Search results for ""author monroe"

For Arthur Miller's centennial year, The Library of America and editor Tony Kushner present the final volume in the definitive collected edition of the essential American dramatist. Here are eleven masterful, haunting, funny, and provocative later plays, from the double-bill Danger: Memory (1987) to Finishing the Picture (2004), Miller’s final stage work, based loosely on events around the filming of The Misfits, in 1960, with Marilyn Monroe. In between, Miller revisits the perennially rich themes that define his work—the vagaries of fate and chance, the press of public events on private lives—with such plays as The Ride Down Mt. Morgan, The Last Yankee, Broken Glass, Mr. Peters’ Connections, and Resurrection Blues. Also presented in the volume are the early play The Golden Years, about the conquest of Mexico, which Miller revised for its first production in 1987; several shorter one-act plays and never-before-published early works and radio plays; and a selection of Miller’s incisive prose reflections on his art, among them “On Screenwriting and Language” and “About Theatre Language.”LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

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How Black poets have charted the direction of American poetics for the past two centuriesBefore Modernism examines how Black poetics, in antagonism with White poetics in the late eighteenth and early nineteenth centuries, produced the conditions for the invention of modern American poetry. Through inspired readings of the poetry of Phillis Wheatley Peters, George Moses Horton, Ann Plato, James Monroe Whitfield, and Frances Ellen Watkins Harper—as well as the poetry of neglected but once popular White poets William Cullen Bryant and Henry Wadsworth Longfellow—Virginia Jackson demonstrates how Black poets inspired the direction that American poetics has taken for the past two centuries. As an idea of poetry based on genres of poems such as ballads, elegies, odes, hymns, drinking songs, and epistles gave way to an idea of poetry based on genres of people—Black, White, male, female, Indigenous—almost all poetry became lyric poetry. Jackson discusses the important role played by Frederick Douglass as an influential editor and publisher of Black poetry, and traces the twisted paths leading to our current understanding of lyric, along the way presenting not only a new history but a new theory of American poetry.A major reassessment of the origins and development of American poetics, Before Modernism argues against a literary critical narrative that links American modernism directly to British or European Romanticism, emphasizing instead the many ways in which early Black poets intervened by inventing what Wheatley called “the deep design” of American lyric.

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WWII was devastating to Europe, but the U.S. emerged with a robust economy. People who were encouraged to save every cent for the war effort now spent freely, including on magazines. The U.S. quickly came to dominate the men’s magazine market. Playboy, launched in December 1953, made a huge impact on publishing, but it was not the only American men’s magazine in the 1950s. The quirky burlesque titles Beauty Parade, Wink, Titter and Eyeful, featuring Bettie Page and covers by artist Peter Driben, inspired a spate of competing titles. Much loved WWII pin-ups, often of aspiring starlets, led to “news and nudes” titles with cover girls Marilyn Monroe and Jayne Mansfield, and to more lurid titles like Shock, blending burlesque and celebrity scandal. In New York City a clandestine fetishist magazine industry, bankrolled by the mob, emerged, first with John Willie’s Bizarre, then Lenny Burtman’s female dominant Exotique. Argentina, with a strong European influence, produced sophisticated Vea (Watch), while England, suffering paper shortages, produced little magazines with big buxom models, charting a path it would maintain through the 1960s. Then came Playboy. Eschewing the strippers, Hugh Hefner offered up “the girl next door,” eroticized innocence, and espoused consumerism as the route to sexual success. This combination made Playboy the most successful men’s magazine in history, shaping international publishing for decades. Volume 2 in this series contains over 650 magazine covers and photos from the U.S., Mexico, Argentina and England, plus informative essays.

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Located in the heart of Wall Street, Delmonico s has been shaping and shaking up New York City s restaurant scene for more than a century, weathering Prohibition, the stock market crash of 1929, and the whims and demands of a star-studded clientele that had included Marilyn Monroe, Jaqueline Kennedy Onassis, and Gypsy Rose Lee. Oscar Tucci, who purchased the restaurant from the Delmonico family in 1926, is an icon of restaurant dining, whose influence can still be seen in how we eat today: he introduced a la carte dining and white tablecloths in the dining room, created the phenomenon known as the Power Lunch, and developed a strict code of hospitality, etiquette, and operations known as the Delmonico Way. This book, told through the eyes of Oscar s grandson, Max, who grew up in the family business, pulls the velvet curtain back on the grand mix of business and pleasure that went on front of house and behind the scenes, and also provides entertaining tips and recipes so you can relive the epic Delmonico s glamour at home. Each chapter is organized a style of dining that Delmonico s pioneered or perfected, so that you can host an impressive power lunch (featuring the restaurant s signature wedge salad); a glamorous cocktail soiree before a night on the town with canapes such as oysters Rockefeller, Devils on Horseback, and shrimp cocktail; and the perfect romantic dinner with a showstopping seafood tower and Rib Eye Bordelaise for two.

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La historia de María Margarita, una niña con el extraño don de contar películas.Mientras tomaba mi taza de té y me preparaba a contar la película de pie contra la pared blanca, mi padre no se cansaba de repetir a sus invitados que aunque la película fuera en blanco y negro y a medida pantalla, esta niñita, compadres, parece que la contara en tecnicolor y cinemascope.Cuando al poblado llega una de Marilyn Monroe, Gary Cooper o Charlton Heston, o una mexicana con hartas canciones, en su casa se juntan las monedas exactas para un boleto y la mandan a ella a verla. Al llegar del cine tiene que contarle la película a su padre, postrado en un sillón de ruedas, y a sus cuatro hermanos. Luego, ya famosa, a todo un público que la espera impaciente.Junto a las peripecias de la niña, convertida de pronto en la mejor contadora de películas de la salitrera, Hernán Rivera Letelier va narrando la historia mágica de los cines en la pampa, en sus tiempos de esplendor y decadencia.

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From her idyllic childhood in the American midwest, to her Oscar-nominated performance in Sunset Boulevard (1950) and the social circles of New York and Los Angeles, actress Nancy Olson Livingston has lived abundantly. In her memoir, A Front Row Seat, Livingston treats readers to an intimate, charming chronicle of her life as an actress, wife, and mother, and her memories of many of the most notable figures and moments of her time.Livingston shares reminiscences of her marriages to lyricist and librettist Alan Jay Lerner, creator of award-winning musicals Paint Your Wagon, Gigi, and My Fair Lady (which was dedicated to her), and Alan Wendell Livingston, former president of Capitol Records, who created Bozo the Clown and signed legendary musical artists including Nat King Cole, Frank Sinatra, Judy Garland, The Beach Boys, The Beatles, The Band and Don McLean. One of the last living actors of the Golden Age of Hollywood, Livingston shares memorable encounters with countless celebrities face=Calibri>– William Holden, Billy Wilder, Bing Crosby, Marilyn Monroe, and John Wayne to name a few face=Calibri>– and less pleasant experiences with Howard Hughes and John F. Kennedy that act as reminders of women's long struggle for equality and dignity.Entertaining and engrossing, A Front Row Seat deftly interweaves Livingston's life with her observations of the artists, celebrities, and luminaries with whom she came in contact – a paean to the 20th century and a treasure for readers enamored with a bygone era.

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Beginning with The Jazz Singer (1927) and 42nd Street (1933), legendary Hollywood film producer Darryl F. Zanuck (1902–1979) revolutionized the movie musical, cementing its place in American popular culture. Zanuck, who got his start writing stories and scripts in the silent film era, worked his way to becoming a top production executive at Warner Bros. in the later 1920s and early 1930s. Leaving that studio in 1933, he and industry executive Joseph Schenck formed Twentieth Century Pictures, an independent Hollywood motion picture production company. In 1935, Zanuck merged his Twentieth Century Pictures with the ailing Fox Film Corporation, resulting in the combined Twentieth Century-Fox, which instantly became a new major Hollywood film entity.The Golden Age Musicals of Darryl F. Zanuck: The Gentleman Preferred Blondes is the first book devoted to the musicals that Zanuck produced at these three studios. The volume spotlights how he placed his personal imprint on the genre and how—especially at Twentieth Century-Fox—he nurtured and showcased several blonde female stars who headlined the studio’s musicals—including Shirley Temple, Alice Faye, Betty Grable, Vivian Blaine, June Haver, Marilyn Monroe, and Sheree North. Building upon Bernard F. Dick’s previous work in That Was Entertainment: The Golden Age of the MGM Musical, this volume illustrates the richness of the American movie musical, tracing how these song-and-dance films fit within the career of Darryl F. Zanuck and within the timeline of Hollywood history.

