“Why is Sex Fun? is the best book on the subject I've read. This lively exploration of our sexual heritage offers fascinating reading for anyone curious about why lovers do what they do.”

— Diane Ackerman, author of

“I am so jealous of Jared Diamond, for he writes with such an elegant simplicity! Here, he takes a loot at the endlessly fascinating topic of human sexuality His convincing arguments should persuade xm that there are very special reasons why we evolved to use sex for recreation as well as for procreatim whereas most other mammals are denied that pleasure…. It is a great little book, by one of the worlds foremost biological philosophers.”

— Roger Shohl, Professor of Physiology Monash University Australia

“Once again Jared Diamond provides us with answers to questions we may never have stopped to ask, but wish we had. In this long essay Diamond explains that recreational sex, while not unique to humans, is a rare behavior in the animal world. Above all, we learn, sexual activity divorced fron procreation is not only part of what it is to be human, but the very crux of our evolutionary success.”

— Bettyaxn Kevles, author of

On December 21, 2012, the Mesoamerican Long Count calendar, a 5,125-year cycle calendar system pioneered by the Maya, will come to an end. At the same time, the earth, the sun, and the center of the galaxy will come together in an extremely rare cosmic alignment. More and more people believe that the world as we know it will experience a transformation in 2012, but few are aware of the complete history or significance of the date.

John Major Jenkins, among the most authoritative voices of the 2012 movement, has written a definitive explanation of one of the most thought-provoking phenomena of our time. Drawing from his own groundbreaking research (including his involvement in the modern reconstruction of Mayan 2012 cosmology) and more than two decades of extensive study of Mayan culture, Jenkins has created the crucial guide to understanding the story of 2012 an essential overview of the history, theory, cultures, and personalities that have brought this extraordinary idea into modern awareness. Jenkins provides illuminating answers to some of the most-asked questions about 2012, including:

• How did the early Maya devise the calendar that gives us the cycle ending in 2012, and how does it work?

• How did the calendar come to be rediscovered and reconstructed in our era?

• What controversies and intrigues surround the topic, and what do scholars and researchers have to say about them?

• How can we cut through all the noise about 2012 and gain true wisdom from the Mayan teachings about this moment?

Chagas’ disease has become one of the major public-health problems in Latin America. Current estimates are that sixteen to eighteen million people are infected. Caused by a flagellate protozoa carried to humans via the bite of the or bug, it is locally referred to as the “kissing bug” because of its tendency to lodge on victims’ faces during sleep. The protozoa enters neuron tissues in the heart and other organs and causes death by irreversible cardiac and gastrointestinal lesions in thirty to forty percent of all cases, usually lying “dormant” until the debilitating chronic phase during the human host’s mid-life. Because of the long dormant phase, it has generally gone unrecognized, with chronic symptoms often attributed to other causes. Originally preying on forest animals, the bug has infested the impoverished housing of displaced Andean migrants as forest lands and animals have been destroyed in South America. Although there is no cure for the chronic stage, the disease vectors can be controlled and possibly eliminated through improved hygiene and living conditions. No longer exclusive to Latin America, Chagas’ disease is spreading to North America and Europe with the migration of infected bugs, hosts, transfusions, and transplant organs.

The writing career of John Berger — poet, storyteller, playwright, and essayist — has yielded some of the most original and compelling examinations of art and life of the past half century. In this essential volume, Geoff Dyer has brought together a rich selection of many of Berger’s seminal essays.

Berger’s insights make it impossible to look at a painting, watch a film, or even visit a zoo in quite the same way again. The vast range of subjects he addresses, the lean beauty of his prose, and the keenness of his anger against injustice move us to view the world with a new lens of awareness. Whether he is discussing the singleminded intensity of Picasso’s the parallel violence and alienation in the art of Francis Bacon and Walt Disney, or the enigmatic silence of his own mother, what binds these pieces throughout is the depth and fury of Berger’s passion, challenging us to participate, to protest, and above all, to see.

On August 19, 1991, eight high-ranking Soviet officials took over the government of the USSR and proclaimed themselves its new rulers. Less than seventy-two hours later, their coup had collapsed, but it would change the course of history in a way that no one—certainly not the plotters themselves—could have foreseen.

The editor of this volume, who witnessed these momentous events, have assembled firsthand accounts of the attempted coup. They include testimonies from “junta” members and military officers, resistance leaders and ordinary citizens, Muscovites and residents of other locales, Russian and foreign journalists, foreign visitors and returning émigrés, as well as Mikhail Gorbachev and Boris Yeltsin. Key documents and photographs complement the individual accounts.

