The rolling hills, the medieval hill-towns, the luminous sky that inspired the masters of the Renaiscanc is one of nature’s and man’s most awe inspiring achievements. Photographer Ferenc Máté, a 30 year resident of Tuscany, captures it all throughout the seasons. From brooding castles, to dreamy farmhouses, from tiny hamlets to the endless open landscapes, Mr.Máté’s images never cease to amaze— they invite us to dream.

Of course Tuscany has the world’s best food and wine. So each month’s date grid has an insert of the best dish of the season, and a link to the complete recipes.

So buonviaggio and buon-appetito.

Cuz means both “cousin” and “because.” In this searing memoir, Allen unfurls a “new American story” about a world tragically transformed by the sudden availability of narcotics and the rise of street gangs—a collision, followed by a reactionary War on Drugs, that would devastate not only South Central L.A. but virtually every urban center in the nation. At thirteen, sensitive, talkative Michael Allen was suddenly tossed into this cauldron, a violent world where he would be tried at fifteen as an adult for an attempted carjacking, and where he would be sent, along with an entire generation, cascading into the spiral of the Los Angeles prison system.

Throughout her cousin Michael’s eleven years in prison, Danielle Allen—who became a dean at the University of Chicago at the age of thirty-two—remained psychically bonded to her self-appointed charge, visiting Michael in prison and corresponding with him regularly. When she finally welcomed her baby cousin home, she adopted the role of “cousin on duty,” devotedly supporting Michael’s fresh start while juggling the demands of her own academic career.

As Cuz heartbreakingly reveals, even Allen’s devotion, as unwavering as it was, could not save Michael from the brutal realities encountered by newly released young men navigating the streets of South Central. The corrosive entanglements of gang warfare, combined with a star-crossed love for a gorgeous woman driving a gold Mercedes, would ultimately be Michael’s undoing.

In this Ellisonian story of a young African American man’s coming-of-age in late twentieth-century America, and of the family who will always love Michael, we learn how we lost an entire generation.

Dermansky evokes an edgy, capricious, and beautifully haunting heroine—one whose search for realization is as wonderfully unpredictable and hypnotic as the twists and turns of the Pacific Coast Highway. Tautly wound, transgressive, and mordantly funny, The Red Car is an incisive exploration of one woman’s unusual route to self-discovery.

For indeed, May 1940 was a month like no other. The superior German war machine blazed into France, as the Maginot Line, supposedly “as firmly fixed in place as the Pyramids,” crumbled in days. With the fall of Holland and Belgium, the imminent fall of Paris, the British Army stranded at Dunkirk, and Neville Chamberlain’s government in political freefall, Winston Churchill became prime minister on this historical nadir of May 10, 1941. Britain, diplomatically isolated, was suddenly the only nation with the courage and the resolve to defy Hitler.

Against this vast historical canvas, Korda relates what happened and why. We first meet him at the age of six, surrounded by his glamorous movie family: his stage actress mother; his elegant father, Vincent, soon to receive an Academy Award; and his devoted Nanny Low, with whom he cites his evening prayers. Even the cheery BBC bulletins that Michael listened to every night could not mask the impending catastrophe, the German invasion so certain that the young boy, carrying his passport on a string around his neck, was evacuated to Canada on an ocean liner full of children.

Such alarm was hardly exaggerated. No one, after all, could have ever imagined that the most unlikely flotilla of destroyers—Dutch barges, fishing boats, yachts, and even rowboats— would rescue over 300,000 men off the beach at Dunkirk and home to England. The miraculous return of the army was greeted with a renewed call for courage, and in the months that followed, the lives of tens of millions would be inexorably transformed, often tragically so, by these epochal weeks of May 1940.

It is this pivotal turning point in world history that Korda captures with such immediacy in Alone, a work that triumphantly demonstrates that even the most calamitous defeats can become the most legendary victories.

Yet the creative demands posed by airing live sporting contests, as impressive as the final product is, pale in contrast with the ambitions of “cinematic auteurs,” who are inspired by great directors, like Serge Eisenstein, Max Ophuls, or Alfred Hitchcock, among many others. As daunting as the challenge is, the process of integrating the highest artistic standards of previous generations into the medium of “live cinema” can, Coppola explains, be achieved, thus creating an entirely new art form for the so-called “screen.” Tapping into his own encyclopedic knowledge of twentieth-century film history, Coppola threads his vision of this burgeoning cinematic medium with autobiographical and historical vignettes gleaned from the past, recalling his own boyhood obsession with film and his early fascination with the “Golden Age of Television,” when 1950s viewers were treated to live productions of classics, like Days of Wine and Roses and Requiem for a Heavyweight.

Especially exciting is the exhilaration and drama that results from retraining actors and using a multitude of cameras to create a film that has the in-the-moment energy of a live event. Having already tried out this new medium with “proof-of-concept workshops” at Oklahoma City Community College and at UCLA, Coppola has created an invaluable guide for students and teachers alike. Filled with discussions of how to rehearse actors, how to choose scenery and location, and how to overcome theatrical, as well as technical, obstacles, Live Cinema and Its Techniques reveals how the spontaneity of this new genre can ultimately transport filmmaking into a new era of creativity still unimaginable today.

Featuring chapters on:

• A Short History of Film and Television
• The Actors, Acting, and Rehearsal
• The Question of Style in the Cinema
• Obstacles and Other Thoughts on Live Cinema No Matter What They May Be
• Equipment: Now and in the Near Future