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According to accepted historical wisdom, the goal of the African Colonization Society (ACS), founded in 1816 to return freed slaves to Africa, was borne of desperation and illustrated just how intractable the problems of race and slavery had become in the nineteenth-century United States. But for Brandon Mills, the ACS was part of a much wider pattern of national and international expansion. Similar efforts on the part of the young nation to create, in Thomas Jefferson's words, an "empire of liberty," spanned Native removal, the annexation of Texas and California, filibustering campaigns in Latin America, and American missionary efforts in Hawaii, as well as the founding of Liberia in 1821. Mills contends that these diverse currents of U.S. expansionism were ideologically linked and together comprised a capacious colonization movement that both reflected and shaped a wide range of debates over race, settlement, citizenship, and empire in the early republic. The World Colonization Made chronicles the rise and fall of the colonization movement as a political force within the United States—from its roots in the crises of the Revolutionary era, to its peak with the creation of the ACS, to its ultimate decline with emancipation and the Civil War. The book interrogates broader issues of U.S. expansion, including the progression of federal Indian policy, the foundations and effects of the Monroe Doctrine and Manifest Destiny, and the growth of U.S. commercial and military power throughout the Western hemisphere. By contextualizing the colonization movement in this way, Mills shows how it enabled Americans to envision a world of self-governing republics that harmonized with racial politics at home.

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Author Chris Epting established a new genre in book publishing when a trio of titles in the early 2000s—James Dean Died Here: The Locations of America’s Pop Culture Landmarks, Elvis Presley Passed Here, and Marilyn Monroe Dyed Here—were released to critical acclaim and introduced readers to a groundbreaking travel concept: The pop culture road trip. Epting promptly followed these hugely popular and influential titles with two more legendary books: Led Zeppelin Crashed Here and Roadside Baseball. A Booksense 76 pick at the time, James Dean Died Here was covered by such major news outlets as NPR’s "All Things Considered," USA Today, Los Angeles Times, and Publishers Weekly. Everyone from Ken Burns to The Sporting News to the New York Post expressed their love for Roadside Baseball, while Led Zeppelin Crashed Here was recommended for all public libraries by Library Journal and outlets from the Associated Press to Newsday encouraged any fan of rock and roll history to buy the book. Now, in honor of the 20th anniversary of James Dean Died Here, Epting has produced It Happened Right Here: America’s Pop Culture Landmarks, which collects the best of the best from all of Epting’s prior books, and then adds dozens and dozens of new sites, many of them based on the pop culture of the 21st century.It Happened Right Here once again takes you on a journey across North America to the exact locations where the most significant events in American popular culture took place. It’s a road map for pop culture sites, from Patty Hearst’s bank to the garage where Apple Computer was born. Fully updated, the book includes such new entries as: • The locations featured in such television series as Stranger Things, Breaking Bad, and Curb Your Enthusiasm • Locations celebrating the legacy of legendary musician Prince • The dorm room where Facebook was created • The location of the opening freeway sequence from La La Land • The locations featured in the cult film Napoleon Dynamite • The Jay-Z, Beyonce, Solange elevator incident • The Jussie Smollett Subway sandwich shop location • Steve Bartman's seat location at Wrigley Field • and dozens and dozens of other new sites! Featuring hundreds of photographs, this fully illustrated, updated, and revised encyclopedic look at the locations of the most famous and infamous pop culture events includes the fascinating history of over a thousand landmarks—as well as their exact location. With up-to-date information for the sites included in Epting’s five original titles, plus dozens and dozens of new additions, It Happened Right Here is an amazing portrait of the bizarre, shocking, weird and wonderful moments that have come to define American popular culture.

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This newly revised and greatly expanded edition of Ezra Pound’s Selected Poems is intended to articulate Pound for the twenty-first century. Gone are many of the “stale creampuffs” (as Pound called them) of the 1949 edition. Instead, new emphasis has been laid on the interpenetration of original composition and translation within Pound’s career. New features of this edition include the complete “Homage to Sextus Propertius” in its original lineation, early translations from Cavalcanti, Heine, and the troubadours, as well as late translations of Sophocles, and the Confucian Odes. As a lifelong expatriate, Pound parceled out his work to a variety of journals in England, America, France, and Italy. This new edition takes account of this complex publishing history by giving the poems in the chronological order of their original magazine publication. We can observe Pound as he first emerges onto the literary scene in the pages of Ford Madox Ford’s English Review and Harriet Monroe’s Chicago-based Poetry, and then as an agent provocateur for the avant-garde Little Review, Blast, and The Dial. Unlike all previous selections, this volume provides annotation to all the early poems as well as a running commentary on the later Cantos — indispensable to any reader wanting to follow Pound on his epic odyssey through ancient China, medieval Provence, the Italian Renaissance, the early American Republic, and the darkness of the twentieth century. The editor, Richard Sieburth, provides a chronology of Pound’s life, a new preface, and an informative afterword, “Selecting Pound.” Also included in the appendix are T. S. Eliot’s and John Berryman’s original introductions to Pound’s Selected Poems.

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Inspired by the Hank Williams and Leadbelly recordings he heard as a teenager growing up outside of Boston, Jim Rooney began a musical journey that intersected with some of the biggest names in American music including Bob Dylan, James Taylor, Bill Monroe, Muddy Waters, and Alison Krauss. In It for the Long Run: A Musical Odyssey is Rooney's kaleidoscopic first-hand account of more than five decades of success as a performer, concert promoter, songwriter, music publisher, engineer, and record producer.As witness to and participant in over a half century of music history, Rooney provides a sophisticated window into American vernacular music. Following his stint as a "Hayloft Jamboree" hillbilly singer in the mid-1950s, Rooney managed Cambridge's Club 47, a catalyst of the ‘60’s folk music boom. He soon moved to the Newport Folk Festival as talent coordinator and director where he had a front row seat to Dylan "going electric."In the 1970s Rooney's odyssey continued in Nashville where he began engineering and producing records. His work helped alternative country music gain a foothold in Music City and culminated in Grammy nominations for singer-songwriters John Prine, Iris Dement, and Nanci Griffith. Later in his career he was a key link connecting Nashville to Ireland's folk music scene.Writing songs or writing his memoir, Jim Rooney is the consummate storyteller. In It for the Long Run: A Musical Odyssey is his singular chronicle from the heart of Americana.

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During the early Hollywood sound era, studio director George Cukor produced nearly fifty films in as many years, famously winning theBest Director Oscar at the 1964 Academy Awards for My Fair Lady. His collaborations with so-called difficult actresses such as Katharine Hepburn, Judy Garland, and Marilyn Monroe unsettled producers even as his ticket sales lined their pockets. Fired from Gone with the Wind for giving Vivien Leigh more screen time than Clark Gable, Cukor quickly earned a doublesided reputation as a “woman’s director.” While the label celebrated his ability to help actresses deliver their best performances, the epithet also branded the gay director as suitable only for work on female-centered movies such as melodramas and romantic comedies. Desperate for success after a failed drag film nearly ended his career, Cukor swore to work within Hollywood’s constraints.Nevertheless, What Price Hollywood? Gender and Sex in the Films of George Cukor finds that Cukor continued to explore gender and sexuality on-screen. Drawing on a broad array of theoretical lenses, Elyce Rae Helford examines how Cukor’s award-winning and lesser-known films engage Hollywood masculinity and gender performativity through camp, drag, and mixed genres. Blending biography with critical analysis of more than twenty-five films, What Price Hollywood? tells the story of a once-ina- generation director who produced some of the best films in history.

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In the first collection of a Native American orator's speeches, Granville Ganter presents the complete speeches of Red Jacket or Sagoyewatha (Shay-go-ye-watha), a formidable diplomat and one of the most famous Native American orators of the nineteenth century. As a representative of the Seneca and the Six Nations, Red Jacket negotiated with American presidents from George Washington to Andrew Jackson, establishing a legacy that continues to influence discussions of native sovereignty and cultural identity. In speeches spanning over forty years, he eloquently voiced the rights of Native Americans, opposing the encroachment of white man's religion and culture and the sale of native lands. Presenting more than fifty speeches of Red Jacket, some previously unpublished and others revised using modern standards of textual editing, this volume encourages a wider readership of Red Jacket's work. Ganter's accompanying essays offer a detailed historical framework, presenting archival research about the interpreters and the circumstances of each speech. The great majority of Red Jacket's speeches were interpreted by reliable translators who were often chosen by the Senecas for their accuracy. This edition spans Red Jacket's political career from 1790 to 1830 and includes major addresses to Presidents Washington, Adams, and Monroe. Additionally, it contains original versions of his speeches to evangelical missionaries and land speculators, which circulated for nearly 150 years after Red Jacket's death. This book will stand as the definitive critical edition of Red Jacket's speeches and as a remarkable record of Native American political history. It will be of crucial interest to historians and literary scholars of Native American studies.

