Baddest Man

"Remarkable . . . Do not think of this as a boxing book, but boxing does make a colorful and primal backdrop for a uniquely American book, filled with enough mentors and monsters to do any Dickens novel justice.” —Chicago Tribune

From the acclaimed New York Times bestselling author whose coverage of Mike Tyson and his inner circle dates back to the 1980s, a magnificent noir epic about fame, race, greed, criminality, trauma, and the creation of the most feared and mesmerizing fighter in boxing history.

On an evening that defined the "greed is good" 1980s, Donald Trump hosted a raft of celebrities and high rollers in a carnival town on the Jersey Shore to bask in the glow created by a twenty-one-year-old heavyweight champion. Mike Tyson knocked out Michael Spinks that night and in ninety-one frenzied seconds earned more than the annual payrolls of the Los Angeles Lakers' and Boston Celtics' players combined.

It had been just eight years since Tyson, a feral child from a dystopian Brooklyn neighborhood, was delivered to boxing’s forgotten wizard, Cus D’Amato, who was living a self-imposed exile in upstate New York. Together, Cus and the Kid were an irresistible story of mutual redemption—darlings to the novelists, screenwriters, and newspapermen long charmed by D’Amato, and perfect for the nascent industry of cable television. Way before anyone heard of Tony Soprano, Mike Tyson was HBO’s leading man.

It was the greatest sales job in the sport’s history, and the most lucrative. But the business of Tyson concealed truths that were darker and more nuanced than the script would allow.

The intervening decades have seen Tyson villainized, lionized, and fetishized—but never, until now, fully humanized. Mark Kriegel, an acclaimed biographer regarded as “the finest boxing writer in America,” was a young cityside reporter at the New York Daily News when he was first swept up in the Tyson media hurricane, but here he measures his subject not by whom he knocked out but by what he survived. Though Tyson was billed as a modern-day Jack Dempsey, in truth he was closer to Sonny Liston: Tyson was Black, feared, and born to die young. What made Liston a pariah, though, would make Tyson—in a way his own handlers could never understand—a touchstone for a generation raised on a soundtrack of hip hop and gunfire.

What Peter Guralnick did for Elvis in Last Train to Memphis and James Kaplan for Sinatra in Frank, Kriegel does for Tyson. It’s not just the dizzying ascent that he captures but also Tyson’s place in the American psyche.

Standard and Primary covers are widely available through general retailers. They often have higher print runs and can be cheaper, especially during sales.

In contrast, Direct Market (DM) and variant covers are primarily sold in comic shops. DM editions tend to have more limited availability and may be more valuable to collectors.

The main differences lie in artwork style, availability, price, and collector appeal. Ultimately, the choice between standard and variant covers depends on personal preference, budget, and individual collecting goals.

Comic book enthusiasts have various formats to choose from when collecting their favorite stories.
Here's a brief overview of the main types:

Omnibus

• Large, hardcover collections
• Usually contain complete runs or extensive story arcs
• Typically 800-1000+ pages
• Higher price point, often €100-€150

Oversized Hardcover (OHC)

• Similar dimensions to omnibus, but thinner
• Collect shorter runs or story arcs
• Usually 300-600 pages
• Priced between €30-€50

Hardcover (HC)

• Standard-sized hardcover books
• Collect 6-12 issues typically
• Similar dimensions to single issues, but with a hard cover
• Priced around €25-€35

Trade Paperback (TP)

• Softcover collections
• Standard comic book size
• Usually collect 4-6 issues
• Most affordable option, typically €15-€25

Other Formats

• Absolute Editions: Oversized, deluxe hardcovers (mainly DC Comics)
• Compendiums: Massive paperback collections
• Graphic Novels (OGN/GN): Original stories not previously released as single issues

The choice between these formats often depends on personal preference, budget, and collecting goals. Omnibus and OHC editions offer larger artwork and more content but at a higher price, while TPs provide a more affordable way to collect complete story arcs