in the 1930s and ’40s, Sherwin Nuland viewed his immigrant father through a prism of fear and embarrassment. Meyer Nudelman was never a violent man, according to his son, but he did have an unpredictable and volcanic temper that withered anyone in its path. Moreover, he suffered from a progressively crippling disease that made it difficult for him to walk about his Bronx neighborhood without his self-conscious son at his elbow. This tense proximity was so emotionally wrenching, Nuland says, that he had to write his new memoir, Lost In America: A Journey With My Father to finally come to terms with it.

Despite its ominous beginning, the book emerges as a heart-melting story of delayed compassion and love. Formerly a clinical professor of surgery at Yale and now a teacher of bioethics and medical history there, Nuland is also the author of The Mysteries Within, Leonardo da Vinci, and the National Book Award-winning How We Die. “I think my father left me with this ambivalent heritage,” the author explains, speaking to BookPage from his home in Connecticut. “As a child, as an adolescent, in my 20s, I always felt that the way to pattern my life the way of bringing up my own children, the way of being a husband was to be exactly the opposite of what he was. But clearly something was churning inside of me because of this very strong identification I had with his disabilities. . . . It wasn’t a question of consciously perceiving that he was with me all the time but that, in fact, he was inside of me without my knowing it.” Nuland’s reactive approach notwithstanding, his life began falling apart when he was in his late 30s and early 40s, long after his father had died. In addition to seeing his first marriage collapse, Nuland descended into such deep and unresponsive depression that he had to be hospitalized and subjected to a long series of electroshock treatments. “If you had seen me during this time,” he says, “you would say, My God, he has become his father!’ I spoke that way. In profile, I looked that way. I responded that way.” Even after he recovered (“I’m the least depressed human being on earth when I’m not actually depressed,” he says cheerfully), the filial complexities lingered.

Another strand of Nuland’s remembrances is of cultural assimilation. Until his death, Meyer Nudelman remained a transplanted Russian Jew not homogenized. He never lost his impenetrable accent, nor tried to, and he showed little interest in exploring his alien surroundings. Son Sherwin, however, was a quick study in fitting in, in assessing and mastering the landscape. “I think [assimilation] is the arc of a life,” Nuland says. “For some people, there’s a conscious need to accelerate it, because you really want to leave behind what you have been born into. To others, the motivation is more forward in the sense that you don’t necessarily want to leave what you have and what you are, but you’re really planning to become this other thing in this society which you find yourself. For me, it was both. But I think it was largely the first that I really had to get out of this atmosphere that I thought was stifling.” While still in high school, he legally jettisoned his father’s last name in favor of the more English-sounding Nuland. Eventually, he departed from his father’s religion as well. “It’s been one of the conflicts of my life,” he says. “It didn’t resolve until I fell apart. I came out of that experience realizing that I had truly always been an agnostic and that what had brought me in previous years to the synagogue was my inability to separate myself from my background, from my love of family and that whatever obsessional religious forms I carried out were just that they were obsessional. They were not real. They were not genuine, because I really had no belief.” Nuland concedes that his intelligence not only provided him a way out of his surroundings but was also a comfort while he was still in. “I was amazed by it. I could never figure it out. Of course, the Bronx was sort of a crucible for smart, hardworking kids in those days. I remember when I first started school, there were about five of us in class who seemed to be completely different from all the other kids. Eventually, we all skipped a grade. . . . My curiosity just seemed to be built in. But the realization that I had this ability to see things in certain ways that most other kids couldn’t was a real source of joy to me. It opened the world up. It made everything possible.” It eventually made possible Nuland’s acceptance into the Yale School of Medicine. The distance between New York and New Haven lessened the flash points between father and son. Meyer Nudelman spoke proudly to all who would listen about his son’s progress toward doctorhood. He doted on him, doing him small favors like preparing massive batches of chocolate pudding every time he returned home. For his part, Nuland visited his father dutifully during his increasingly long stays in the hospital, and rushed to his bedside to tell him in person when Yale awarded him the hotly competed for post of chief resident. As his father slowly absorbed the good news, Nuland writes, he saw in the old man’s face “something beyond pride. It was vindication; if was fulfillment; it was the love of a father for his son. . . . I threw my arms around Pop’s shoulders and made no attempt to disguise the tears.” After tackling deeply personal topics in Lost In America, Nuland turns in his next book, nearly completed, to a more detached subject the life of the 19th-century obstetrician Ignatz Semmelweis. Edward Morris is a freelance writer in Nashville.