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In celebration of his one-hundredth birthday, a charming, irresistibly readable, and handsomely packaged look back at the life and times of the greatest entertainer in American history, Frank Sinatra. Sinatra's Century is an irresistible collection of one-hundred short reflections on the man, his music, and his larger-than-life story, by a lifetime fan who also happens to be one of the poetry world's most prominent voices. David Lehman uses each of these short pieces to look back on a single facet of the entertainer's story-from his childhood in Hoboken, to his emergence as "The Voice" in the 1940s, to the wild professional (and romantic) fluctuations that followed. Lehman offers new insights and revisits familiar stories-Sinatra's dramatic love affairs with some of the most beautiful stars in Hollywood, including Lauren Bacall, Marilyn Monroe, and Ava Gardner; his fall from grace in the late 1940s and resurrection during the "Capitol Years" of the 1950s; his bonds with the rest of the Rat Pack; and his long tenure as the Chairman of the Board, viewed as the eminence grise of popular music inspiring generations of artists, from Bobby Darin to Bono to Bob Dylan. Brimming with Lehman's own lifelong affection for Sinatra, the book includes lists of unforgettable performances; engaging insight on what made Sinatra the model of American machismo-and the epitome of romance; and clear-eyed assessments of the foibles that impacted his life and work. Warm and enlightening, Sinatra's Century is full-throated appreciation of Sinatra for every fan.

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"The greatest American dramatist of our age" - Evening Standard In this second volume of collected works, four of Arthur Miller’s stage plays from the sixties and seventies are brought together in a new edition. Taking up the theme of individual responsibility from his earlier work, this volume also contains an introduction from Miller himself, along with two of his screenplays. One of Miller’s most personal plays, After the Fall (1964) takes place almost entirely inside the mind of the play's protagonist, who is often read as a stand-in for the playwright himself, and touches on themes of the Holocaust, McCarthyism and inherited sin. This was followed by Miller's largely forgotten masterpiece, Incident at Vichy (1964): a prescient examination of the evil that exists in us all, inspired by a real-life incident in France in which a Gentile gave a Jew his identity pass during a check. The Price followed in 1968, a touching and farcical presentation of American life beyond the Vietnam War and Great Depression, which earned Miller a Tony Award nomination for Best Play. In The Creation of the World and Other Business (1972), Miller offers a comedic retelling of the Book of Genesis, constructing a parable around the theme of good-versus-evil. Also included are two of the playwright’s most beloved screenplays: The Misfits, written for and filmed with Marilyn Monroe, and Playing for Time, televised with Vanessa Redgrave. Freshly edited and featuring a bold new design, this updated edition of Arthur Miller Plays 2 is a must-have for theatre fans and students alike.

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The Reverend Howard Finster (1916 2001) was called the backwoods William Blake" and the Andy Warhol of the South," and he is considered the godfather of contemporary American folk and visionary art. This book is the first interpretive analysis of the intertwined artistic and religious significance of Finster's work within the context of the American outsider art" tradition. Finster began preaching as a teenager in the South in the 1930s. But it was not until he received a revelation from God at the age of sixty that he began to make sacred art. A modern-day Noah who saw his art as a religious crusade to save the world before it was too late, Finster worked around the clock, often subsisting on a diet of peanut butter and instant coffee. He spent the last years of his life feverishly creating his environmental artwork called Paradise Garden and what would ultimately number almost fifty thousand works of bad and nasty art." This was visionary work that obsessively combined images and text and featured apocalyptic biblical imagery, flying saucers from outer space, and popular cultural icons such as Elvis Presley, Marilyn Monroe, Henry Ford, Mona Lisa, and George Washington. In the 1980s and 90s, he developed cult celebrity status, and he appeared in the Venice Biennale and on the Tonight Show. His work graced the album covers of bands such as R.E.M. and Talking Heads. This book explores the life and religious-artistic significance of Finster and his work from the personal perspective of religion scholar Norman Girardot, friend to Finster and his family during the later years of the artist's life.

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'Twisty, atmospheric and haunting... I devoured this thriller in one tense sitting' ERIN KELLY. It is the week before Christmas and the cathedral city of St Albans is blanketed by snow. But beneath the festive lights, darkness is stirring. The frozen body of a young girl is discovered by the ice-covered lake. The police scramble for clues. A local woman, Jenny, has had visions of what happened the night of the murder. But Jenny is an exhausted new mother, whose midnight wanderings pull her ever closer to the lake. Can Jenny be trusted? What does she really know? Then another girl goes missing, and the community unravels. Neighbour turns against neighbour, and Jenny has no idea who to believe. As Christmas Eve approaches, Jenny discovers a secret about her past – and why she could be key to everything... PRAISE FOR UNDER THE ICE: 'Twisty, atmospheric and haunting... I devoured this thriller in one tense sitting' Erin Kelly. 'An outstanding debut, so atmospheric it made me literally shiver' Angela Clarke. 'A fantastically evocative book that twists you expertly up in the world of its vivid characters, making you feel the unfolding plot blow by blow' Gytha Lodge. 'Packed with atmosphere, suspense and a cold that chills the heart. Under the Ice announces Rachael Blok as an exciting new voice in crime fiction' Lesley Thomson. 'A lyrical, haunting thriller that's impossible to put down... Under the Ice will get under your skin' J.S. Monroe.

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Titanic. The Marilyn Monroe of ocean liners. A sleek, sultry beauty, taken out way before her time. A kind of 21st century Flying Dutchman, with interiors by Cesar Ritz, still striving to achieve the waters of a port she can never reach. Fuelled by a subtle mixture of horror, fascination and sheer, fatal glamour, she surges heedlessly across the still, starlit calm of our collective subconscious, hell bent on achieving her chilling, near midnight rendezvous with her killer. Titanic is a brilliantly lit stage, carrying her cast of exotic, terminally endangered extras toward an abyss at once both unfathomable and inconceivable. Here's where any similarity with any other tome about the Titanic ends. For the first time ever, a succession of key characters and groups of individuals come to the fore. Centre stage, over seventeen chapters, we meet the men whose decisions, actions and omissions combined like some slow burning powder trail to trigger a final, cataclysmic conclusion; the foundering, in mid Atlantic, of the biggest moving object ever seen on the face of the planet. One by one, a series of individuals take a bow. Seemingly omnipotent owners and hugely experienced ship's officers. Engineers and designers. Would be rescuers and embattled wireless operators. We meet them as individuals, not supermen. Their histories, backgrounds and life experiences are assessed for the first time ever, putting their actions on the night that Titanic sank into a context, a light as stark as that of the distress rockets, arcing into the sky

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Winner of Red Magazine's Book of the Year 2019 'Raw, poetic and breathtaking' Fearne Cotton 'It is rare to find an author who writes with such authenticity, empathy and humour. I couldn't recommend this read enough. It will enrich your life' Will Young 'Poorna's beautiful, thoughtful writing is a gift of calm, laughter and stoic contemplation in an increasingly anxious world. Simultaneously earthed and sometimes ephemeral, this book is absolutely delightsome, compassionate, tender and a lesson to us all in self-love and nurture. I read it in a matter of days and started over again' Jack Monroe Poorna Bell was sold the fairytale of life. That love wins the day. That marriage is the rescue to an otherwise unhappy existence. That children are the natural progression of any relationship. But really, is it? Are we actually being honest with ourselves about the expectations we have set for ourselves? Are we able to distinguish between what we really need from life, from everything that we have been conditioned to want? Because the current rhetoric doesn’t prepare you for the reality. In 2015 Poorna Bell became a widow after her husband Rob took his own life on a winter’s night, having battled depression and addiction. Her situation was unusual when compared to a lot of people, but she was left figuring out exactly the same things. Will she ever be happy? Will she find love again? Who will rescue her from her sadness? Two years on and Poorna is rebuilding her life. And it is from this place – as she works towards choosing what she does and doesn’t want from society, that she will explore a different conversation around fulfillment and self-worth.Cutting across the landscapes in India, New Zealand and Britain, Poorna Bell explores the things endemic in our society such as sadness and loneliness, to unpick why we seek other people to fix what’s inside of us.In Search of Silence is the recognition of the echo chamber we find ourselves in, in terms of what constitutes a successful, fulfilling life. This is a heartfelt, deeply personal journey which asks us all to define what 'happiness' truly means. 'Rich with achingly beautiful language that transports the reader to the streets of Bangalore, the mountain-topped peaks of Nepal and the long and winding roads of New Zealand, I adored absolutely everything about In Search of Silence. A book that will speak to anyone who has grown tired of London, who has lost, who has loved, who has lamented the loss of a loved one, it is a beautiful, life-affirming read that explores solitude, silence and sadness and is underpinned with hope and happiness for the future' The Literary Edit

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Gianni Russo was a handsome twenty-five-year-old mobster with no acting experience when he walked onto the set of The Godfather and entered Hollywood history. He played Carlo Rizzi, the husband of Connie Corleone, who set up her brother Sonny, played by James Caan, for a hit. Russo didn't have to act - he knew the Mob inside and out, from his childhood in Little Italy, to Mafia legend Frank Costello who took him under his wing, to acting as a messenger to New Orleans Mob boss Carlos Marcello during the Kennedy assassination, to having to go on the lam after shooting and killing a member of the Colombian drug cartel in his Vegas club (he was acquitted of murder when the court ruled this as justifiable homicide). Along the way, Russo befriended Frank Sinatra, who became his son's godfather, and Marlon Brando, who mentored his career as an actor after trying to get Francis Ford Coppola to fire him from The Godfather. Russo had passionate affairs with Marilyn Monroe, Liza Minelli and scores of other celebrities. He went on to star in The Godfather: Parts I and II, Seabiscuit, Any Given Sunday and Rush Hour 2, among many other films in which he also acted as producer. Hollywood Godfather is his no-holds-barred account of a life lived on the edge. It is a story filled with violence, glamour, sex - and fun.