The provocative introduction to the volume places the August events in the larger context—from the early days of perestroika and glasnost to the second confrontation at the White House, in October 1993.

Commonwealth Prize–winning author Rana Dasgupta examines one of the most important trends of our time: the growth of the global elite. Since the economic liberalization of 1991, wealth has poured into India, and especially into Delhi. bears witness to the extraordinary transmogrification of India’s capital city, charting its emergence from a rural backwater to the center of the new Indian middle class. No other city on earth better embodies the breakneck, radically disruptive nature of the global economy’s growth over the past twenty years.

India has not become a new America, though. It more closely resembles post–Soviet Russia with its culture of tremendous excess and undercurrents of gangsterism. But more than anything else, India’s capital, Delhi, is an avatar for capitalism unbound.  is an intimate portrait of this very distinct place as well as a parable for where we are all headed.

In the style of V. S. Naipaul’s now classic personal journeys, Dasgupta travels through Delhi to meet with extraordinary characters who mostly hail from what Indians call the new Indian middle class, but they are the elites, by any measure. We first meet Rakesh, a young man from a north Indian merchant family whose business has increased in value by billions of dollars in recent years. As Dasgupta interviews him by his mammoth glass home perched beside pools built for a Delhi sultan centuries before, the nightly party of the new Indian middle class begins. To return home, Dasgupta must cross the city, where crowds of Delhi’s workers, migrants from the countryside, sleep on pavements. The contrast is astonishing.

In a series of extraordinary meetings that reveals the attitudes, lives, hopes, and dreams of this new class, Dasgupta meets with a fashion designer, a tech entrepreneur, a young CEO, a woman who has devoted her life to helping Delhi’s forgotten poor — and many others. Together they comprise a generation on the cusp, like that of fin-de-siècle Paris, and who they are says a tremendous amount about what the world will look like in the twenty-first century.

Paris. The name alone conjures images of chestnut-lined boulevards, sidewalk cafés, breathtaking façades around every corner—in short, an exquisite romanticism that has captured the American imagination for as long as there have been Americans.

In 1995, Adam Gopnik, his wife, and their infant son left the familiar comforts and hassles of New York City for the urbane glamour of the City of Light. Gopnik is a longtime writer, and the magazine has sent its writers to Paris for decades—but his was above all a personal pilgrimage to the place that had for so long been the undisputed capital of everything cultural and beautiful. It was also the opportunity to raise a child who would know what it was to romp in the Luxembourg Gardens, to enjoy a croque monsieur in a Left Bank café—a child (and perhaps a father, too) who would have a grasp of that Parisian sense of style we Americans find so elusive.

So, in the grand tradition of the American abroad, Gopnik walked the paths of the Tuileries, enjoyed philosophical discussions at his local bistro, wrote as violet twilight fell on the arrondissements. Of course, as readers of Gopnik’s beloved and award-winning “Paris Journals” in know, there was also the matter of raising a child and carrying on with day-to-day, not-so-fabled life. Evenings with French intellectuals preceded middle-of-the-night baby feedings; afternoons were filled with trips to the Musée d’Orsay and pinball games; weekday leftovers were eaten while three-star chefs debated a “culinary crisis.”

As Gopnik describes in this funny and tender book, the dual processes of navigating a foreign city and becoming a parent are not completely dissimilar journeys—both hold new routines, new languages, a new set of rules by which everyday life is lived. With singular wit and insight, Gopnik weaves the magical with the mundane in a wholly delightful, often hilarious look at what it was to be an American family man in Paris at the end of the twentieth century. “We went to Paris for a sentimental reeducation—I did anyway-even though the sentiments we were instructed in were not the ones we were expecting to learn, which I believe is why they call it an education.”

From the author of , a beguiling tour of the morals and manners of our present food mania, in search of eating’s deeper truths.

Never before have we cared so much about food. It preoccupies our popular culture, our fantasies, and even our moralizing. With our top chefs as deities and finest restaurants as places of pilgrimage, we have made food the stuff of secular seeking and transcendence, finding heaven in a mouthful. But have we come any closer to discovering the true meaning of food in our lives? With inimitable charm and learning, Adam Gopnik takes us on a beguiling journey in search of that meaning as he charts America’s recent and rapid evolution from commendably aware eaters to manic, compulsive gastronomes.

