The title character, here called Pippin, is a naive, inexperienced young man looking to make his mark in the world. He seeks glory and personal fulfillment first as a soldier, then as a lover, and finally as a revolutionary leader promoting progressive social ideas. After every attempt at success has left him disappointed and frustrated, until he is on the brink of utter despair, Pippin finds himself attracted to the widow Catherine and her young son. Ultimately, he is given a choice between either performing a single great deed that will bring him instant fame and glory but just as instantly cut short his young life, or settling for a long, comfortable, but mediocre existence as a domestic non-entity taking care of his sweet but completely unremarkable family.

    At the end of a long day in which the actresses Thomas auditions fail to impress him, in walks Vanda, very late and seemingly clueless, but she convinces him to give her a chance. As they perform scenes from Thomas’s play, and Vanda the actor and Vanda the character gradually take control of the audition, the lines between writer, actor, director, and character begin to blur. Vanda is acting . . . or perhaps she sees in Thomas a masochist, one who desires fantasy in “real life” while writing fantasies for a living.   An exploration of gender roles and sexuality, in which desire twists and turns in on itself, Venus in Fur is also a witty, unsettling look at the art of acting—onstage and off.

    From its first moment on air, the series's rich characters, subversive themes, and layered humor resounded deeply with audiences both young and old who wanted more from their entertainment than what was being meted out at the time by the likes of Full House, Growing Pains, and Family Matters. Spawned as an animated short on The Tracy Ullman Show—mere filler on the way to commercial breaks—the series grew from a controversial cult favorite to a mainstream powerhouse, and after nineteen years the residents of Springfield no longer simply hold up a mirror to our way of life: they have ingrained themselves into it.  John Ortved's oral history will be the first-ever look behind the scenes at the creation and day-to-day running of The Simpsons, as told by many of the people who made it: among them writers, animators, producers, and network executives. It’s an intriguing yet hilarious tale, full of betrayal, ambition, and love. Like the family it depicts, the show's creative forces have been riven by dysfunction from the get-go—outsize egos clashing with studio executives and one another over credit for and control of a pop-culture institution. Contrary to popular belief, The Simpsons did not spring out of one man's brain, fully formed, like a hilarious Athena. Its inception was a process, with many parents, and this book tells the story.

    

    In Thank You for Smoking it was big tobacco and earnest reformers; in God Is My Broker it was business and religion; and in No Way to Treat a First Lady, it's the entire legal profession, not to mention the Washington establishment. The novel opens with the President of the United States returning to the conjugal bed after an illicit Lincoln Bedroom romp with the Streisandesque Babette Van Anka. His wife, the long-suffering Beth McMann, promptly clocks him with a Paul Revere spittoon. Several hours later he dies. "Lady Bethmac," as the First Lady is immediately dubbed by the media, is put on trial, and the resulting media circus gives Buckley lots of opportunity for nicely observed skewerings of legal culture. "Judge Dutch creaked forward in his chair. This is the source of the aura of judges: they have bigger chairs than anyone else. That and the fact that they can sentence people to sit in electrified ones. It's all about chairs." He gets in some neat neologisms--a lawyer performs a "credibilobotomy" on a witness--and sends up the pretensions of law TV: at a roundtable discussion, the guest from Harvard Law is invited "to provide gravitas and to shift uneasily in his seat when the other guests said something provocative." Buckley's Trial of the Millennium is so far-fetched that it seems entirely possible. --Claire Dederer

    160 illustrations including 100 in color.The Newmarket Pictorial Moviebooks, official companions to films, large format (8 3/8 x 10 7/8), heavily illustrated throughout, with color photographs, details on the making of the film, background on the filmmakers and cast.

    This brilliant comic trilogy details the amorous exploits of Norman, assistant librarian, whose one aim is to make the women of his life happy—these women being, as it happens, three sisters, one of them his wife, who can’t wear contact lenses because “life with Norman is full of unexpected eye movements.” Each play stands uproariously on its own yet interlocks with the others to form an ingenious Chinese puzzle of successive relations.

    A "dumb blonde" chorus girl, mistress of a tycoon-gangster diddling in D.C., gets an education from a reporter for The New Republic, and blossoms into a very fair lady.