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Eager to turn the congressional election of 1918 into a confirmation of his foreign policy, President Woodrow Wilson was criticized for abandoning the spirit of the popular slogan “Politics adjourned!” His predecessor, William Howard Taft, found Wilson difficult to deal with and took issue with his version of the League of Nations, which Taft felt was inferior to the model proposed by the League to Enforce Peace. Rather than join the massive Republican opposition to the Treaty of Versailles, however, Taft instead supported Wilson’s controversial decision to travel to Paris as the head of the American peace delegation, and he defended the critical tenth article in the covenant, which detractors saw as a surrender of American sovereignty. He also counseled Wilson to insert a clause concerning the Monroe Doctrine that would pacify the Senate’s group of “reservationists,” whose votes were essential to approval of the treaty. Volume VII in The Collected Works of William Howard Taft consists of the Taft Papers on League of Nations originally published in 1920. This is a collection ofTaft’s speeches, newspaper articles, and complementary documents that reflect his consistent support for a league of nations and, eventually, for the Covenant of the League of Nations emanating from the Paris Peace Conference. Although the failure of the treaty and its League of Nations can probably be laid at the feet of an obstinate Wilson and a wily Henry Cabot Lodge, William Howard Taft can be credited with rising above partisanship to emerge as the League’s most consistent supporter. As in the rest of the Collected Works, Taft Papers on League of Nations provides a window on the machinations surrounding some of the most significant decisions of the era.

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The James Beard Award–winning, bestselling author of CookWise and KitchenWise delivers a lively and fascinating guide to better baking through food science.Follow kitchen sleuth Shirley Corriher as she solves everything about why the cookie crumbles. With her years of experience from big-pot cooking at a boarding school and her classic French culinary training to her work as a research biochemist at Vanderbilt University School of Medicine, Shirley looks at all aspects of baking in a unique and exciting way. She describes useful techniques, such as brushing your puff pastry with ice water—not just brushing off the flour—to make the pastry higher, lighter, and flakier. She can help you make moist cakes; shrink-proof perfect meringues; big, crisp cream puffs; amazing pastries; and crusty, incredibly flavorful, open-textured French breads, such as baguettes. Restaurant chefs and culinary students know Shirley from their grease-splattered copies of CookWise, an encyclopedic work that has saved them from many a cooking disaster. With numerous “At-a-Glance” charts, BakeWise gives busy people information for quick problem solving. BakeWise also includes Shirley's signature “What This Recipe Shows” in every recipe. This scientific and culinary information can apply to hundreds of recipes, not just the one in which it appears. BakeWise does not have just a single source of knowledge; Shirley loves reading the works of chefs and other good cooks and shares their tips with you, too. She applies not only her expertise but that of the many artisans she admires, such as famous French pastry chefs Gaston Lenôtre and Chef Roland Mesnier, the White House pastry chef for twenty-five years; and Bruce Healy, author of Mastering the Art of French Pastry. Shirley also retrieves "lost arts" from experts of the past such as Monroe Boston Strause, the pie master of 1930s America. For one dish, she may give you techniques from three or four different chefs plus her own touch of science—“better baking through chemistry.” She adds facts such as the right temperature, the right mixing speed, and the right mixing time for the absolutely most stable egg foam, so you can create a light-as-air génoise every time. Beginners can cook from BakeWise to learn exactly what they are doing and why. Experienced bakers find out why the techniques they use work and also uncover amazing pastries from the past, such as Pont Neuf (a creation of puff pastry, pâte à choux, and pastry cream) and Religieuses, adorable “little nuns” made of puff pastry filled with a satiny chocolate pastry cream and drizzled with mocha icing. Some will want it simply for the recipes—incredibly moist whipped cream pound cake made with heavy cream; flourless fruit soufflés; chocolate crinkle cookies with gooey, fudgy centers; huge popovers; famed biscuits. But this book belongs on every baker's shelf.

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The #1 New York Times bestseller, and the inspiration for the hit Broadway musical Hamilton!Pulitzer Prize-winning author Ron Chernow presents a landmark biography of Alexander Hamilton, the Founding Father who galvanized, inspired, scandalized, and shaped the newborn nation."Grand-scale biography at its best—thorough, insightful, consistently fair, and superbly written . . . A genuinely great book." —David McCullough“A robust full-length portrait, in my view the best ever written, of the most brilliant, charismatic and dangerous founder of them all." —Joseph EllisFew figures in American history have been more hotly debated or more grossly misunderstood than Alexander Hamilton. Chernow’s biography gives Hamilton his due and sets the record straight, deftly illustrating that the political and economic greatness of today’s America is the result of Hamilton’s countless sacrifices to champion ideas that were often wildly disputed during his time. “To repudiate his legacy,” Chernow writes, “is, in many ways, to repudiate the modern world.” Chernow here recounts Hamilton’s turbulent life: an illegitimate, largely self-taught orphan from the Caribbean, he came out of nowhere to take America by storm, rising to become George Washington’s aide-de-camp in the Continental Army, coauthoring The Federalist Papers, founding the Bank of New York, leading the Federalist Party, and becoming the first Treasury Secretary of the United States.Historians have long told the story of America’s birth as the triumph of Jefferson’s democratic ideals over the aristocratic intentions of Hamilton. Chernow presents an entirely different man, whose legendary ambitions were motivated not merely by self-interest but by passionate patriotism and a stubborn will to build the foundations of American prosperity and power. His is a Hamilton far more human than we’ve encountered before—from his shame about his birth to his fiery aspirations, from his intimate relationships with childhood friends to his titanic feuds with Jefferson, Madison, Adams, Monroe, and Burr, and from his highly public affair with Maria Reynolds to his loving marriage to his loyal wife Eliza. And never before has there been a more vivid account of Hamilton’s famous and mysterious death in a duel with Aaron Burr in July of 1804.Chernow’s biography is not just a portrait of Hamilton, but the story of America’s birth seen through its most central figure. At a critical time to look back to our roots, Alexander Hamilton will remind readers of the purpose of our institutions and our heritage as Americans.9780143034759

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Painting expressive portraits of iconic faces has never been easier with this unique approach to watercolor painting. In this fresh and super-accessible approach to modern portraiture, artist Nelli Andrejew removes any barriers to painting instantly recognizable faces. In just a few simple brushstrokes you can capture the essence and likeness of 15 international icons and create modern watercolor portraits you will be proud to hang on the wall. The 15 famous personalities included have all made a valuable contribution to the world in some way - be it science, art or human rights. The subtle style of the portraits you'll learn how to paint in this book bring these heroes to life in watercolor, with step-by-step instructions and practical templates for tracing, removing the need for any real skill ; just trace, paint, have fun, and paint portraits that will surprise and delight all who see them. With this book you will learn how to paint: Leonardo DiCaprio , Virginia Woolf , James Dean , Lana Del Rey , Bob Dylan , Michelle Obama , Albert Einstein , Marilyn Monroe , Girl with a Pearl Earring , Martin Luther King Jr. , Audrey Hepburn , Mona Lisa , Coco Chanel , Emma Watson , Vincent Van Gogh In addition to the step-by-step tutorials, Nelli shares her tips and experience in the basic techniques you will need, from how to transfer the templates to your watercolour paper, to different ways to work with watercolors to successful portraits. This beautiful guide will inspire you to try all the faces included and then go on to paint your own original portraits with the same techniques. The perfect way to spend a creative afternoon!

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The esteemed film critic Jonathan Rosenbaum has brought global cinema to American audiences for the last four decades. His incisive writings on individual filmmakers define film culture as a diverse and ever-evolving practice, unpredictable yet subject to analyses just as diversified as his own discriminating tastes. For Rosenbaum, there is no high or low cinema, only more interesting or less interesting films, and the pieces collected here, from an appreciation of Marilyn Monroe's intelligence to a classic discussion on and with Jean-Luc Godard, amply testify to his broad intellect and multifaceted talent. "Goodbye Cinema, Hello Cinephilia" gathers together over fifty examples of Rosenbaum's criticism from the past four decades, each of which demonstrates his passion for the way we view movies, as well as how we write about them. Charting our changing concerns with the interconnected issues that surround video, DVDs, the Internet, and new media, the writings collected here also highlight Rosenbaum's polemics concerning the digital age. From the rediscovery and recirculation of classic films, to the social and aesthetic impact of technological changes, Rosenbaum doesn't disappoint in assembling a magisterial cast of little-known filmmakers as well as the familiar faces and iconic names that have helped to define our era. As we move into this new decade of moviegoing - one in which Hollywood will continue to feel the shockwaves of the digital age - Jonathan Rosenbaum remains a valuable guide. "Goodbye Cinema, Hello Cinephilia" is a consummate collection of his work, not simply for fans of this seminal critic, but for all those open to the wide variety of films he embraces and helps us understand.