A healing path using the power of dreams, theater, poetry, and shamanism

• Shows how psychological realizations can cause true transformation when manifested by concrete poetic acts

• Includes many examples of the surreal but successful actions Jodorowsky has prescribed to those seeking his help

While living in Mexico, Alejandro Jodorowsky became familiar with the colorful and effective cures provided by folk healers. He realized that it is easier for the unconscious to understand the language of dreams than that of rationality. Illness can even be seen as a physical dream that reveals unresolved emotional and psychological problems.

Psychomagic presents the shamanic and genealogical principles Jodorowsky discovered to create a healing therapy that could use the powers of dreams, art, and theater to empower individuals to heal wounds that in some cases had traveled through generations. The concrete and often surreal poetic actions Jodorowsky employs are part of an elaborate strategy intended to break apart the dysfunctional persona with whom the patient identifies in order to connect with a deeper self. That is when true transformation can manifest.

For a young man who complained that he lived only in his head and was unable to grab hold of reality and advance toward the financial autonomy he desired, Jodorowsky gave the prescription to paste two gold coins to the soles of his shoes so that all day he would be walking on gold. A judge whose vanity was ruling his every move was given the task of dressing like a tramp and begging outside one of the fashionable restaurants he loved to frequent while pulling glass doll eyes out of his pockets. The lesson for him was that if a tramp can fill his pockets with eyeballs, then they must be of no value, and thus the eyes of others should have no bearing on who you are and what you do. Taking his patients directly at their words, Jodorowsky takes the same elements associated with a negative emotional charge and recasts them in an action that will make them positive and enable them to pay the psychological debts hindering their lives.

Jodorowsky’s memoirs of his experiences with Master Takata and the group of wisewomen-magiciennes-who influenced his spiritual growth

• Reveals Jodorowsky turning the same unsparing spiritual vision seen in El Topo to his own spiritual quest

• Shows how the author’s spiritual insight and progress was catalyzed repeatedly by wisewoman shamans and healers

In 1970, John Lennon introduced to the world Alejandro Jodorowsky and the movie, El Topo, that he wrote, starred in, and directed. The movie and its author instantly became a counterculture icon. The New York Times said the film “demands to be seen,” and Newsweek called it “An Extraordinary Movie!” But that was only the beginning of the story and the controversy of El Topo, and the journey of its brilliant creator. His spiritual quest began with the Japanese master Ejo Takata, the man who introduced him to the practice of meditation, Zen Buddhism, and the wisdom of the koans. Yet in this autobiographical account of his spiritual journey, Jodorowsky reveals that it was a small group of wisewomen, far removed from the world of Buddhism, who initiated him and taught him how to put the wisdom he had learned from his master into practice.

At the direction of Takata, Jodorowsky became a student of the surrealist painter Leonora Carrington, thus beginning a journey in which vital spiritual lessons were transmitted to him by various women who were masters of their particular crafts. These women included Doña Magdalena, who taught him “initiatic” or spiritual massage; the powerful Mexican actress known as La Tigresa (the “tigress”); and Reyna D’Assia, daughter of the famed spiritual teacher G. I. Gurdjieff. Other important wisewomen on Jodorowsky’s spiritual path include María Sabina, the priestess of the sacred mushrooms; the healer Pachita; and the Chilean singer Violeta Parra. The teachings of these women enabled him to discard the emotional armor that was hindering his advancement on the path of spiritual awareness and enlightenment.

There has never been an artist like the polymathic Chilean director, author, and mystic Alejandro Jodorowsky. For eight decades, he has blazed new trails across a dazzling variety of creative fields. While his psychedelic, visionary films have been celebrated by the likes of John Lennon, Marina Abramovic, and Kanye West, his novels — praised throughout Latin America in the same breath as those of Gabriel García Márquez — have remained largely unknown in the English-speaking world. Until now.

Where the Bird Sings Best tells the fantastic story of the Jodorowskys’ emigration from Ukraine to Chile amidst the political and cultural upheavals of the 19th and 20th centuries. Like One Hundred Years of Solitude, Jodorowsky’s book transforms family history into heroic legend: incestuous beekeepers hide their crime with a living cloak of bees, a czar fakes his own death to live as a hermit amongst the animals, a devout grandfather confides only in the ghost of a wise rabbi, a transgender ballerina with a voracious sexual appetite holds a would-be saint in thrall. Kaleidoscopic, exhilarating, and erotic, Where the Bird Sings Best expands the classic immigration story to mythic proportions.