Sherwin Nuland recalls his "ambivalent heritage" Throughout his childhood in the 1930s and '40s, Sherwin Nuland viewed his immigrant father through a prism of fear and embarrassment. Meyer Nudelman was never a violent man, according to his son, but he did have an unpredictable and…
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College professors sometimes wish for the impossible: an opportunity to re-convene class to correct or amend lectures they delivered years ago. A full-time university teacher for 35 years before retiring from academia seven years ago, top-selling historian Stephen Ambrose came as close as one can to achieving that feat before his death in October. “I want to correct all the mistakes I made” in the classroom, he said, in explaining his decision to write To America: Personal Reflections of a Historian.

For instance, acknowledging “I did not know then what I do now,” Ambrose says in his final work that, contrary to what generations of students have been taught, it was disease not a deliberate policy of genocide that wiped out many Indian tribes as the government pushed the frontier westward. At first, he denounced the bombing of Hiroshima but, upon learning more, began telling his students: “Thank God for Harry Truman for his courage and decisiveness.” He details why he came to praise rather than condemn the “robber barons” who mined millions of dollars in financing the first transcontinental railroad. And he explains how he evolved from an admitted Nixon hater to someone with a genuine appreciation of the disgraced president.

To America is a mixture of interpretive history, personal recollection and parental musings from one of our country’s most popular historians with subjects ranging from Thomas Jefferson (“an intellectual coward” for doing nothing about slavery) to Lyndon Johnson, from racialism to women’s rights, from war heroes to explorers. Ambrose also shares the work habit that resulted in his writing or editing some 30 books, a number of which sped from the bindery to best-seller lists: “You do it by working hard, six to 10 hours per day, six or seven days a week.” He was also helped by the services of an “in-house” editor; his wife Moira listened to his readings of whatever he wrote each day and offered her suggestions. Thus, his advice to aspiring authors: “Marry an English major.” Ambrose wrote To America after learning in April that he had lung cancer. Unsure how long he would live, he set aside other work to write this final book, which he described as his “best” which means better than such blockbusters as Undaunted Courage, Citizen Soldiers and D-Day June 6, 1944. Whether or not To America is his best work, its pages certainly pulsate with the spirit and optimism of an author who was deeply in love with America.

College professors sometimes wish for the impossible: an opportunity to re-convene class to correct or amend lectures they delivered years ago. A full-time university teacher for 35 years before retiring from academia seven years ago, top-selling historian Stephen Ambrose came as close as one can…
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Chicago-based entertainment writer Bill Zehme (pronounced ZAY-mee) has been cranking out interesting and colorful celebrity profiles for 20 years, mostly for such magazines as Esquire, Playboy, Rolling Stone and Vanity Fair. Few journalists have managed to produce such a steady body of quality work interviews at once entertaining and informative, focusing on media icons and written in an incisive, yet edgy, style.

Intimate Strangers, an engrossing collection of Zehme’s notable stories from the past two decades, showcases the author’s sometimes quirky but always fascinating approaches to the minds of such legendary figures as Hugh Hefner, Tom Hanks, Cameron Diaz, the Seinfeld gang, Johnny Depp and Eddie Murphy.

Zehme doesn’t merely ask a series of prepared questions; he’ll often spend days with his interviewees, keeping his tape recorder on, sharing their lives and gaining the necessary trust to elicit offbeat, ultimately revealing responses. The fact that these pieces date back to the early 80s ensures a curiously welcome historical perspective on popular culture. We hear Woody Allen’s pained remarks during the aftermath of the still-simmering Soon-Yi scandal; glimpse notorious ladies’ man Warren Beatty in the days before he settles down into wedded bliss; and listen to Madonna during her peak as a pop tart talking about Catholicism and the importance of her father in her life.

