Icons

At once a pop culture icon, cult figure, and film industry outsider, master filmmaker David Lynch and his work defy easy definition. Dredged from his subconscious mind, Lynch's work is primed to act on our own subconscious, combining heightened, contradictory emotions into something familiar but inscrutable. No less than his art, Lynch's life also evades simple categorization, encompassing pursuits as a musician, painter, photographer, carpenter, entrepreneur, and vocal proponent of Transcendental Meditation.

Van Gogh is a vivid portrait of the great Impressionist painter that traces his life from the Netherlands, where he was born into a family of art dealers, through his years in England, the Hague, and Paris, to his final home in Arles, where he discovered the luminous style of his late paintings before his suicide at the age of thirty-seven.

A view into the tumultuous and creative life of Edgar Allan Poe. Today the name Edgar Allan Poe invokes a tragic genius whose mastery of horror seems inexorably tied to his tormented life. But in his own time, Poe was above all a craftsman-an editor and reviewer desperately trying to earn a living by transmuting the wild ephemera of early Victorianism into innovations in science fiction, horror, and detective literature.

Paul Johnson, the most celebrated popular historian of our time, takes a scalpel to Stalin, whom he considers "one of the outstanding monsters of history." Johnson sets forth the essence of Stalin’s life, character, and career. "It has been a hateful task, which has caused me much pain and disgust," he writes with characteristic candor. "But it has been a duty I have performed not without a certain grim satisfaction."

Phoebe Hoban, author of definitive biographies of Jean-Michel Basquiat and Alice Neel, now turns her attention to Lucian Freud, the grandson of Sigmund and one of the greatest painters England has produced. Lucian Freud: Eyes Wide Open is the first biography to assess Freud’s work and life, showing how the two converge.

Three years after his death at 91, J.D. Salinger remains our most mythic writer. The Catcher in the Rye (1951) became an American classic, and he was for a long time the writer for The New Yorker. Franny and Zooey and Raise High the Roof Beam, Carpenters introduced, by way of the Glass family, a new type in contemporary literature: the introspective, voluble cast of characters whose stage is the Upper East Side of New York. But fame proved a burden, and in 1953 Salinger fled to New Hampshire, spending the next half century in isolation.