A divided populace who sees him as savior or sinner. Streets filled with guns. Anger toward those who can't speak English. The presence of the Klan. A media in its infancy, awakening to their ability to sway public discourse. This is not modern day America, but postwar Texas. Beeville was the most American of small towns--the place that GIs had fantasized about while fighting through the ruins of Europe, a place of good schools, clean streets, and churches. Old West justice ruled, as evidenced by a 1947 shootout when outlaws surprised popular sheriff Vail Ennis at a gas station and shot him five times, point blank, in the belly. Ellis managed to draw his gun and put three bullets in each assailant; he reloaded and put in each three more. Then he drove himself sixteen miles to a hospital. Time Magazine's full-page article on the shooting was seen by some as a referendum on law enforcement owing to the sheriff's extreme violence, but telegrams, cards, and flowers from all across America poured into the Beeville's tiny post office. Most of Beeville took comfort in knowing that Ennis kept them safe, that Texas was still Texas Yet when a second violent incident threw Ennis into the crosshairs of public opinion once again, his downfall was orchestrated by an unlikely figure: his close friend and Beeville's favorite son, Johnny Barnhart. Feeling the town had to take responsibility for the violence, Barnhart confronted and overthrew Ennis in the election of 1952: a landmark standoff between old Texas, with its culture of cowboy bravery and violence, and urban Texas, with its lawyers, oil institutions, and a growing Mexican population. The town would never be the same again. The Last Sheriff of Texas is a riveting narrative about the postwar American landscape, an era grappling with the same issues we continue to face today. Debate over excessive force in law enforcement, Anglo-Mexican relations, racism, gun control, the influence of the media, urban-rural conflict, the power of the oil industry, mistrust of politicians and the political process--all have surprising historical precedence in the story of Vail Ennis and Johnny Barnhart.

    (“Every single frame,” declared Cate Blanchett, “is burned into my retina.”) As Dyer guides us into the zone of Tarkovsky’s imagination, we realize that the film is only the entry point for a radically original investigation of the enduring questions of life, faith, and how to live. In a narrative that gives free rein to the brilliance of Dyer’s distinctive voice—acute observation, melancholy, comedy, lyricism, and occasional ill-temper—Zona takes us on a wonderfully unpredictable journey in which we try to fathom, and realize, our deepest wishes.Zona is one of the most unusual books ever written about film, and about how art—whether a film by a Russian director or a book by one of our most gifted contemporary writers—can shape the way we see the world and how we make our way through it.

    Dick is the magnificent and imaginative final work of an author who dedicated his life to questioning the nature of reality and perception, the malleability of space and time, and the relationship between the human and the divine. Edited and introduced by Pamela Jackson and Jonathan Lethem, this will be the definitive presentation of Dick’s brilliant, and epic, final work. In The Exegesis, Dick documents his eight-year attempt to fathom what he called "2-3-74," a postmodern visionary experience of the entire universe "transformed into information." In entries that sometimes ran to hundreds of pages, Dick tried to write his way into the heart of a cosmic mystery that tested his powers of imagination and invention to the limit, adding to, revising, and discarding theory after theory, mixing in dreams and visionary experiences as they occurred, and pulling it all together in three late novels known as the VALIS trilogy. In this abridgment, Jackson and Lethem serve as guides, taking the reader through the Exegesis and establishing connections with moments in Dick’s life and work.

    Born the same year as the film industry in 1895, Buster Keaton began his career as the child star of a family slapstick act reputed to be the most violent in vaudeville. Beginning in his early twenties, he enjoyed a decade-long stretch as the director, star, stuntman, editor, and all-around mastermind of some of the greatest silent comedies ever made, including Sherlock Jr., The General, and The Cameraman. Even through his dark middle years as a severely depressed alcoholic finding work on the margins of show business, Keaton’s life had a way of reflecting the changes going on in the world around him. He found success in three different mediums at their creative peak: first vaudeville, then silent film, and finally the experimental early years of television. Over the course of his action-packed seventy years on earth, his life trajectory intersected with those of such influential figures as the escape artist Harry Houdini, the pioneering Black stage comedian Bert Williams, the television legend Lucille Ball, and literary innovators like F. Scott Fitzgerald and Samuel Beckett. In Camera Man, film critic Dana Stevens pulls the lens out from Keaton’s life and work to look at concurrent developments in entertainment, journalism, law, technology, the political and social status of women, and the popular understanding of addiction. With erudition and sparkling humor, Stevens hopscotches among disciplines to bring us up to the present day, when Keaton’s breathtaking (and sometimes life-threatening) stunts remain more popular than ever as they circulate on the internet in the form of viral gifs. Far more than a biography or a work of film history, Camera Man is a wide-ranging meditation on modernity that paints a complex portrait of a one-of-a-kind artist.