The book concludes with an insightful series of alternating, point-counterpoint interviews that Zehme published through the 90s with David Letterman and Jay Leno, during the era of Johnny Carson’s impending retirement. With Zehme just recently launching a new cable interview show on the Bravo channel, the timing is perfect for the release of this hip collection, which exhibits his skills as pop journalist to maximum effect. Filmmaker Cameron Crowe provides the introduction.

Chicago-based entertainment writer Bill Zehme (pronounced ZAY-mee) has been cranking out interesting and colorful celebrity profiles for 20 years, mostly for such magazines as Esquire, Playboy, Rolling Stone and Vanity Fair. Few journalists have managed to produce such a steady body of quality work interviews…
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Taking its name in part from his friends' answer to surfing swimming off an abandoned dock on the shores of Lake Michigan Rich Cohen's new memoir Lake Effect is a timeless coming-of-age tale set in the 1980s. Raised on Chicago's Great Lakes, he and his friends do the usual: hang out, drink beer, sneak into the city to hear the blues and hold long, intense conversations about their dreams and ambitions. But what makes this story different is Cohen's skill at capturing, as he puts it, the thrill of a certain kind of friendship and what happens to such friendships when the afternoon runs into the evening. Growing up in a decade remembered for New Wave, full-tilt capitalism and Ronald Reagan, Cohen and his high school buddies all bring different elements to their circle, but it's the mercurial Jamie Drew, known as Drew-licious, who is the catalyst behind many activities. Jamie is a leader who maintains an aloofness, the detachment of a point man scouting enemy territory, and despite their evident closeness, his inner life seems to remain a tantalizing mystery to the author. Yet Cohen is unabashed in his admiration for Jamie, who often walked paths he never tread himself.

There is a melancholy to their friendship, as time passes and their lives diverge. Cohen heads for Tulane University in New Orleans and a career as a successful writer. From the French Quarter to the Big Apple, where he writes for the esteemed New Yorker, Cohen realizes his dream of working as a journalist, while some of his friends seem to drop out of life. His eventual alienation from Jamie, which parallels the decisions all adults make as they leave childhood behind, will resonate with readers. Jobs, school, relationships and responsibilities inevitably come between Cohen and Jamie. Occasional reunions, while joyful, also carry a reminder of how much time has passed. A universal story of youth, maturity and love, Lake Effect is a probing meditation on the passage of time, an accomplished book filled with the humorous antics of teenagers in suburbia.

Gregory Harris is a writer, editor and IT consultant in Indianapolis.

Taking its name in part from his friends' answer to surfing swimming off an abandoned dock on the shores of Lake Michigan Rich Cohen's new memoir Lake Effect is a timeless coming-of-age tale set in the 1980s. Raised on Chicago's Great Lakes, he and his…

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Rick Bragg, be afraid. Be very afraid. Chris Offutt is going to give you a run for your money. Characterized by a clarion style, an ability to capture the voice of the southeastern hill country and a keen, impartial eye for detail, Offutt's new memoir No Heroes tells of the author's return to rural Kentucky where he was born and raised. Originally from Haldeman, Kentucky, Offutt was one of the few boys from his town to go to college, and one of even fewer to attend the local state school, Morehead State University.

Morehead gave Offutt enough steam to propel him into a prosperous writing and teaching career on the West Coast. Though successful, married and blessed with children, Offutt found himself hopelessly homesick for Kentucky—its woods and wildflowers, the truant boys and wayward girls he grew up with. Offutt's opportunity to come home again arrives when Morehead advertises an opening for an English professor. He gets the job, hoping to recognize his own young, ambitious self in his students. But he doesn't mince the cultural limitations of rural Kentucky. The prologue of No Heroes is organized around a list of things Offutt has to bring with him from the city music and books and another list of things he can leave behind: the tuxedo, the foreign car, the burglar alarm and the attitude. In fact the prologue really sets up the dichotomy Offutt experiences throughout the book: his deep emotional connection to the hills of his childhood versus an intellectual hunger for something outside those hills.

While in many ways he has grown distant from his hometown and its unspoken rules, he finds that it is the only place where he can be completely himself. "Here, you won't get judged by your jeans and boots. . . . Never again will you worry that you're using the wrong fork, saying the wrong thing, or expecting people to keep their word. . . . You are no longer from somewhere. Here is where you are. This is home."

