Our picks this month.
Here in one volume is an exceptional selection from Chester Himes's acclaimed Harlem Detectives series. Winner of France's prestigious Grand Prix de Littérature Policière and lauded by Jean Cocteau as a "prodigious masterpiece," A Rage in Harlem introduces detectives Grave Digger Jones and Coffin Ed Johnson in a searing escapade. In The Real Cool Killers, the duo investigates a shooting and discovers an unsettling personal connection. In The Crazy Kill, a man is found in a breadbasket, stabbed to death, leaving Himes's detectives to find out who among the many suspects did it. And in Cotton Comes to Harlem, the brazen robbery of a notorious con man running a back-to-Africa scam sets off a hunt for a bale of Southern cotton. These masterful novels exhibit Himes's evocative, baroque descriptions of Black life in Harlem and his famously blistering social commentary.
Everyman's Library pursues the highest production standards, printing on acid-free paper, with full-cloth cases with two-color foil stamping, decorative endpapers, silk ribbon markers, European-style half-round spines, and a full-color illustrated jacket. Contemporary Classics include an introduction, a select bibliography, and a chronology of the author's life and times.
Stanley Kubrick: An Odyssey fills that gap. This definitive book is based on access to the latest research, especially Kubrick's archive at the University of the Arts, London, as well as other private papers plus new interviews with family members and those who worked with him. It offers comprehensive and in-depth coverage of Kubrick’s personal, private, public, and working life. Stanley Kubrick: An Odyssey investigates not only the making of Kubrick's films, but also about those he wanted (but failed) to make like Burning Secret, Napoleon, Aryan Papers, and A.I.
Revealingly, this immersive biography will puncture the controversial myths about the reclusive filmmaker who created some of the most important works of art of the twentieth century.
The world is full of Bee Gees fans. Yet for a band of such renown, little is known about Barry, Maurice, and Robin Gibb.
People tend to have their favorite era of the Bee Gees's career, but many listeners are also conscious that there is more to uncover about the band. This book will provide the perfect solution, by pulling together every fascinating strand to tell the story of a group with the imagination of the Beatles, the pop craft of ABBA, the drama of Fleetwood Mac, and the emotional heft of the Beach Boys.
Uniquely, the Bee Gees's tale spans the entire modern pop era—they are the only group to have scored British top-ten singles in the '60s, '70s, '80s, and ‘90s—and includes world-conquering disco successes like 'Stayin' Alive' and 'More Than a Woman', both from the soundtrack of the hit film Saturday Night Fever.
But the Bee Gees's extraordinary career was one of highs and lows. From a vicious but temporary split in 1969 to several unreleased albums, disastrous TV and film appearances, and a demoralising cabaret season, the group weren't always revelling in the glow of million-selling albums, private jets, and UNICEF concerts. Yet, even in the Gibbs' darkest times, their music was rarely out of the charts, as sung by the likes of Al Green, Kenny Rogers and Dolly Parton, and Destiny's Child.
Capturing the human story at the heart of the Bee Gees, this book is a lyrical and stylish read, delighting hardcore fans with its details while engaging casual pop readers who simply want to know more about this important and enigmatic group.
This stunning coffee table book focuses on the storyboards for nine of Alfred Hitchcock’s classic movies – Vertigo, The Birds, Psycho, North by Northwest, The 39 Steps, Torn Curtain, Marnie, Shadow of a Doubt and Spellbound. It includes never before-published images and incisive text putting the material in context and examining the role the pieces played in some of the most unforgettable scenes in cinema. Hitchcock author and aficionado Tony Lee Moral provides a fascinating and illuminating insight into the directorial mind of the Master of Suspense.
After February 9, 1964, everyone wanted to be Debbie Gendler. On that date, she was just one of a relative handful of lucky fans who were in the live audience for The Beatles’ historic performance on The Ed Sullivan Show—an iconic television event viewed in the living rooms of 73 million Americans. Everyone has a story to share about where they were when they watched the appearance, but very few were there in person—and even fewer would actually go on not just to meet the Beatles, but end up building an entire career around the band. But Debbie did.
This is the story of a New Jersey teenager who managed to accomplish what millions only dreamed about. Prior to the Beatles arrival in America, Gendler met with the group’s manager Brian Epstein regarding the establishment of a U.S. Fan Club. Atthe start of the Beatles’ historic 1965 summer tour, she was the only teen to welcome them to America, and after their press conference at The Warwick Hotel she finally meets them in person.