    This comprehensive, behind-the-scenes look at the blockbuster 'Iron Man' movie features exclusive content, from concept art and armor design, to unreleased stills and a glimpse at the creative process.

    Martin is a giant in the field of fantasy literature and one of the most exciting storytellers of our time. Now he delivers a rare treat for readers: a compendium of his shorter works, collected into two stunning volumes, that offer fascinating insight into his journey from young writer to award-winning master.Gathered here in Volume I are the very best of George R.R. Martin's early works, including never-before-published fan pieces, his Hugo, Nebula, and Bram Stoker Award-winning stories plus the original novella The Ice Dragon, from which Martin's New York Times bestselling children's book of the same title originated. A dazzling array that features extensive author commentary, Dreamsongs, Volume I, is the perfect collection for both Martin devotees and a new generation of fans.Contents:- Introduction by Gardner Dozois One: A Four-Color Fanboy (2003)- Only Kids Are Afraid of the Dark (1967)- The Fortress (2003)- And Death His Legacy (2003)Two: The Filthy Pro (2003)- The Hero (1971)- The Exit to San Breta (1972)- The Second Kind of Loneliness (1972)- With Morning Comes Mistfall (1973)Three: The Light of Distant Stars (2003)- A Song for Lya (1974)- The Stone City (1977)- This Tower of Ashes (1976)- And Seven Times Never Kill Man (1975)- Bitterblooms (1977)- The Way of Cross and Dragon (1979)Four: The Heirs of Turtle Castle (2003)- The Lonely Songs of Laren Dorr (1976)- The Ice Dragon (1980)- In the Lost Lands (1982)Five: Hybrids and Horrors (2003)- Meathouse Man (1976)- Remembering Melody (1981)- Sandkings (1979)- Nightflyers (1980)- The Monkey Treatment (1983)- The Pear-Shaped Man (1987)

    The apprehensive scribe's quest is to capture on paper the fiercest of all literary beasts -- Moby Dick -- in the form of a workable screenplay so the great director can begin filming.But from the moment he sets foot on Irish soil, the author embarks on an unexpected odyssey. Meet congenial IRA terrorists, tippling men of the cloth impish playwrights, and the boyos at Heeber Finn's pub. In a land where myth is reality, poetry is plentiful, and life's misfortunes are always cause for celebration, Green Shadows, White Whale is the grandest tour of Ireland you'll ever experience -- with the irrepressible Ray Bradbury as your enthusiastic guide.

    Get paid to travel and write about it.Only no one told Jules that it would mean eating oily seabirds, repeatedly falling off a husky sled, getting stranded on a Mediterranean island, and crash-landing in Iran.The exotic destinations come thick and fast – Hong Kong, Hawaii, Huddersfield – as Jules navigates what it means to be a travel writer in a world with endless surprises up its sleeve.Add in a cast of larger-than-life characters – Elvis, Captain Cook, his own travel-mad Dad – and an eye for the ridiculous, and this journey with Jules is one you won’t want to miss.

    Increasingly dependent on the efforts of others over our own, Americans are free to freeload. From the corporate bailouts on Wall Street to the alarming increases in personal default and dependency, from questionable tax exemptions to enormous pension, healthcare, and other entitlement costs, the new moocher culture cuts across lines of class, race, and private and public sectors. And the millions that plan and behave sensibly, only to bail out the profligate? They're angry.Charles Sykes' argument is not against compassion or legitimate charity, but targets the new moocher culture, in which self-reliance and personal responsibility have given way to mass grasping after handouts. A Nation of Moochers is a persuasively argued and entertaining rallying cry for Americans who are tired of playing by the rules and paying for those who don't.

