What Remains

A stunning, tragic memoir about John F. Kennedy Jr., his wife Carolyn Bessette, and his cousin Anthony Radziwill, by Radziwill's widow. What Remains is a vivid and haunting memoir about a girl from a working-class town who becomes an award-winning television producer and marries a prince, Anthony Radziwill. Carole grew up in a small suburb with a large, eccentric cast of characters. At nineteen, she struck out for New York City to find a different life. Her career at ABC News led her to the refugee camps of Cambodia, to a bunker in Tel Aviv, and to the scene of the Menendez murders. Her marriage led her into the old world of European nobility and the newer world of American aristocracy. What Remains begins with loss and returns to loss. A small plane plunges into the ocean carrying John F. Kennedy Jr., Anthony's cousin, and Carolyn Bessette Kennedy, Carole's closest friend. Three weeks later Anthony dies of cancer. With unflinching honesty and a journalist's keen eye, Carole Radziwill explores the enduring ties of family, the complexities of marriage, the importance of friendship, and the challenges of self-invention. Beautifully written, What Remains "gets at the essence of what matters," wrote Oprah Winfrey. "Friendship, compassion, destiny."

A stunning, tragic memoir about John F. Kennedy Jr., his wife Carolyn Bessette, and his cousin Anthony Radziwill, by Radziwill's widow. What Remains is a vivid and haunting memoir about a girl from a working-class town who becomes an award-winning television producer and marries a prince, Anthony Radziwill. Carole grew up in a small suburb with a large, eccentric cast of characters. At nineteen, she struck out for New York City to find a different life. Her career at ABC News led her to the refugee camps of Cambodia, to a bunker in Tel Aviv, and to the scene of the Menendez murders. Her marriage led her into the old world of European nobility and the newer world of American aristocracy. What Remains begins with loss and returns to loss. A small plane plunges into the ocean carrying John F. Kennedy Jr., Anthony's cousin, and Carolyn Bessette Kennedy, Carole's closest friend. Three weeks later Anthony dies of cancer. With unflinching honesty and a journalist's keen eye, Carole Radziwill explores the enduring ties of family, the complexities of marriage, the importance of friendship, and the challenges of self-invention. Beautifully written, What Remains "gets at the essence of what matters," wrote Oprah Winfrey. "Friendship, compassion, destiny."

Internationally renowned as one of the twentieth century’s foremost public intellectuals, Hannah Arendt was also intensely private. Though she often acknowledged that the language of poetry—especially that of Dickinson, Goethe and Lowell—informed her work, only a few people knew that Arendt herself wrote poems. In fact, between 1923 and 1961, Arendt wrote seventy-four poems, many of them signposts in an otherwise unwritten autobiography. For nearly forty years after her death, these poems remained hidden among the archives of the Library of Congress, until 2011, when they were rediscovered by scholar and translator Samantha Rose Hill. Now, for the first time in English, Hill and Genese Grill present Arendt’s poems in chronological order, taking us from the zenith of the Weimar Republic to the Cold War, and from Marburg, Germany, to New York’s Upper West Side. Throughout, Arendt uses poetry to mark moments of joy, love, loss and reflection. In “W. B.,” written in 1942, she remembers Walter Benjamin, who died near the French-Spanish border while attempting to flee the Nazis: “Gentle whispering melodies / Sound from the darkness. / We listen so we can let go.” So, too, she reflects on mutability and transience in 1946: “I know that the houses have fallen. / We entered the world in them, wonderfully sure, that they / were more durable than ourselves.” She tries to understand her place in the world: “Ironically foolish, / I’ve forgotten nothing, / I know the emptiness, / I know the burden, / I dance, I dance / In ironic splendor.” A gift to all readers of Arendt, this stunning, dual-language edition provides an unparalleled view into the inner sanctum of one of our most original thinkers.

Internationally renowned as one of the twentieth century’s foremost public intellectuals, Hannah Arendt was also intensely private. Though she often acknowledged that the language of poetry—especially that of Dickinson, Goethe and Lowell—informed her work, only a few people knew that Arendt herself wrote poems. In fact, between 1923 and 1961, Arendt wrote seventy-four poems, many of them signposts in an otherwise unwritten autobiography. For nearly forty years after her death, these poems remained hidden among the archives of the Library of Congress, until 2011, when they were rediscovered by scholar and translator Samantha Rose Hill. Now, for the first time in English, Hill and Genese Grill present Arendt’s poems in chronological order, taking us from the zenith of the Weimar Republic to the Cold War, and from Marburg, Germany, to New York’s Upper West Side. Throughout, Arendt uses poetry to mark moments of joy, love, loss and reflection. In “W. B.,” written in 1942, she remembers Walter Benjamin, who died near the French-Spanish border while attempting to flee the Nazis: “Gentle whispering melodies / Sound from the darkness. / We listen so we can let go.” So, too, she reflects on mutability and transience in 1946: “I know that the houses have fallen. / We entered the world in them, wonderfully sure, that they / were more durable than ourselves.” She tries to understand her place in the world: “Ironically foolish, / I’ve forgotten nothing, / I know the emptiness, / I know the burden, / I dance, I dance / In ironic splendor.” A gift to all readers of Arendt, this stunning, dual-language edition provides an unparalleled view into the inner sanctum of one of our most original thinkers.

Arguably the most important—and influential—German woman writer of the last century, Christa Wolf was long heralded as "die gesamtdeutsche Autorin," an author for all of Germany; but, after 1989 in unified Germany, Wolf found herself suddenly embroiled in controversies that challenged her integrity and consigned her to an ideologically suspect identity as "DDR Schriftstellerin” (GDR writer) or “Staatsdichterin” (state poet). What Remains: Responses to the Legacy of Christa Wolf asks the question of what truly remains of her legacy in the annals of contemporary German culture and history. Unlike most of what appeared in the wake of Wolf’s death, however, the contributions to this international volume seek neither to monumentalize her nor to dismantle her stature, but to employ a range of methodologies—comparative, intertextual, psychoanalytic, historical, transcultural—to offer sensitive assessments of Wolf’s major literary texts, as well as of her lesser known work in genres such as film and essay.