Continuing her journey, Debbie recounts her unique and sometimes wacky experiences having witnessed first-hand some of the most historic events in pop culture. She shares concert antics from Forest Hills Tennis Stadium, Shea Stadium and Suffolk Downs and describes the mayhem outside the Plaza Hotel and later that year at the Delmonico Hotel chanting for the Beatles. Organizing fans to sleep on Broadway to purchase tickets for A Hard Day’s Night, representing the Official Beatles Fan Club on television, and promoting the Ringo for President novelty record are just some of the requests she fulfilled as one of the band’s leading ambassadors in the US.This coming-of-age tale details the adolescent journey of a devoted Beatles fan in all her youthful innocence against the backdrop of the turbulent 1960s, and a shifting cultural landscape.
Six decades may only be a handful of heartbeats to a Time Lord, but for Doctor Who it's the adventure of several lifetimes. Evolving over 60 years, the world's longest-running sci-fi TV show has gifted us a universe of menacing monsters and unforgettable heroes. You might even call it a 'Whotopia'.
Now you can roam free through the Doctor's dimension as never before in this special commemorative book for Doctor Who's diamond anniversary. Join all the Doctors as each tells their own story. Learn about their legions of legendary allies - and hear from the monsters' own mouths about what makes them tick. Find danger on alien worlds and threats here on Earth in all eras. And explore the gadgets, robots, spaceships, computers and mind-blowing creations that crowd the never-ending corridors of Whotopia.
Crammed with exciting new images and in full colour throughout, Whotopia: The Ultimate Guide to the Whoniverse is the essential celebration of 60 years of Doctor Who.
In 1974, as Apple was winding down, George Harrison and RIngo Starr both wanted to help new artists, so rather than trying to salvage Apple Records, each ex-Beatle created their own label. Ringo Starr established Ring'o Records, while George Harrison created Dark Horse Records, set up to be a much smaller scale label, releasing records from new artists as well as some of his old friends, with an eye to eventually releasing his own solo music.
While Dark Horse had an encouraging beginning with a hit single from Splinter in 1974, the label started suffering some problems, failing to establish itself the way Harrison hoped. However, some incredible music from a variety of artists was created from 1974 to 1977 and some of Harrison's best solo material would come out on that label.
In the end, Dark Horse Records would only release George Harrison's solo work (for the most part), but since 2020, Dhani Harrison has taken over the reins and has made Dark Horse a viable label once again, signing Cat Stevens, Billy Idol and releasing music from Joe Strummer and Leon Russell. Finally, in 2023, it was announced that Harrison's entire solo catalogue was going to be rereleased on Dark Horse. This book tells the story of the label from the beginning, through its struggles and to its new and exciting renaissance.
Since the early 1990s, cartoonist Art Spiegelman has made the case that comics are the natural inheritor of the aesthetic tradition associated with the modernist movement of the early twentieth century. In recent years, scholars have begun to place greater import on the shared historical circumstances of early comics and literary and artistic modernism. Comics and Modernism: History, Form, and Culture is an interdisciplinary consideration of myriad social, cultural, and aesthetic connections.
Filling a gap in current scholarship, an impressively diverse group of scholars approaches the topic from a variety of disciplinary backgrounds and methodologies. Drawing on work in literary studies, art history, film studies, philosophy, and material culture studies, contributors attend to the dynamic relationship between avant-garde art, literature, and comics. Essays by both established and emerging voices examine topics as divergent as early twentieth-century film, museum exhibitions, newspaper journalism, magazine illustration, and transnational literary circulation.
In presenting varied critical approaches, this book highlights important interpretive questions for the field. Contributors sometimes arrive at thoughtful consensus and at other times settle on productive disagreements. Ultimately, this collection aims to extend traditional lines of inquiry in both comics studies and modernist studies and to reveal overlaps between ostensibly disparate artistic practices and movements.