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The esteemed film critic Jonathan Rosenbaum has brought global cinema to American audiences for the last four decades. His incisive writings on individual filmmakers define film culture as a diverse and ever-evolving practice, unpredictable yet subject to analyses just as diversified as his own discriminating tastes. For Rosenbaum, there is no high or low cinema, only more interesting or less interesting films, and the pieces collected here, from an appreciation of Marilyn Monroe's intelligence to a classic discussion on and with Jean-Luc Godard, amply testify to his broad intellect and multifaceted talent. "Goodbye Cinema, Hello Cinephilia" gathers together over fifty examples of Rosenbaum's criticism from the past four decades, each of which demonstrates his passion for the way we view movies, as well as how we write about them. Charting our changing concerns with the interconnected issues that surround video, DVDs, the Internet, and new media, the writings collected here also highlight Rosenbaum's polemics concerning the digital age. From the rediscovery and recirculation of classic films, to the social and aesthetic impact of technological changes, Rosenbaum doesn't disappoint in assembling a magisterial cast of little-known filmmakers as well as the familiar faces and iconic names that have helped to define our era. As we move into this new decade of moviegoing - one in which Hollywood will continue to feel the shockwaves of the digital age - Jonathan Rosenbaum remains a valuable guide. "Goodbye Cinema, Hello Cinephilia" is a consummate collection of his work, not simply for fans of this seminal critic, but for all those open to the wide variety of films he embraces and helps us understand.

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The first definitive biography of tragicomic sex symbol Jayne Mansfield, one of the most colorful and eccentric movie stars of the 1950s-60s. The book examines both her life and her career, detailing her movie, TV and stage work, as well as her drive to become an old-fashioned movie star at the end of the big-studio era.Jayne Mansfield: The Girl Couldn't Help It follows Jayne from her birth in 1933 through her early days as a starlet, her sudden fame as a Broadway star, and her too-brief years as 20th Century-Fox's threat to Marilyn Monroe. After three hit films, showing what a talented actress she was, Jayne found herself cut loose and floundering, in ever-cheaper and worse films.Jayne's private life will be examined as well: her expertise as a publicity magnet, her relationship with the press and her fans; her three marriages and many affairs, and her well-meaning but ill-equipped parenting skills. The rumors around her death will be addressed, via nearly 100 pages of police reports.Among the people interviewed for this book are her third husband, her lover shortly before Mariska Hargitay was born (the only interview he has ever given about Jayne), the man who published her 1963 memoirs, the inventor of the Jayne Mansfield Hot Water Bottle, and Loni Anderson, who portrayed Jayne in a 1980 TV-movie.Including 70 photos, The Girl Couldn't Help It will finally set straight many misconceptions about Jayne Mansfield, and will provide a fair and balanced, sympathetic but clear-eyed portrait of one of show business's most bizarre and endearing icons.

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In Speed, Safety, and Comfort: The Origins of Delta Air Lines, former Delta Boeing 767 captain and aviation historian James John Hoogerwerf traces the evolution and growth of one of America's most successful airlines. Delta's story began during the early twentieth century with the fight against the cotton-devouring boll weevil, which devastated the southern economy and compelled scientists to formulate calcium arsenate powder to eradicate the invasive pest. To aid in the elimination effort, Huff Daland Company, a military aircraft manufacturer, constructed the first plane specifically designed to dispense the poison from the air. Crop dusting proved so effective, Huff Daland Dusters, the world's first crop-dusting company, rebranded as Delta Air Service in 1928 to focus more on providing commercial services, including the transport of passengers and air mail. The following year Delta began flying its first passengers from Monroe, Louisiana, eventually establishing routes across the southeastern United States. By the eve of World War II, the firm had assumed the familiar Delta Air Lines name and boasted forward-thinking management, a modern fleet of aircraft, and increased revenue from passenger ticket sales.Now headquartered in Atlanta, Delta counts itself among the oldest and largest airlines in the world, with nearly 90,000 employees and more than 5,400 flights per day. Delta's expansion and survival are anomalies in an industry historically dominated by government and special interests. Hoogerwerf's masterful history of Delta's beginnings underscores the company's contribution to agriculture, southern industrialization, and the development of commercial aviation in the United States.

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Contributions by Simone A. Alexander, José Felipe Alvergue, Valerie Babb, Pamela Bordelon, Taylor Hagood, Joyce Marie Jackson, Delia Malia Konzett, Jane Landers, John Wharton Lowe, Gary Monroe, Noelle Morrissette, Paul Ortiz, Lyrae Van Clef-Stefanon, Genevieve West, and Belinda Wheeler The state of Florida has a rich literary and cultural history, which has been greatly shaped by many different ethnicities, races, and cultures that call the Sunshine State home. Little attention has been paid, however, to the key role of African Americans in Floridian history and culture. The state’s early population boom came from immigrants from the US South, and many of them were African Americans. Interaction between the state’s ethnic communities has created a unique and vibrant culture, which has had, and continues to have, a significant impact on southern, national, and hemispheric life and history. Black Hibiscus: African Americans and the Florida Imaginary begins by exploring Florida’s colonial past, focusing particularly on interactions between maroons who escaped enslavement, and on Albery Whitman’s The Rape of Florida, which also links Black people and Native Americans. Contributors consider film, folklore, and music, as well as such key Black writers as Zora Neale Hurston, James Weldon Johnson, Gwendolyn Bennett, Colson Whitehead, and Edwidge Danticat. The volume features Black Floridians’ role in the civil rights movement and Black contributions to the celebrated Florida Writers’ Project. Contributors include literary scholars, historians, film critics, art historians, anthropologists, musicologists, political scientists, artists, and poets.

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Original catalogue to the Paris exhibition and a core part of the blockbuster retrospective at the V&A. It was in 1947 that Christian Dior presented his first collection and heralded the birth of a new fashion silhouette for women. After the austerity of the war years, the cinched waistlines, full skirts and soft shoulders of the New Look came to embody a revival of Parisian luxury. Paris regained its place as the global capital of fashion and the name of Dior became a synonym for haute couture. For this book, published to mark the 70th anniversary of the House of Dior, seventy of the most memorable looks created Christian Dior and his successors – Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and Maria Grazia Chiuri – have been specially selected and photographed in fascinating detail. These wonderful designs are also featured in sketches, runway shots and fashion shoots by the world’s greatest fashion photographers, including Irving Penn, Richard Avedon, Cecil Beaton, William Klein, Helmut Newton, Patrick Demarchelier, Paolo Roversi, Peter Lindbergh, Mario Testino and Nick Knight. The seventy 'looks' are prefaced by essays from Olivier Gabet, Jérôme Gautier, Patrick Mauriès and Florence Müller. Recurring themes from the history of Dior are discussed in depth: the concept of line and architecture in fashion; the influence of history and art (the Palace of Versailles, the Empire style, Impressionism, the Belle Époque, the Ballets Russes, Picasso, Dalí, Pollock); the use of colour; the influence of gardens and landscapes as sources of inspiration; and, of course, the brand’s muses and famous clients: the Duchess of Windsor, Marlene Dietrich, Princess Grace of Monaco, Marilyn Monroe, Elizabeth Taylor, Isabelle Adjani, Princess Diana, Marion Cotillard, Charlize Theron, Natalie Portman, Jennifer Lawrence and more.

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The editor has corrected printers’ errors and annotated unfamiliar terms and allusions. Three illustrations by George Cruikshank and a map of Oliver's London accompany the text. "Backgrounds and Sources" focuses on The Poor Law Amendment Act of 1834, central both to Dickens and to the characters in Oliver Twist. The act’s far-reaching implications are considered in source materials that include parlimentary debates on The Poor Laws, a harrowing account of an 1835 Bedfordshire riot, and "An Appeal to Fallen Women," Dickens’ 1847 open letter to London’s prostitutes urging them to turn their backs on "debauchery and neglect." Ten letters on Oliver Twist, written between 1837 and 1864, are reprinted, including those to the novel’s publisher, the novel’s illustrator, and John Forster, Dickens’ close friend and future biographer. In addition, readers can trace the evolution of the novel by examining Dickens’ installment and chapter-division plans and enjoy "Sikes and Nancy," the text of a public reading Dickens composed and performed often to large audiences. "Early Reviews" provides eight witty, insightful, and at times impassioned responses to the novel and to Oliver’s plight by William Makepeace Thackeray and John Forster (anonymously), among others. "Criticism" includes twenty of the most significant interpretations of Oliver Twist published in this century. Included are essays by Henry James, George Gissing, Graham Greene, J. Hillis Miller, Harry Stone, Philip Collins, John Bayley, Keith Hollingsworth, Steven Marcus, Monroe Engel, James R. Kincaid, Michael Slater, Dennis Walder, Burton M. Wheeler, Janet Larson, Fred Kaplan, Robert Tracy, David Miller, John O. Jordan, and Gary Wills. A Chronology and Selected Bibliography are also included.

