Collections of interviews with notable modern writers

    A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a through and readable analysis of each of the novels in question. The books in the series all follow the same structure: a biography of the novelist, including other works, influences, and, in some cases, an interview; a full-length study of the novel, drawing out the most important themes and ideas; a summary of how the novel was received upon publication; a summary of how the novel has performed since publication, including film or television adaptations, literary prizes, and so forth; a wide range of suggestions for further reading, including web sites and discussion forums; and a list of questions for reading groups to discuss.

    

    Includes: background on Stoker's classic, and the literary history of the vampire novel; commentary by leading contemporary writers; a selected filmography of major vampire films; and dozens of illustrations.

     On Sundays peace was restored. He would lie down, dream and remember. He would enjoy. And later on the bell would ring. He would get up and walk downstairs. He would open the front door. And his life would come to an end . . . Garda Inspector Michael McLoughlin is trying to enjoy his retirement – doing a bit of PI work on the side, meeting up with former colleagues, fixing up a grand old house in a genteel Dublin suburb near the sea. Then he discovers the body of his neighbour, a retired judge – brutally murdered, shot through the back of the neck, his face mutilated beyond recognition. McLoughlin finds himself drawn into the murky past of the murdered judge, which leads him back to his own father’s killing, decades earlier, by the IRA. In seeking the truth behind both crimes, a web of deceit, blackmail and fragile reputations comes to light, as McLoughlin’s investigation reveals the explosive circumstances linking both crimes – and dark secrets are discovered which would destroy the judge’s legendary family name.

    Brown, Samuel Holt Monk, Allan Bloom, Nigel Dennis, Edward W. Rosenheim, Jr., A. E. Dyson, William Frost, C. J. Rawson, Kathleen Williams, Martin Price, Robert M. Adams, and Jay Arnold Levine An Annotated Bibliography guides the reader to important works for further study.

    The scene opens with several small vessels drifting about on the ocean. There had been a fire, followed by an explosion aboard a vessel carrying slaves. Most of the crew were pretty nasty people, but there were two pairs of people who become the heroes of this story. One of these is Ben Brace and a sixteen year old boy seaman, whom he had rescued from being eaten by the thirty or so crew members who had found enough spars, timber, sails, ropes and barrels to construct a large raft, though rather badly made, because these men were consoling themselves with a rum-barrel. At a distance floated the ship's gig, with the captain, the mate, the carpenter and three other men. Finally, there is a construction, hardly more than a large barrel, containing Snowball, an African ship's cook of the Coromantee tribe, together with a little girl of eight or ten. Luckily these get together with Ben Brace and the boy William, and it is their adventures that the story is mainly about. The author is a natural historian, and he tells us lots of interesting things about the fish and other denizens of the deep. Naturally the whole thing comes right in the end, with the wicked perishing, and the good being picked up by a whale-ship.

    Heinlein was sixty-six, at the height of his literary career; J. Neil Schulman was twenty and hadn't yet started his first novel. Because he was looking for a way to meet his idol, Schulman wangled an assignment from the New York Daily News--at the time the largest circulation newspaper in the U.S.--to interview Heinlein for its Sunday Book Supplement. The resulting taped interview lasted three-and-a-half hours. This turned out to be the longest interview Heinlein ever granted, and the only one in which he talked freely and extensively about his personal philosophy and ideology. "The Robert Heinlein Interview" contains Heinlein you won't find anywhere else--even in Heinlein's own "Expanded Universe." If you wnat to know what Heinlein had to say about UFO's, life after death, epistemology, or libertarianism, this interview is the only source available. Also included in this collection are articles, reviews, and letters that J. Neil Schulman wrote about Heinlein, including the original article written for The Daily News, about which the Heinleins wrote Schulman that it was, "The best article--in style, content, and accuracy--of the many, many written about him over the years." This book is must-reading for any serious student of Heinlein, or any reader seeking to know him better.

    Santos has presented what may well be the essence of those years - the loneliness and hunger of a people who were almost all of them hurt and broken to the bone. But for an ideal, which Santos so eloquently dramatizes in this book, they would have lost their very souls. In this sense YOU LOVELY PEOPLE is a document and at once a portrait of the Filipino heart.

