To commemorate its seventy-fifth anniversary in 2014, The Making of Gone With The Wind presents more than 600 items from the archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, which are housed at the Harry Ransom Center at the University of Texas at Austin. These rarely seen materials, which are also being featured in a major 2014 exhibition at the Ransom Center, offer fans and film historians alike a must-have behind-the-camera view of the production of this classic.Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. While Clark Gable was almost everyone’s choice to play Rhett Butler, there was no clear favorite for Scarlett O’Hara. And then there was the huge challenge of turning Margaret Mitchell’s Pulitzer Prize–winning epic into a manageable screenplay and producing it at a reasonable cost. The Making of Gone With The Wind tells these and other surprising stories with fascinating items from the Selznick archive, including on-set photographs, storyboards, correspondence and fan mail, production records, audition footage, gowns worn by Vivien Leigh as Scarlett, and Selznick’s own notoriously detailed memos.This inside view of the decisions and creative choices that shaped the production reaffirm that Gone With The Wind is perhaps the quintessential film of Hollywood’s Golden Age and illustrate why it remains influential and controversial decades after it was released.

    Related in loving detail are inside stories of the writing and publishing of the novel; the Hollywood frenzy of transforming the book into film, including casting headaches, on-set tensions, and jinxed scenes; the premiere; and the Academy Awards. This updated edition also contains the scoop on the publication of two GWTW sequels; the disastrous debut of the Scarlett television miniseries; the post GWTW lives of cast members, such as the news of Gable s secret lovechild; the restoration of three original costumes in time for GWTW s seventy-fifth anniversary; and much, much more. The reader-friendly format fact-packed features, profiles, quizzes, and photographs will delight any GWTW fan and make this the one book that no Windie can do without."

    By all industry predictions, the film should never have worked. What makes it work so amazingly well are the fascinating and uncompromising personalities that Haskell dissects here: Margaret Mitchell, David Selznick, and Vivien Leigh. As a feminist and onetime Southern adolescent, Haskell understands how the story takes on different shades of meaning according to the age and eye of the beholder. She explores how it has kept its edge because of Margaret Mitchell’s (and our) ambivalence about Scarlett and because of the complex racial and sexual attitudes embedded in a story that at one time or another has offended almost everyone.Haskell imaginatively weaves together disparate strands, conducting her story as her own inner debate between enchantment and disenchantment. Sensitive to the ways in which history and cinema intersect, she reminds us why these characters, so riveting to Depression audiences, continue to fascinate 70 years later.

    Various Mitchell biographies and a compilation of her letters tell part of the story, but until now no single source has told the full saga. This entertaining account of the rise of a bestseller tells how Mitchell's book was developed, marketed, distributed, and otherwise groomed for success in a bygone era.

     Based on almost 200 previously unpublished letters and extensive interviews with their closest associates, this ground-breaking new biography allows the extraordinary couple to tell their love story in their own words. In extracts from their letters to family and friends, John and Peggy describe the stormy years of their courtship, the arduous but fulfilling years when Peggy ws writing her famous novel, the thrill of its literary success, the excitement of the movie making . . . . All of the exhilarating, poignant, and moving moments of their lives are brought to life by the voices of John and Peggy themselves. In telling the private story of this remarkable 24-year marriage, author Marianne Walker reveals a long-suspected truth-that GONE WITH THE WIND might never have been written if Margaret Mitchell had not married John Marsh. In addition to being Peggy's husband, best friend, and constant support, he acted as her editor, proofreader, researcher, business manager, and in general, the inspiration obehind her work. At every point in their relationship, including the turbulent years of Mitchell's first marriage to Red Upshaw, it was john who providedthe intellectual stimulation, emotional support, and editorial expertise that enabled his gifted wife to channel her talents into the making of GONE WITH THE WIND. After years of meticulous research, Marianne Walker has created a fascinating portrait of a love match between a writer and her editor-a childless marriage dominated from beginning to end by their dear but difficult "baby," GONE WITH THE WIND.

    'This is the best book we have had on Vivien Leigh, the most thoroughly and shrewdly researched, the most acute in its realization that Leigh was an actress who had to find herself in her parts if she was to do well, but who invariably began to destroy herself in the process.'--The Boston Sunday Globe

    The Mitchell family lived in a sprawling, two-story Victorian home with a deep, cool porch where Margaret liked to sit and read. When she was 12, Margaret's family moved to a Colonial Revival-style mansion situated on a fashionable stretch of Peachtree Street. The budding writer made fast friends with a tight-knit group of boys and girls in her new neighbourhood and school, and many of her writings were about the exploits of her gang. Later, at the Washington Seminary, school for girls, Mitchell was president of the literary society, literary editor of the yearbook, and acted in several drama club productions. 'It's really amazing, the way Margaret could write without making corrections, even at such a young age.' says Eskridge. 'She was just a wonderful storyteller, and this collection fleshes in parts of her life that nobody has ever had access to before.I think it will inspire many people to go back and read 'G one With the Wind', and learn more about Mitchell as a person. I especially hope young adults enjoy the book, too and draw inspiration from Margaret's early frustrations vis-a-vis the ultimate success she enjoyed. Hopefully, this collection will inspire the next Margaret Mitchell.'

    Celebrating the year in music writing by gathering a rich array of essays, missives, and musings on every style of music from rock to hip-hop to R&B to jazz to pop to blues, it is essential reading for anyone who loves great music and accomplished writing. Scribes of every imaginable sort—novelists, poets, journalists, musicians— are gathered to create a multi-voiced snapshot of the year in music writing that, like the music it illuminates, is every bit as thrilling as it is riveting.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    But as it is often said nothing ever really happened unless it is written down. There are so many stories to tell of the agonies and triumphs of both doctors and patients, who have peopled this venerable institution through the ages. I wrote the stories because I firmly believe that healing is a mutual process; that the healer is very often himself healed as he goes about caring for the ailing person. So the stories bite both ways.”

    

    

    A look at over 400 of the best historical movies (and some of the worst) purporting to be ‘factual’ or ‘based on actual events’; and how Hollywood has distorted, altered, manipulated, exaggerated, even falsified history under the all-encompassing premise…based on a true story…

    In this illuminating, in-depth Q & A, “America’s storyteller” lets readers in on his philosophical approach to understanding our nation’s past, as well as a little family secret for overcoming your fears.Tom Roston is a veteran journalist who began his career at The Nation and Vanity Fair magazines, before working at Premiere magazine as a senior editor. He writes a regular blog about nonfiction filmmaking on PBS.org and he is a frequent contributor to The New York Times. He lives with his wife and their two daughters in New York City. Cover design by Adil Dara.

    Now he shares his recollections of those encounters, providing a fascinating glimpse behind the scenes.Far from starry-eyed where Tony Blair Co are concerned, he looks back also to the Britain of his youth and castigates those responsible for its decline to "a Third World country … misruled by a typical Third World government, corrupt, incompetent and undemocratic".Controversial, witty and revealing – or "curmudgeonly", "reactionary", "undiluted spleen", according to the critics – The Light's on at Signpost has struck a chord with a great section of the public. Perhaps, as one reader suggests, it should be "hidden beneath the floorboards, before the Politically-Correct Thought Police come hammering at the door, demanding to confiscate any copies".