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Of all the male stars of Golden Age Hollywood, Kirk Douglas became the final survivor, the last icon of a fabled era that the world will never see again. When he celebrated his birthday in 2016, a headline read — 'Legendary Hollywood horndog turns 100.' He was both a charismatic actor and a man of uncommon force and vigour. His restless and volcanic spirit is reflected both in his films and through his many sexual conquests. Douglas was the son of Russian-Jewish immigrants, his father a ragman. Conquering Tinseltown, he became the personification of the American dream, moving from obscurity and (literally) rags to riches and major-league fame. The Who’s Who cast of characters roaring through his life featured not only a daunting list of Hollywood goddesses, but the town’s most colossal male talents and egos, too. They included his kindred hellraiser and best buddy Burt Lancaster, John Wayne, Henry Fonda, Billy Wilder, Laurence Olivier, Rock Hudson, and a future U.S. President, Ronald Reagan. Douglas began his conquests in New York, stealing the virginity of model Betty Bacall before she moved to Hollywood, changed her name to Lauren, and married Humphrey Bogart. Later, both Marilyn Monroe and Lana Turner pursued him for boudoir duty. 'I had them all…well, almost,' he boasted. All of this is brought out, with photos, in this remarkable testimonial to the last hero of Hollywood’s cinematic and swashbuckling Golden Age, an inspiring testimonial to the values and core beliefs of an America that’s Gone with the Wind, yet lovingly remembered as a time when it, in many ways, was truly great.

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Otto Preminger (1905–1986), whose Hollywood career spanned the 1930s through the 1970s, is popularly remembered for the acclaimed films he directed, among which are the classic film noir Laura, the social-realist melodrama The Man with the Golden Arm, the CinemaScope musical Carmen Jones, and the riveting courtroom drama Anatomy of a Murder. As a screen actor, he forged an indelible impression as a sadistic Nazi in Billy Wilder’s Stalag 17 and as the diabolical Mr. Freeze in television’s Batman. He is remembered, too, for drastically transforming Hollywood’s industrial practices. With Exodus, Preminger broke the Hollywood blacklist, controversially granting screen credit to Dalton Trumbo, one of the exiled "Hollywood Ten." Preminger, a committed liberal, consistently shattered Hollywood’s conventions. He routinely tackled socially progressive yet risqué subject matter, pressing the Production Code’s limits of permissibility. He mounted Black-cast musicals at a period of intense racial unrest. And he embraced a string of other taboo topics—heroin addiction, rape, incest, homosexuality—that established his reputation as a trailblazer of adult-centered storytelling, an enemy of Hollywood puritanism, and a crusader against censorship. Otto Preminger: Interviews compiles nineteen interviews from across Preminger’s career, providing fascinating insights into the methods and mindset of a wildly polarizing filmmaker. With remarkable candor, Preminger discusses his filmmaking practices, his distinctive film style, his battles against censorship and the Hollywood blacklist, his clashes with film critics, and his turbulent relationships with a host of well-known stars, from Marilyn Monroe and Frank Sinatra to Jane Fonda and John Wayne.

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Originally published in 1989. In this companion volume to the acclaimed Pure Lives, Reed Whittemore probes the often-complex motives behind the relationships of modern biographers to their subjects. Whittemore's description of biography's uneven path toward comprehensive character study begins with Thomas Carlyle, whose biography of Frederick the Great broke with tradition by tracing the roots of its subject's character to childhood trauma. (A strict disciplinarian, Frederick's father once considered having his rebellious teenage son executed.) Whittemore examines the work of Leslie Stephen, the Dictionary of National Biography's first editor, who admired Carlyle but disliked his style—and was convinced that Carlyle disliked him. And in a chapter on Sigmund Freud, Whittemore traces the revolution in writing biography that began with Freud's speculations on the nature and origin of Leonardo da Vinci's homosexuality. Few have escaped Freud's influence. While Leon Edel argues that biographers should not psychoanalyze their subjects, his biography of Henry James does precisely that. Richard Ellman tempers his impulse for Freudian probing of Joyce, Yeats, and Oscar Wilde with the explication of their often difficult works. Kenneth Lynn's recent biography of Hemingway takes the opposite approach. "The Hemingway industry," Whittemore explains, "is like Marilyn Monroe's in having much of the sensational in it, including suicide, so that the problems of having to deal with Hemingway as a writer, good or bad, can always be put on the back burner for a few chapters while Hemingway the braggart and liar performs." Thomas Parton and Benjamin Franklin, Virginia Woolf and Elizabeth Barrett Browning, Erik Erikson and Martin Luther, biographers and their subjects continue to engage our attention. Whole Lives offers an informative—and refreshingly informal—look at one of the most enduringly popular genres.

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In The Americas Revealed, distinguished art historian and curator Edward J. Sullivan brings together a vibrant group of essays that explore the formation, in the United States, of public and private collections of art from the Spanish- and Portuguese-speaking Americas.The contributors to this volume trace the major milestones and emerging approaches to collecting and presenting Spanish Colonial and modern Latin American art by museums, galleries, private collections, and corporations from the late nineteenth to the twenty-first century. In chronicling the roles played by determined collectors from New York to San Francisco, the essays examine a range of subjects from MoMA’s mid-twentieth-century acquisition strategies to the growing taste on the West Coast for the work of Diego Rivera. They consider the impact of various political shifts on art collecting, from reactions against the “American exceptionalism” of the Monroe Doctrine to the aesthetic biases of government-sponsored art academies in Mexico, Rio de Janeiro, and Havana. The final three chapters focus on living collectors such as Roberta and Richard Huber, Patricia Phelps de Cisneros, and Estrellita B. Brodsky.A thorough and definitive account of the changing course of private and public collections and their important connection to underlying political and cultural relations between the United States and Latin American countries, this volume gives a rare glimpse into the practice of collecting from the collectors’ own point of view.In addition to the editor, contributors to this volume are Miriam Margarita Basilio, Estrellita B. Brodsky, Vanessa K. Davidson, Anna Indych-López, Ronda Kasl, Gabriel Pérez-Barreiro, Berit Potter, Mari Carmen Ramírez, Joseph Rishel, Delia Solomons, and Suzanne Stratton-Pruitt.

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The first, and sure to be definitive, collection of the iconic work of Joe Eula, the foremost illustrator of the late twentieth century, featuring more than 200 gorgeous black-and-white and full-color sketches and illustrations, the majority of which have never been published before. An illustrator, graphic artist, costume designer, stage director, and tastemaker, Joe Eula lived at the center of the high fashion and art worlds. In a career that spanned five decades, he sketched for every major couture house, from Chanel and Givenchy, to Dior and Yves Saint Laurent. He illustrated album covers and/or show posters for Miles Davis, Liza Minnelli, Marilyn Monroe, and the Supremes. He designed costumes for the choreographer Jerome Robbins. He directed a television special with Lauren Bacall. In the 1960s, with the photographer Milton Greene, he formed one of the most progressive studios of the era, responsible for producing tantalizing images-including Faye Dunaway as a stylish Bonnie Parker-in magazines like Life. His friendships were no less extensive, from Coco Chanel, with whom he used to treat to movie dates in Paris, to Andy Warhol, Bette Midler, and Elsa Peretti. If modernity was the hallmark of Halston's fashion in the 1970s, it was Eula, as the label's creative director, who helped clarify it with his spare drawings and fluent ideas. This stunning volume brings together a selection of his finest work. New York Times fashion critic Cathy Horyn's extensive introduction illuminates Eula's development as an artist and his contributions to the worlds of fashion, design, arts, and entertainment, relating numerous personal anecdotes, interviews with those who knew him well as well as citations from his personal writings. Lovers of fashion and illustration will delight in the range of art and the famous clientele on display in this collectible volume.

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A revealing account of the great Baseball Hall of Famer Joe DiMaggio from the man who knew him best in the last ten years of his life—“a rare, intimate portrait…that pries open Joltin’ Joe’s perpetually buttoned-up privacy” (The New York Times) with stories about the Yankees, Ted Williams, Lou Gehrig, Marilyn Monroe, Frank Sinatra, and other celebrities.In 1990, Dr. Rock Positano, a thirty-two-year-old foot and ankle specialist, met Joe DiMaggio. Despite the forty years between them, an unlikely friendship developed after the doctor successfully treated the baseball champ’s heel spur injury. Joe mentored Rock but came to rely on his young friend to show him a good time in New York, the town that made him a legend. In time, the famously reserved DiMaggio opened up to Dr. Positano and talked about his joys, his disappointments, and his sorrows as he reflected on his extraordinary life. The stories and experiences he shared with Dr. Positano comprise an intimate portrait of one of the great stars of baseball and icon of the twentieth century. “Readers do not have to be baseball fans to be captivated by this memoir, which explores such universal themes as friendship, celebrity, aging, and mortality” (Library Journal, starred review). DiMaggio was a complicated figure—sometimes demanding, sometimes big-hearted, always impeccable, loyal, and a true stand-up guy. This memoir of a decade-long friendship reveals the very private DiMaggio as “a wholly human portrait of an American icon navigating his way through an adoring yet relentlessly demanding public” (Booklist, starred review), while serving up illuminating stories and rare insights about the people in his life, including his teammates, Muhammad Ali, Sandy Koufax, Woody Allen, and many more.