    Written by Harvard students for students, since its inception SparkNotes(TM) has developed a loyal community of dedicated users and become a major education brand. Consumer demand has been so strong that the guides have expanded to over 150 titles. SparkNotes'(TM) motto is Smarter, Better, Faster because: - They feature the most current ideas and themes, written by experts. - They're easier to understand, because the same people who use them have also written them. - The clear writing style and edited content enables students to read through the material quickly, saving valuable time. And with everything covered--context; plot overview; character lists; themes, motifs, and symbols; summary and analysis, key facts; study questions and essay topics; and reviews and resources--you don't have to go anywhere else!

    He does so with a poet's ear for the cadences and rhythms of chorus and solo verse as well as a commanding dramatic use of the central social and religious myth. In his hands The Bacchae becomes a communal feast, a tumultuous celebration of life, and a robust ritual of the human and social psyche. "The Bacchae is the rites of an extravagant banquet, a monstrous feast," Soyinka writes. "Man reaffirms his indebtedness to earth, dedicates himself to the demands of continuity, and invokes the energies of productivity. Reabsorbed within the communal psyche he provokes the resources of nature; in turn he is replenished for the cyclic rain in his fragile individual potency." The blending of two master playwrights—Euripides and Soyinka—makes for an unforgettable experience.

    There’s still something disturbing, I grant you, about the word “actress”. If an MP or some other outstanding person plays fast and loose with an actress the world is unsurprised. She is certainly no better than she should be, and probably French…’ As well as being a mother (to the actresses Sophie and Emma Thompson) and a devoted carer to her own mother and mother-in-law, Phyllida Law is also a distinguished actress, and Dead Now Of Course is the tale of her early acting career.As a young member of a travelling company, Phyllida learned to cope with whatever was thrown at her, from making her own false eyelashes to battling flammable costumes and rogue cockroaches. We find her in Mrs Miller’s digs, which were shared with a boozy monkey bought from Harrods, an Afghan hound known as the ‘the flying duster’, several hens and various children.Filled with funny, charming anecdotes, Dead Now Of Course paints a fascinating picture of life in the theatre – and at the heart of the story is an enchanting account of Phyllida’s courtship with her future husband, the actor and writer Eric Thompson.

    The close community is stunned to learn that it's Lisa Moran, a popular teacher who disappeared two days earlier.DS Lucy Golden is assigned to the case. For her, it's personal. As an Achill native, she knows that sometimes great evil can lurk in plain sight. Having moved back from Dublin, she has spent the last ten years trying to prove herself to her colleagues after her husband was jailed for fraud. This is her chance to put the past behind her. Her teenage son Luc's behaviour, however, is increasingly troubling and Lucy doesn't have time for distractions.When another body is found in an abandoned property on the bog, with links to a murder 20 years ago, the stakes are raised - but a pattern is emerging. Can Lucy put the pieces together? Or will her family crisis mean the murderer claims his next victim?

    Extensively revised and updated, this sixth edition highlights both classic texts and cutting edge essays from more than a century of thought and writing about the movies. Editors Leo Braudy and Marshall Cohen have reformulated the book's sections and their introductions in order to lead students into a rich understanding of what the movies have accomplished, both as individual works and as contributions to what has been called "the art form of the twentieth [and now twenty-first] century." Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. The sixth edition features several new essays that discuss the impact of digital technology on the traditional conceptions of what films do and how they manage to do it. Additional selections from the important works of Gilles Deleuze round out sections dealing with the theories of such writers as Sergei Eisenstein, Andre Bazin, and Christian Metz, among others. New essays also strengthen sections dealing with the idea of "excess" in film, film spectatorship, the horror genre, and feminist criticism. Film Theory and Criticism, 6/e, is ideal for undergraduate and graduate courses in film theory and criticism."

    My heart is broken and my failure is total.A bomb is born, lives and dies in a rural secondary school; Ireland becomes a dumping ground for corpses; one family’s genealogy begins in tragedy in 1574 and ends in something far worse in 2111; a strange tribal matriarchy on the banks of the River Boyne is threatened with extermination.Over the course of these stories, the world breaks down in an endless cycle of hunger, desperation, violence and domination, and we find a humanity left tender, collapsed, and full of a beautiful, primeval innocence.Fagan’s raw blend of verve, humour, imagination and warmth surges through these pages, revealing a world rendered both hopeful and disturbing, human and other, that is at once familiar and extraordinary.