Lynn Hamilton writes from Tybee Island, Georgia.

 

Rick Bragg, be afraid. Be very afraid. Chris Offutt is going to give you a run for your money. Characterized by a clarion style, an ability to capture the voice of the southeastern hill country and a keen, impartial eye for detail, Offutt's new…

A. Manette Ansay is best known as the author of the Oprah Book Club selection Vinegar Hill and the National Book Critics Circle Award Finalist Midnight Champagne. But writing was her second, reluctant career choice. At age 20, Ansay found herself suffering from a debilitating and undiagnosable muscle disorder, an illness that forced her to give up her lifelong ambition of becoming a concert pianist. She also began to question her Catholic faith. How she persevered through years of pain to ultimately build a career as a renowned novelist forms the backbone of her powerful new memoir, Limbo.

Raised in rural Wisconsin, Ansay known as Ann to her family turned to books and music for escape. With great sacrifices by her parents, she took piano lessons and practiced for hours every day, eventually winning acceptance to the Peabody Conservatory in Maryland. Pain was a constant for all the students. “Twice a day, I emptied the ice tray into the kitchen sink,” Ansay writes, “then filled the basin and submerged my arms.” But the Midwestern stoicism of her German-Catholic upbringing carried her forward: “Practice and prayer, music and God, the discipline of the Conservatory and the discipline of the Church . . . I needed the first to maintain the second.” 

But over time, Ansay's debility worsened. Despite topical analgesics, acupuncture, cortisone shots and wrist braces, she could no longer perform. She had to face the impossible question: Who would I be without the piano?

As in her novels, Ansay paints her characters in detailed colors. She weaves the narrative of her father's stay at a tuberculosis sanitarium into her own story; his return to health fuels her own eventual emergence as a writer.

In many ways, Ansay is still in limbo. She spends her days in a wheelchair, has yet to receive a clear diagnosis for her illness and no longer identifies herself as a Catholic. But Limbo is not a tale of woe. Ansay now brings to her writing the brilliance that she once brought to the piano. Carnegie Hall may have lost a great musician, but millions of readers have gained a gifted storyteller and friend.

 

Mary Carol Moran teaches the Novel Writers' Workshop at Auburn University.

A. Manette Ansay is best known as the author of the Oprah Book Club selection Vinegar Hill and the National Book Critics Circle Award Finalist Midnight Champagne. But writing was her second, reluctant career choice. At age 20, Ansay found herself suffering from a debilitating…

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Cathie Beck, a single mother of two, had always lived on the solitary knife-edge of poverty. In her late thirties, with her children off at college, she yearned to live the life she had missed while struggling to provide for them, but she needed a posse. She placed an ad in the Boulder Daily Camerafor a new women’s group called WOW, “Women on the Way.”

“I’d invented a women’s group because I needed friends, preferably the instant kind,” she writes. “I don’t know why I thought placing an ad was the answer, except to say that for a great many quiet years I had looked for—yearned for—just one more person who was living the same life I was.”

At WOW, Beck met Denise, and their friendship ignited instantly. Denise, a sophisticated artist who gave generously and lived wildly, enthralled Beck. Denise was a risk-taker, sure of herself but not always wise, and some of her actions led to painful consequences. Despite their misadventures, though, she showed Beck how to live wholeheartedly and headlong. However, there was a catch: Denise had advanced multiple sclerosis, and the symptoms were worsening.

Cheap Cabernet is difficult to set aside, unblinkingly true, funny, coarse and sometimes pensive, with an unpredictable narrative structure that reflects the two women’s meteoric friendship. Beck writes honestly about her past—haunted by poverty—her early motherhood, abandonment, desperate loneliness and an even more desperate desire to give her children a good life. She applies that honesty to her friendship with Denise. Their relationship inspires both hilarity and helplessness, especially as the MS takes its toll and both women struggle to define their place in the shifting sands of each other’s lives.

Relationships are messy, imperfect affairs, Cathie Beck emphasizes. However, because of Denise, Beck learned how to live without fear, to open her heart to others and to occasionally lift a glass of cheap cabernet in the company of friends.

Marianne Peters is a freelance writer who occasionally sips cheap cabernet in Plymouth, Indiana.