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When Frank Johnson, an itinerant musician and shipping clerk, died in 1979, he left behind a startling discovery: more than 2,300 notebook pages of comics and 131 unbound drawings, among them a massive, continuous story line beginning in the earliest surviving notebook dated 1928 ― before the existence of comic books! ― and following the exploits of his own cast of characters across 50 years until Johnson passed away. During this lifelong project, Johnson invented in private many of the conventions and tropes that define comics storytelling, effectively enacting an alternative secret history of the comics medium.
This debut publication of Johnson’s work is the first of two 600+ page volumes that will collect the best 1200 pages of his comics, including Wally’s Gang, his 50-year magnum opus chronicling the humorous, cliff-hanging adventures of a group of bachelor friends; The Bowser Boys, a seamy, darkly slapstick depiction of bohemian street life that could be considered the first underground comic series; and, coming in Volume 2, Juke Boys, absurd, self-reflexive graphic experimentation.
Curator and historian Chris Byrne and fine artist and graphic novelist Keith Mayerson have brought this astounding work into the light of day and provide historical background and analysis.
Horror films have been around for more than 100 years, and they continue to make a large impact on popular culture as they reflect their contemporary zeitgeist. Between the mid-1950s and mid-1980s, drive-in theaters were at their peak of popularity, and each decade brought forward new challenges and themes.
This book explores 60 B horror films, divided into 12 fun and uniquely-themed categories. Chapters discuss how the Atomic Age, the Vietnam War, the women's liberation movement and other current events and social issues affected these films. Films covered include Willard, The Fly, Santa Sangre and many more.
Bill Ward’s glamour girls were the staples of countless men’s and humor magazines, where they shared the pages with cult models like Bettie Page, Tina Louise, and Julie Newmar, and cartoons by fellow “good girl” artists such as Archie’s Dan Decarlo and Playboy’s Jack Cole. What set Ward apart―and above―his talented contemporaries in terms of sheer image-making was his use of the conte crayon. When drawn on simple newsprint stock, this potent combination created Ward’s trademark gossamer sheen on his women’s thigh-high stockings.
This Fantagraphics Studio edition showcases the best of Ward’s Humorama work and includes a healthy number of what became known as his “telephone girls.” Tame by today’s standards, Ward’s telephone girls were always caught in candid moments when they just happened to be talking on the phone dressed in gossamer lingerie in innocently provocative poses.
The majority of the images in this volume were drawn between 1955 and 1965 when Ward was at the height of his skill. They have been scanned in super high-solution from original art and reproduced to highlight every sheen and accentuate every curve to its fullest. The book not only reproduces more than 150 of Ward’s most beautifully rendered illustrations, but also serves as a time capsule to a more innocent moment in pop culture when these images were shocking.
Our books, our movies—our imaginations—are obsessed with extra dimensions, alternate timelines, and the sense that all we see might not be all there is. In short, we can’t stop thinking about the multiverse. As it turns out, physicists are similarly captivated.
In The Allure of the Multiverse, physicist Paul Halpern tells the epic story of how science became besotted with the multiverse, and the controversies that ensued. The questions that brought scientists to this point are big and deep: Is reality such that anything can happen, must happen? How does quantum mechanics “choose” the outcomes of its apparently random processes? And why is the universe habitable? Each question quickly leads to the multiverse. Drawing on centuries of disputation and deep vision, from luminaries like Nietzsche, Einstein, and the creators of the Marvel Cinematic Universe, Halpern reveals the multiplicity of multiverses that scientists have imagined to make sense of our reality. Whether we live in one of many different possible universes, or simply the only one there is, might never be certain. But Halpern shows one thing for sure: how stimulating it can be to try to find out.
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The Skin of Dreams is a novel of waking dreams. Even as he lives his life, Jacques L’Aumône, its hero, daydreams a hundred other possible lives. A few lines on a page, a chance encounter, a remark overheard in passing, any of these are enough to kick things into gear and send him off outside of himself to become a boxer, a general, a bishop, or a lord. He lives alongside his life with diligence and steadfastness; and the passage from real to dream is so natural for him that he no longer knows precisely which him he is. Eventually he becomes an actor in Hollywood, and the basis of countless dreams for others. This Jacques L’Aumône, like the characters who surround him, has the same sort of haunting and fluid consistency as someone that we might dream of in our beds at night. And reverie, here, is born through the tale’s humor, which is as gentle as it is cruel, as well as by way of a writing technique that is itself drawn from one of Queneau’s great loves, the cinema.
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