    Jack Parker thought he'd already seen his fair share of tragedy. His grandmother was killed in a farm accident when he was barely five years old. His parents have just succumbed to the smallpox epidemic sweeping turn-of-the-century East Texas -- orphaning him and his younger sister, Lula. Then catastrophe strikes on the way to their uncle's farm, when a traveling group of bank-robbing bandits murder Jack's grandfather and kidnap his sister. With no elders left for miles, Jack must grow up fast and enlist a band of heroes the likes of which has never been seen if his sister stands any chance at survival. But the best he can come up with is a charismatic, bounty-hunting dwarf named Shorty, a grave-digging son of an ex-slave named Eustace, and a street-smart woman-for-hire named Jimmie Sue who's come into some very intimate knowledge about the bandits (and a few members of Jack's extended family to boot). In the throes of being civilized, East Texas is still a wild, feral place. Oil wells spurt liquid money from the ground. But as Jack's about to find out, blood and redemption rule supreme. In The Thicket, award-winning novelist Joe R. Lansdale lets loose like never before, in a rip-roaring adventure equal parts True Grit and Stand by Me - - the perfect introduction to an acclaimed writer whose work has been called "as funny and frightening as anything that could have been dreamed up by the Brothers Grimm -- or Mark Twain" (New York Times Book Review).

    The Da Vinci Code Illustrated Screenplay goes behind the scenes of one of the most highly anticipated movies of all time, created by Academy Award®–winning filmmakers Ron Howard, Brian Grazer, and Akiva Goldsman.  Offering unprecedented access to the tightly guarded “closed set,” and a view of the filmmaking process that has never been seen publicly, screenwriter Goldsman provides a backstage look at the incredible journey to bring Dan Brown’s record-setting novel to the big screen.  Goldsman’s richly rendered screenplay is included here in its entirety.  It offers a fascinating new way to experience the story—and includes a number of moments (and even full scenes) that do not appear in the final cut of the movie. Lavishly illustrated with 275 images of the actors and filmmakers—from both the movie set and the film itself—this behind-the-scenes features include: • Filming in the Louvre in the dead of night, and re-creating a 400-foot section of the museum’s Grand Gallery on a soundstage—down to the precise architectural details, and complete with 120 oil-painting masterpieces • The full digital and soundstage re-creation of the Church of Saint-Sulpice • The transformation of Lincolnshire’s Lincoln Cathedral into London’s Westminster Abbey, and the reproduction of Sir Isaac Newton’s enormous tomb• Handwritten notes on pages from Ron Howard’s script • The evolution of script dialogue as it progressed from an early draft of the screenplay to final shooting form • Dozens of never-before-seen storyboards that were used to block out scenes before filming commenced  For any fan of the filmmaking process, and of the extraordinary movie and novel, this exquisitely produced book will be an invaluable companion.

    She becomes addicted to diet pills in her obsessive quest, while her junkie son, Harry, along with his girlfriend, Marion, and his best friend, Tyrone, have devised an illicit shortcut to wealth and leisure by scoring a pound of uncut heroin. Entranced by the gleaming visions of their futures, these four convince themselves that unexpected setbacks are only temporary. Even as their lives slowly deteriorate around them, they cling to their delusions and become utterly consumed in the spiral of drugs and addiction, refusing to see that they have instead created their own worst nightmares."Selby's place is in the front rank of American novelists. HIs work has the power, the intimacy with suffering and morality, the honesty and moral urgency of Doestoevsky's. To understand Selby's work is to understand the anguish of America." - The New York Times Book Review

    Originally published in Paris, this is a collection of Hollywood's darkest and best kept secrets from the pen of Kenneth Anger, a former child movie actor who grew up to become one of America's leading underground film-makers.

    

    Isabelle Vanderschelden provides analysis and social context for the film and the reasons behind its success.

    Take one food writer named Cranky Agnes, add a hitman named Shane, mix them together with a Southern mob wedding, a missing necklace, two annoyed flamingos, and a dog named Rhett and you've got a recipe for a sexy, hilarious novel about the disastrous side of true love…Agnes Crandall's life goes awry when a dognapper invades her kitchen one night, seriously hampering her attempts to put on a wedding that she's staked her entire net worth on.  Then a hero climbs through her bedroom window.  His name is Shane, no last name, just Shane, and he has his own problems:  he's got a big hit scheduled, a rival trying to take him out, and an ex-mobster uncle asking him to protect some little kid named Agnes.  When he finds out that Agnes isn't so little, his uncle has forgotten to mention a missing five million bucks he might have lost in Agnes's house, and his last hit was a miss, Shane's life isn't looking so good, either.  Then a bunch of lowlifes come looking for the money, a string of hit men show up for Agnes, and some wedding guests gather with intent to throw more than rice.  Agnes and Shane have their hands full with greed, florists, treachery, flamingos, mayhem, mothers of the bride, and--most dangerous of all--each other.  Agnes and the Hitman is the perfect combination of sugar and spice, sweet and salty--a novel of delicious proportions.