Cathie Beck, a single mother of two, had always lived on the solitary knife-edge of poverty. In her late thirties, with her children off at college, she yearned to live the life she had missed while struggling to provide for them, but she needed a…

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Sad events and occasions for grief happen to everyone, and no two people react in identical fashion. Poet and Slate culture critic Meghan O’Rourke, a gifted writer, responded to the death of her mother by putting the full extent of her emotions on paper, using vivid language and evocative prose to describe her experiences in The Long Goodbye.

O’Rourke thought she was preparing herself for her mother’s death during the final stages of her bout with cancer. Seeing the damage the disease was doing, O’Rourke admits she thought her mother’s death would be a relief. Instead, she discovered the loss completely rocked her, triggering a grief-fueled depression and complete withdrawal from everything she had previously loved.

Eventually it’s her prowess with and passion for words that helps O’Rourke dig out of the emotional abyss. She begins a chronicle of her life in the days after her mother’s burial, sparing no detail about her deepest feelings. Sometimes her descriptions are so graphic, some readers may find them uncomfortable, even excessive. But it’s also clear this process is not only providing a catharsis, but giving the writer insight into areas of her psyche she’d never touched. Eventually she comes to terms with the situation, acknowledging her life won’t ever be the same, but feeling strengthened by undergoing the ordeal and being able to write about it.

The Long Goodbye is far from an easy read. Anyone who’s lost a loved one will empathize with O’Rourke’s isolation from others and her intense misery. Indeed, they may opt to speed through or turn away from certain sections of the book, especially those that lay bare unflattering incidents, thoughts and actions. But this memoir is also a testimony to the human spirit, to resilience, faith and determination. O’Rourke finally decides not to be defeated by her emotions, and she emerges a stronger, better person. Readers who understand and appreciate the lessons detailed in The Long Goodbye will feel renewed after reading it.

 

Sad events and occasions for grief happen to everyone, and no two people react in identical fashion. Poet and Slate culture critic Meghan O’Rourke, a gifted writer, responded to the death of her mother by putting the full extent of her emotions on paper, using…

"I guess it’s fair to say that there were two distinct phases to my life in West Virginia," writes Homer H. Hickam, Jr., in Rocket Boys: A Memoir. "Everything that happened before October 5, 1957 and everything that happened afterward." As it happens, Mr. Hickam’s pivotal moment was shared by millions across the globe; the Soviet Union’s launch of Sputnik 1 marked the dawn of the Space Age and sent spasms of disbelief and national self-doubt rippling across the United States. The author’s father flatly dismissed the prospect of Russian technology sailing over Coalwood, West Virginia. "President Eisenhower would never allow such a thing," declared the senior Hickam.

The satellite cast a long shadow over the mining town where Homer and Elsie Hickam were raising Homer Jr. and older brother Jim — mostly in the form of a challenge to American youth to redouble its efforts in mathematics and the sciences. The darkness and tension of the Cold War lent an almost supernatural quality to the feats of rocketry and spaceflight. Four decades later, Hickam remembers, "They [the Soviets] were so walled off to us . . . when you don’t know someone and they’re a mystery to you, you tend sometimes to ascribe superhuman qualities to them."

That fall, the Hickams were getting almost all of their news from Life and Newsweek. The magazines arrived on Wednesdays — and persuaded all that the "Red Moon" was a reality. The author had just turned 14 and liked "Pepsi and Moon Pies." He also really liked biology classmate Dorothy Plunk.

A love of reading — particularly science fiction — and some success at writing short stories distinguished the boy, but those qualities were largely lost on a father obsessed with his responsibilities as Coalwood’s mine superintendent. The fact that "Sonny" seemed ill-suited for a life in and around mining created a painful gulf between the father and his namesake.

As Sputnik augured an era that would pass the mines by, it also inspired the youngest Hickam to begin experimenting with rocket propellants and designs according to models seen in Life. He banded together a group of close friends and formed the Big Creek Missile Agency. As time passed, they would become known, in town and throughout the county, simply as the "rocket boys."