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For four decades film historian Ira M. Resnick has been amassing a superb collection of 2,000 vintage movie posters and 1,500 stills, which has never before been published. Starstruck: Vintage Movie Posters from Classic Hollywood features the best of Resnick’s collection, with vivid reproductions of 250 posters and forty stills from the golden age of Hollywood, 1912 to 1962. In a moving introduction, Resnick relates how his love of vintage movie art translated into a career as a collector and the founder of the Motion Picture Arts Gallery, the first gallery devoted exclusively to the art of the movies. Resnick’s firsthand account offers entertaining anecdotes about how he managed to acquire such stellar film artwork, as well as historical information about the stars and films shown on the pieces he collected. Guiding the reader through the best posters and stills of his collection, Resnick provides a tour of cinematic history, starting in the silent film era and continuing up to Breakfast at Tiffany’s (1961). By showcasing several posters for each performer—such as Lillian Gish, the Marx Brothers, Marilyn Monroe, John Barrymore, and Audrey Hepburn—Resnick offers a unique method of charting the evolution of each movie star’s career. Organizing his account both chronologically and thematically, in later chapters Resnick discusses some of Hollywood’s legendary directors and films, and critiques fantastic graphic art from little-known films. Bonus material includes a list of Resnick’s fifty favorite one-sheets, helpful tips for the collector, and a glossary of terms and poster sizes. A must-have book for every collector and film buff, Starstruck offers a beautifully illustrated, personal tour of a bygone age of the motion picture advertising industry.

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Writings on people and places, theater and film, in a portfolio of essays and photographs informing Wes Anderson's film Asteroid City. Featuring 8 newly commissioned pieces alongside more than 20 classic essays from the likes of François Truffaut and Jonas Mekas, DO NOT DETONATE explores key influences on celebrated director Wes Anderson's new film Asteroid City. Together they form a detailed, captivating portrait of the mid-century film world and the enduring myths of the American West. Contents: A Conversation Between Wes Anderson and Jake Perlin A Life excerpt - Elia Kazan The Celluloid Brassière - Andy Logan Rainy Day - Lillian Ross The Outskirts: Other Men's Women - Gina Telaroli The Petrified Forest - Jorge Luis Borges Ace in the Hole: Noir in Broad Daylight - Molly Haskell What Makes a Sad Heart Sing: Some Came Running - Michael Koresky One False Start, Never Wear the Same Dress Twice - Durga Chew-Bose Maigret at the Coroner's excerpt - Georges Simenon Sunbelt Noir: Desert Fury - Imogen Sara Smith The Voyage Down and Out: Inferno - Kent Jones Bad Day Near The River's Edge - Nicolas Saada Watching Fail Safe at the End of the World - K. Austin Collins Black Desert, White Desert - Serge Toubiana Marilyn Monroe and the Loveless World - Jonas Mekas Beyond the Stars - Jeremy Bernstein Coming: Nashville - Pauline Kael Coming Around the Mountain: Close Encounters of the Third Kind - Matt Zoller Seitz Selections from Close Encounters of the Third Kind Diary - Bob Balaban Introduction to Small Change: A Film Novel - François Truffaut By The Time I Get to Phoenix - Thora Siemsen My Guy - Hilton Als Wild to the Wild - Sam Shepard

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Since the 1920s, fashion has played a central role in Hollywood. As the movie-going population consisted largely of women, studios made a concerted effort to attract a female audience by foregrounding fashion. Magazines featured actresses like Jean Harlow and Joan Crawford bedecked in luxurious gowns, selling their glamour as enthusiastically as the film itself. Whereas actors and actresses previously wore their own clothing, major studios hired costume designers and wardrobe staff to fabricate bespoke costumes for their film stars. Designers from a variety of backgrounds, including haute couture and art design, were offered long-term contracts to work on multiple movies. Though their work typically went uncredited, they were charged with creating an image for each star that would help define an actor both on- and off-screen. The practice of working long-term with a single studio disappeared when the studio system began unravelling in the 1950s. By the 1970s, studios had disbanded their wardrobe departments and auctioned off their costumes and props. In Designing Hollywood: Studio Wardrobe in the Golden Age, Christian Esquevin showcases the designers who dressed Hollywood's stars from the late 1910s through the 1960s and the unique symbiosis they developed with their studios in creating iconic looks. Studio by studio, Esquevin details the careers of designers like Vera West, who worked on Universal productions such as Phantom of the Opera (1925), Dracula (1931), and Bride of Frankenstein (1931); William Travilla, the talent behind Marilyn Monroe's dresses in Gentleman Prefer Blondes (1953) and The Seven Year Itch (1955); and Walter Plunkett, the Oscar-winning designer for film classics like Gone with the Wind (1939) and An American in Paris (1951). Featuring black and white photographs of leading ladies in their iconic looks as well as captivating original color sketches, Designing Hollywood takes the reader on a journey from drawing board to silver screen.

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Take a visit to the South Carolina's Cavanaugh Island in these two novels filled with small-town secrets, coastal charm, and heartwarming romance.Sanctuary CoveStill reeling from her husband's untimely death, Deborah Robinson needs a fresh start. So she decides to pack up her family, box up her bookstore, and return to her grandmother's ancestral home on Cavanaugh Island. The charming town of Sanctuary Cove holds happy memories for Deborah. And, after she meets a gorgeous Dr. Asa Monroe in the local bakery, it promises the possibility for a bright, new future. As friendship blossoms into romance, Deborah and Asa discover they may have a second chance at love. But small towns have big secrets. Before they can begin their new life together, the couple must confront a challenge they never expected . . .Angels LandingKara Newell has a big-city life that needs a major shake-up. Her dedication as a social worker is unwavering, yet her heart tells her that there is more to life than just work. Kara gets the push she needs when she shockingly inherits a large estate on an island off the South Carolina coast. Now the charming town of Angels Landing awaits her . . . along with a secret family that she never knew she had. But when she steps into the crosshairs of angry local residents after arriving in town, ex-marine turned sherrif Jeffrey Hamilton is the perfect person for the job of watching over her. But as Kara becomes more than just a responsibility to Jeffrey and they confront the town gossips together, they'll learn to face their fears and forgive their pasts in order to find a future filled with happiness in Angels Landing.

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'Elegant and multi-focal. Glorious!' Simon GarfieldThe humble pair of glasses might just be one the world's greatest inventions, allowing millions to see a world that might otherwise appear a blur. And yet how much do many of us even really think about these things perched on the ends of our noses? In this eye-opening history Travis Elborough traces the fascinating true story of spectacles: from their inception as primitive visual aids to monkish scribes right through to today's designer eyewear and the augmented reality of Google Glass. And taking in along the way such delights as lorgnettes, monocles, pince-nez, tortoise-shell 'Windsors' and Ray Ban aviator shades. Peering into early theories about how the eye worked, he considers the theological and philosophical arguments about the limits of perception by Greek thinkers, Roman statesmen and Arab scholars. There are encounters with ingenious medieval Italian glassmakers, myopic Renaissance rulers and spectacle-makers and opticians, brilliant, mad, bad and dangerous to know, in the Londons of Samuel Pepys, Dr Johnson and Sherlock Holmes.We learn how eyeglasses were the making of the silent movie star Harold Lloyd and the rock n roller Buddy Holly and helped liberate an exasperated John Lennon from Beatlemania. Get hip to horn-rims with Dizzy Gillespie and Michael Caine And see girls in glasses through the lenses of the crime fiction by Dorothy L Sayers and Raymond Chandler and the full-screen figure of Marilyn Monroe. Through the Looking Glasses is about vision and the need for humanity to see clearly, and where the impulse to improve our eyesight has led us. The society of the spectacle may finally be upon us . . . but how much of it do we really see?

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The 2022 issue explores North Carolina writers who teach (and teachers who write). The issue opens with Georgann Eubanks's essay on North Carolina playwright, civil rights activist, and UNC Chapel Hill Professor Paul Green, followed by letters from Peter Taylor from his Greensboro home where he taught at North Carolina Women's College (now UNC Greensboro) and Marian Janssen's John Ehle Prize essay on Carolyn Kizer's UNC Chapel Hill years. The featured interviews includes one conducted students in the Veteran to Scholar program at ECU interviewing Ben Fountain, as well as Senior Associate Editor Christy Alexander Hallberg's interview with Leah Hampton, Indiana University Kokomo Professor Jim Coby interviewing Wiley Cash, and UNC Wilmington Professor Malia Butler interviewing Khalisa Rae Thompson. The creative writing in this section includes poetry by Catherine Carter and the winner and honorees of the 2021 James Applewhite Poetry Prize, including the winning poem by Michael Loderstedt; creative nonfiction by Barbara Bennett; and fiction by Settle Monroe. The Flashbacks and North Carolina Miscellany sections of this issue feature more creative writing: Steve Mitchell's Alex Albright Creative Nonfiction Prize essay, Heather Bell Adams's Doris Betts Fiction Prize short story by Heather Bell Adams, more honorees from the James Applewhite Poetry Prize contest; and a poem by Frank Borden Hanes, Sr., introduced by James W. Clark, Jr. and shared with permission of the writer's family.NCLR 31 (2022) is the 25th annual print issue under the editorship of Margaret D. Bauer, Rives Chair of Southern Literature and Distinguished Professor of Harriot College of Arts and Sciences at East Carolina University, where NCLR is produced, serving as an excellent opportunity for students to attain significant experience in editing and publishing.