    Dick's Do Androids Dream of Electric Sheep? Essays consider political, moral and technological issues raised by the film, as well as literary, filmic, technical and aesthetic questions. Contributors discuss the film's psychological and mythic patterns, importance political issues and the roots of the film in Paradise Lost, Frankenstein, detective fiction, and previous science fiction cinema.

    As Lieutenant Uhura, communications officer of the Starship Enterprise, she was the first African-American woman to have a major continuing role on television. Her candid and insightful autobiography takes readers on her life's voyage of personal discovery and professional triumph - beyond Uhura. Granddaughter of the rebellious son of a slave owner, Nichelle Nichols grew up in a socially progressive family. By the age of sixteen the young singer-dancer had already been praised by Josephine Baker and had worked with Duke Ellington. With tenacity and talent, she established herself as a first-rate performer in nightclubs, onstage, and eventually in film. From the beginning of her Hollywood career, some would say, she had two strikes against her: she was Black and she was a woman. In the face of racism, a brush with the mob, and an attempted rape, she fought courageously against the injustices that stood between her and her dreams. Through an early job in television - years before Star Trek - Nichols met Gene Roddenberry. Describing her pivotal role in the Star Trek universe, she takes readers where no book has gone before: into the heart and mind of this man, the series' creator, for a time her lover and afterward a friend. She also reveals the true story behind the scenes with the Star Trek family, and details the evolution of the Trekker phenomenon with humor, affection, and respect. A symbol of hope and promise for millions of viewers, Nichols continues to work toward the same goals Lieutenant Uhura and, indeed, all of Star Trek embody. Whether spearheading a national recruitment drive to bring minoritiesand women into the NASA astronaut corps, or producing space-oriented educational films and programs for young people, Nichols remains devoted to inspiring a sense of wonder and promise for humankind's real-life future among the stars. Her autobiography is a moving testament to the

    It tells of his triumph over adversity and of his huge success, despite an inauspicious start in a wartime US Asian relocation camp. In his lifetime, he has become an actor, a successful businessman, a writer, and a man deeply involved in politics and the democratic process. His story also includes his early days as an actor when he had brushes with greats like Alec Guinness, Burt Lancaster and Bruce Lee, as well as his first meeting with a writer/producer named Gene Roddenberry.

    The boy is kept manacled in a pit, chained to a tree, and locked in a closet. The perps—a career bank robber, a petty thief, and his nineteen-year-old never-been-in-trouble Mormon wife—quickly become the targets of the biggest manhunt in Northwest history. The caper plays out like a Hollywood thriller with countless twists and improbable developments. Perhaps the most astonishing thing of all, though, is how it all ends.

    

    Vividly illustrated by Sergio Aragones, this handy volume covers the basic situations galactic travelers may find themselves in--plus guidelines for ¸  Greetings--H'chu apenkee, o'grandio lust: "Greetings, glorious host" in Huttese. It doesn't hurt you to be nice, and it might hurt you not to. ¸  Travel arrangements--Zat x'ratch keezo bompaz ha sheep: in Bocce, "That scratch was there when I rented the ship." ¸  Asking directions--Chi ita lungee: "I am lost," in Ewokese. Don't be afraid to seek help in the forest. ¸  Dining--Dis foosa isa berry good: "this food is good." It's always best to compliment your Gungan hosts. ¸  Bargaining for your life--Huwaa muaa mumwa: "Can I buy you a drink." in Wookiee-speak. Try it. It just might work.A MUST HAVE WHEN TRAVELING WITHOUT YOUR PROTOCOL DROID!Bonus!--An exclusive "Behind the Sounds" look at making of the Star Wars movies from Academy Award-winning Sound Editor Ben Burtt. Discover the secrets behind the roar of Chewbacca, the chatter of the cantina crowd, and R2-D2's unique eloquence.