After early mishaps (including the launch of his mother’s rose-garden fence), the rockets began to soar. With better propellants and more sophisticated designs, the Auk series (named after a bird that cannot fly) began reaching heights of a mile and beyond. Auk XXXI, the final flight, would reach an altitude of more than six miles. Its design was the product of painstaking empiricism coupled with hard-won skills in chemistry, calculus, and engineering. For their work, the miners’ sons had won the Gold and Silver medal at the National Science Fair. Then, in the spring of 1960, hundreds gathered at "Cape Coalwood" for the final launch. Among them, for the first and only time, was Homer Sr. He flipped the switch to fire the rocket, and in one shining moment the door was closed on the tensions and confusion which had surrounded the two. Sonny Hickam had finally been given permission to be something other than a mine engineer.

There was another fine moment in that spring of 1960. Junior Senator John Kennedy from Massachusetts came through the county en route to the Democratic nomination. Sonny made it his business to let the candidate know that the United States should go to the moon. Kennedy seemed to take the idea more seriously than the well-wishers gathered that day. It’s an astonishing image, and Hickam plays it beautifully, deadpanning, "well, I really think that Wernher von Braun had more to do with it than I did, but . . . "

Next came four years at Virginia Polytechnic Institute. After graduating in 1964, his rockets took him not to Cape Canaveral and NASA’s triumphs, but to the dark side of the 1960s: service in Vietnam. "I volunteered to go over there. I felt I should go, and I had an ulterior motive: I wanted the experience. I was young and invulnerable, and the war was something I wanted to taste — a crucible to pass through. Once there, it took me about 48 hours to figure out ‘I don’t really want to die over here.’ I didn’t see much that was worth my life or the lives of my men . . ." Hickam finished his tour with a Bronze Star and the Army Commendation Medal and remained with the service as an engineer until 1981.

More than two decades after Sputnik, Hickam was living his boyhood dream. At NASA Marshall Space Flight Center in Huntsville, Alabama, he began training astronauts for orbit. He worked on many Space Shuttle missions, including the delicate rescue of the Hubble Space Telescope, before leaving the agency earlier this year. The time has been spent establishing an aerospace consultancy and concentrating further on his writing.

"I don’t look for inspiration. If I did, I’d probably never sit down in front of the word processor. The first thing to do is to go ahead and write and not worry too much about the style and format or anything like that. Get the story down and then go back — what I really love is to go back and re-write. I’ve made the mistake of faxing stuff when it was hot off the typewriter, and I’ve always regretted that. Every time."

Well, perhaps not every time. Rocket Boys the book began in 1994 when Hickam received a desperate call from an editor at Smithsonian Air and Space. A few hours and 2,000 words later, Hickam had submitted what amounted to the germ of a book. The hitch: he had to track down 14-year-old Sonny Hickam, his compatriots, supporters — and his father. The intervening years had pulled survivors away as it banished them to the edges of his memory. "Finding the boy’s voice was the real challenge," he says. "It was only when I started writing the book that it really came back to me — how I felt in those days before that last launch at Cape Coalwood . . . I’d have to say that in the intervening years I did not have any issues with Dad, and I don’t think he had any with me. I was quite contented about our relationship. In trying to find the boy’s voice, I had to bring the issue back up and worry it over."

With Rocket Boys in print and a Universal Studios film due shortly, Life magazine has again been arriving at his house — this time for photo shoots.

Meanwhile, as NASA struggles to regain the momentum of its early years, Homer Hickam is "disappointed, but not surprised" by the agency’s focus on Earth orbit at the expense of the moon. "When I spoke to Kennedy, I thought we should go, and I still think we should go." The author has given himself a productive way to "worry it over." Next up: a "techno-thriller" called Back to the Moon.

Christopher Lawrence is a freelance writer based in New York City.

"I guess it's fair to say that there were two distinct phases to my life in West Virginia," writes Homer H. Hickam, Jr., in Rocket Boys: A Memoir. "Everything that happened before October 5, 1957 and everything that happened afterward." As it happens, Mr. Hickam's…

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This combined history and memoir by her grandson arrives on the 40th anniversary of Eleanor Roosevelt’s death. Remarkable for her intellect, energy and compassion, the wife of President Franklin D. Roosevelt has left a legacy, her chronicler argues, that is fully as durable in its own way as the one compiled by FDR as he led America through the Great Depression and all but the last few months of World War II. She was the first First Lady to achieve stature independently from that of her husband, and the first to demonstrate and tap into the latent political power of women.