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Unfinished at the time of his death, F. Scott Fitzgerald's The Last Tycoon is a story of doomed love set against the extravagance of America's booming film industry. This Penguin Modern Classics edition is edited with an introduction by Edmund Wilson.The studio lot looks like 'thirty acres of fairyland' the night that a mysterious woman stands and smiles at Monroe Stahr, the last of the great Hollywood princes. Enchanted by one another, they begin a passionate but hopeless love affair, starting with a fast-moving seduction as slick as a scene from one of Stahr's pictures. The romance unfolds, frame by frame, watched by Cecilia, a thoroughly modern girl who has taken her lessons in sentiment and cynicism from all the movies she has seen. Her buoyant humour and satirical eye perfectly complement Fitzgerald's panorama of Hollywood at its most lavish and bewitching.F. Scott Fitzgerald (1896-1940) has acquired a mythical status in American literary history, and his masterwork The Great Gatsby is considered by many to be the 'great American novel'. In 1920 he married Zelda Sayre, dubbed 'the first American Flapper', and their traumatic marriage and Zelda's gradual descent into insanity became the leading influence on his writing. As well as many short stories, Fitzgerald wrote five novels This Side of Paradise, The Great Gatsby, The Beautiful and the Damned, Tender is the Night and, incomplete at the time of his death, The Last Tycoon. After his death The New York Times said of him that 'in fact and in the literary sense he created a "generation" '.If you enjoyed The Last Tycoon, you might enjoy Fitzgerald's The Beautiful and the Damned, also available in Penguin Classics.'Wonderful ... a novel about Hollywood, written from the inside'Helen Dunmore, Sunday Times

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At 1:27 on the morning of August 4, 2005, Herbert Manes fatally stabbed Robert Monroe, known as Shorty, in a dispute over five dollars. It was a horrific yet mundane incident for the poor, heavily African American neighborhood of North Philadelphia—one of seven homicides to occur in the city that day and yet not make the major newspapers. For Michael B. Katz, an urban historian and a juror on the murder trial, the story of Manes and Shorty exemplified the marginalization, social isolation, and indifference that plague American cities. Introduced by the gripping narrative of this murder and its circumstances, Why Don't American Cities Burn? charts the emergence of the urban forms that underlie such events. Katz traces the collision of urban transformation with the rightward-moving social politics of late twentieth- and early twenty-first-century America. He shows how the bifurcation of black social structures produced a new African American inequality and traces the shift from images of a pathological black "underclass" to praise of the entrepreneurial poor who take advantage of new technologies of poverty work to find the beginning of the path to the middle class. He explores the reasons American cities since the early 1970s have remained relatively free of collective violence while black men in bleak inner-city neighborhoods have turned their rage inward on one another rather than on the agents and symbols of a culture and political economy that exclude them. The book ends with a meditation on how the political left and right have come to believe that urban transformation is inevitably one of failure and decline abetted by the response of government to deindustrialization, poverty, and race. How, Katz asks, can we construct a new narrative that acknowledges the dark side of urban history even as it demonstrates the capacity of government to address the problems of cities and their residents? How can we create a politics of modest hope?

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The history of blacks at Harvard mirrors, for better or for worse, the history of blacks in the United States. Harvard, too, has been indelibly scarred by slavery, exclusion, segregation, and other forms of racist oppression. At the same time, the nation's oldest university has also, at various times, stimulated, supported, or allowed itself to be influenced by the various reform movements that have dramatically changed the nature of race relations across the nation. The story of blacks at Harvard is thus inspiring but painful, instructive but ambiguous—a paradoxical episode in the most vexing controversy of American life: the "race question." The first and only book on its subject, Blacks at Harvard is distinguished by the rich variety of its sources. Included in this documentary history are scholarly overviews, poems, short stories, speeches, well-known memoirs by the famous, previously unpublished memoirs by the lesser known, newspaper accounts, letters, official papers of the university, and transcripts of debates. Among Harvard's black alumni and alumnae are such illustrious figures as W.E.B. Du Bois, Monroe Trotter, and Alain Locke; Countee Cullen and Sterling Brown both received graduate degrees. The editors have collected here writings as diverse as those of Booker T. Washington, William Hastie, Malcolm X, and Muriel Snowden to convey the complex ways in which Harvard has affected the thinking of African Americans and the ways, in turn, in which African Americans have influenced the traditions of Harvard and Radcliffe. Notable among the contributors are significant figures in African American letters: Phyllis Wheatley, William Melvin Kelley, Marita Bonner, James Alan McPherson and Andrea Lee. Equally prominent in the book are some of the nation's leading historians: Carter Woodson, Rayford Logan, John Hope Franklin, and Nathan I. Huggins. A vital sourcebook, Blacks at Harvard is certain to nourish scholarly inquiry into the social and intellectual history of African Americans at elite national institutions and serves as a telling metaphor of this nation's past.

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Funny and Feminist TriviaWomen of Interest is a humorous compendium of little known facts about the history, fame, fortunes, fashions, and fictions of the female species–enough to impress your mother and your boss, win arguments with your boyfriends and husbands, and generally know more about your fabulous female self.One of the most fascinating trivia books for women. Did you know that women outnumber men by five to one in shoplifting convictions? Or that researchers at Northwestern University found that men change their minds two to three times more than women? Women of Interest spans history, crosses cultures, ranges from the silly to the salacious to the truly useful and back again. Designed to delight the feminist in you, this outrageously funny book is organized into ten trivia-filled chapters covering all sorts of humorous histories and fun facts. Ideal for trivia games for adults or feminist gifts, now women really can know everything.Feminist, funny gifts for women. It’s time to challenge that know-it-all girlfriend, or grab the ultimate bathroom reader for your feminist BFF. Whether you’re searching for feminist books or trivia books, Women of Interest makes a wonderful addition to trivia games and bookshelves alike. Inside, you’ll learn that: Diamonds didn’t become a girl’s best friend until the thirteenth century. Before that, they were for men only. Zazel, a woman, was the first human cannonball. She launched into the air through a giant spring inside a cannon. Marilyn Monroe was the very first Artichoke Queen in the artichoke capital of the world. If you enjoy comedy books, trivia books for adults, or funny gifts for her─and enjoyed titles such as What If, 399 Games Puzzles & Trivia Challenges, Uncle John's Truth Trivia and the Pursuit of Factiness, The Woman's Encyclopedia of Myths and Secrets, or Thank You for Being a Friend: A Golden Girls Trivia Book─then you’ll love Women of Interest.

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America's most enduring and legendary symbol of young rebellion, James Dean continues into the 21st Century to capture the imagination of the world. In recognition of his enduring appeal as Hollywood's most visible symbol of unrequited male rage, bars from California to Nigeria and Patagonia are named in his honor. Dean, a strikingly handsome heart-throb, is a study in contrasts: Tough but tender; brutal at times but remarkably sensitive; a reckless hellraiser badass who could revert to a little boy in bed. From his climb from the dusty backroads of Indiana to the most formidable boudoirs of Hollywood, his saga is electrifying. He claimed that sexually, he didn't want to go through life with one hand tied behind his back. He corroborated his identity as a rampant bisexual through sexual interludes with Marilyn Monroe, Rock Hudson, Elizabeth Taylor, Paul Newman, Natalie Wood, Shelley Winters, Marlon Brando, Steve McQueen, Ursula Andress, Montgomery Clift, Pier Angeli, Tennessee Williams, Susan Strasberg, and (are you sitting down?) both Tallulah Bankhead and (as a male prostitute) FBI director J. Edgar Hoover. Woolworth heiress Barbara Hutton wanted to make him her toy boy. Tomorrow Never Comes, the newest in Blood Moon's critically acclaimed Babylon Series, is the most penetrating look at James Dean to have emerged from the wreckage of his Porsche Spyder in 1955. He flirted with Death until it caught him. Ironically, he said, "If a man can live after he dies, then maybe he's a great man." Before setting out on his last ride, he also said, "I feel life too intensely to bear living it." Tomorrow Never Comes is published in recognition of the 60th anniversary of his early death. It presents a damaged but beautiful soul, and the embarrassing and sometimes lurid compromises James Dean made on his road to "success" before his demons grabbed him.

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