From inside the book on Amazon website:
In Montparnasse begins on the eve of the First World War and ends with the 1936 unveiling of Dalí’s Lobster Telephone. As those extraordinary years unfolded, the Surrealists found ever more innovative ways of exploring the interior life, and asking new questions about how to define art. In Montparnasse recounts how this artistic revolution came to be amidst the salons and cafés of that vibrant neighborhood.
Sue Roe is both an incisive art critic of these pieces and a beguiling biographer with a fingertip feel for this compelling world. Beginning with Duchamp, Roe then takes us through the rise of the Dada movement, the birth of Surrealist photography with Man Ray, the creation of key works by Ernst, Cocteau, and others, through the arrival of Dalí. On canvas and in their readymades and other works these artists juxtaposed objects never before seen together to make the viewer marvel at the ordinary—and at the workings of the subconscious. We see both how this art came to be and how the artists of Montparnasse lived.
To find out more: https://www.penguinrandomhouse.com/books/533938/in-montparnasse-by-sue-roe/
That’s the kind of astonishing illumination you’ll find in The Trojan War Museum, Ayşe Papatya Bucak’s debut story collection. These are stories that reflect the author’s Turkish heritage and a curiosity about our human search for meaning as profound as it is lyrical. The stories are music. They beguile and illuminate with narratives about yearning and desire, circumstance and courage, resilience and discovery. Reading them, while the reading lasts, replaces seeing.
More than 1,600 museums nationwide will be opening their doors for free on Sept. 21 in honor of Museum Day.
No Time to Die, as Bond 25 is called, will be out on April 8, 2020 in the U.S. and April 3 in the UK.
Comprising 55 Gauguin masterworks on loan from Copenhagen’s Ny Carlsberg Glyptotek, as well as some 35 objects from the collection of the Saint Louis Art Museum, “Paul Gauguin: The Art of Invention,” now on view in St Louis, offers a superb overview and deep insight into the life, thought and art of this quasi-mythological being whose shadow looms large not only over artistic Modernism but over the very romantic notion of the artist who sacrifices everything for art.
Faced with the question of why Some Like It Hot has topped BBC Culture’s poll of the best ever big-screen comedies, it’s tempting to say something similar. Wilder’s glittering masterpiece doesn’t just use the handsomest kid in town (and a terrific actor, to boot), but its most radiant sex symbol, Marilyn Monroe, and one of its most dexterous comedians, Jack Lemmon. It also has a bevy of bathing beauties, a crowd of sinister mafiosi, a glamorous seaside setting in the roaring ‘20s, and a sizzling selection of songs.
The album was rumored to be originally titled Look, but the title was changed to In Through the Out Door as a nod to the band overcoming their struggles. (“That’s the hardest way to get back in,” Page said). 
At the center of the attack on those of us born between 1946 and 1964, days when the U.S. birth rate was extraordinarily high, is our supposed radical individualism. Its roots are said to be found in the excesses of the 1960s, a decade for which “boomers have become fall guys.”
Seventy-five years ago, “Double Indemnity” opened in theaters across America. It was an instant hit, and remains to this day a staple offering of revival houses and on cable TV and streaming video. Yet little journalistic notice has been taken of the birthday of Billy Wilder’s first great screen drama, a homicidal thriller that nonetheless had—and has—something truly unsettling to say about the dark crosscurrents of middle-class American life.
When Diana, Princess of Wales, attended the Met’s Costume Institute Gala in 1996, a black-tie-clad Mr. Barelli was at her side. “I wasn’t nervous, but the pressure!” he said. “You don’t want anything to go wrong.” The princess had one request: that he keep an eye on the black lace shoulder straps of her midnight blue Dior dress and adjust them if they slipped. “I almost told her: ‘Yeah, right, I have to touch your dress.’ That’s all I have to do. I think my wife would be a little upset,” he recalled. There was no wardrobe malfunction and the evening went off without a hitch, although Mr. Barelli remembers security concerns putting a damper on the fun-loving princess. “We couldn’t let her dance,” he said.
Boomers Daily 