Because his childhood memories of vacations and holidays with his grandmother are his most vivid ones, David Roosevelt writes of her with an unvarying mixture of warmth and wonder. Not so of FDR, who appears as a marginal figure in the author’s thoughts. It may take the reader awhile to adjust to Roosevelt’s repeated use of grandmere (a designation the French-speaking Eleanor requested of her grandchildren), but ultimately the preciousness wears off. Fortunately, Roosevelt leans on the research of scholars to fill in the factual blanks and interpretive nuances his own restricted perspective denies him.

Born into the same wealthy and socially prominent New York family that included her future husband (a distant cousin), Eleanor was handicapped early by a mother who rejected her and a father who was loving but dissolute. Her most positive early role models were her uncle, Teddy Roosevelt, and her teacher, the free-thinking Marie Souvestre. Both inspired her to think beyond the decorative, social and domestic roles then assigned to women. In what appeared to be a real affair of the heart, she married Franklin in 1905, when she was 20, and soon began having children. Five years later, Franklin scored his first political victory, election to the New York State Assembly. From the outset, the author says, Eleanor was his most reliable (if not always his most enthusiastic) political ally even though it would be several more years before women won the right to vote.

After Franklin fell victim to crippling polio in 1921, he grew even more reliant on Eleanor, and by the time he ascended to the presidency in 1933 she was perhaps the most vital part of his inner circle, serving as his eyes, ears and personal representative. As a young girl, she had worked to better the lot of New York’s poorest. In her capacity as First Lady, she became a tireless advocate for the nation’s downtrodden. She probed, lectured, wrote books and articles, even became a syndicated newspaper columnist. After FDR died in 1945, she continued her advocacy, ultimately helping to write and pass the United Nations’ Universal Declaration of Human Rights.

David Roosevelt’s most revealing recollections of his grandmother are of her soul-mending retreats to Val-Kill Cottage, in New York, and Campobello Island, off the coast of Maine. The book is illustrated with 260 photographs, many of which have not been published before.

This combined history and memoir by her grandson arrives on the 40th anniversary of Eleanor Roosevelt's death. Remarkable for her intellect, energy and compassion, the wife of President Franklin D. Roosevelt has left a legacy, her chronicler argues, that is fully as durable in…
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If Arizona Sen. John McCain is using his new memoir Worth the Fighting For to position himself for another run for the presidency, then he is either the dumbest or the foxiest campaigner in the race. Arguing for the former point is the fact that he readily sometimes gleefully admits to being ambitious, impatient, impulsive, politically mercurial and, under certain circumstances, deceptive. Of course, in publicly confessing to such shortcomings, he deftly denies his opponents the opportunity to dramatically spring these charges on him.

Unlike most political biographies, which tend to run to high seriousness, this one is sprinkled with gossip, candor and self-effacing humor. McCain makes it clear that his political stance is more instinctive than intellectual, and that it grows not only from his military upbringing and experience (of which he says relatively little) but also from his concept of what it means to be principled and heroic. McCain details here how he became acquainted with high-roller Charles Keating, forming a cozy relationship that would ultimately land him among the notorious Keating Five accused of influence-peddling after the flamboyant entrepreneur’s savings-and-loan empire went bust. It may have been this grueling and career-endangering incident as well as his own growing behind-the-scene awareness of how American politics work that caused McCain to join with fellow senator Russell Feingold in an effort to regulate campaign financing.

Some of McCain’s most revealing stories are about his short-lived campaign for president. He admits to attempting to deceive the voters of South Carolina by taking an equivocal stand on the state’s display of the Confederate flag, a position he later renounced.

In summarizing himself, McCain quotes a conservative critic who wrote, Politics is so personal for McCain. It’s all a matter of honor and integrity. That’s the sum total of his politics. To this assertion, McCain responds, If that’s the worst that can be said about my public career, I’ll take it, with appreciation.

If Arizona Sen. John McCain is using his new memoir Worth the Fighting For to position himself for another run for the presidency, then he is either the dumbest or the foxiest campaigner in the race. Arguing for the former point is the fact…

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